HD Kung-Fu Panda #4 $10
HD Bob Marley One Love $10
HD Arthur the King $9
HD Imaginary $7
HD Ordinary Angels $7
HD Dune part 2 $6
HD Oppenheimer $5
HD Aquaman 2 $5
HD Anyone but You $6
HD Wish (Disney) $5
HD Wonka $5
HD Blue Beetle $5
HD The Holdovers $6
HD The Covenant (Guy Ritchie) $6
HD Madame Web HD $6
HD Meangirls (2024) $6
HD Night they came Home $5
HD Next Goal Wins $6
HD Iron Claw $6
HD Five Nights at Freddy's $6
HD Justice League Crisis Infinite Earth part 1 $6
HD Pet Sematary Bloodlines $6
HD Midsommer $6
HD Thanksgiving $4
HD Dream Scenario $6
HD Violent Night $5
HD Fear the Walking Dead s.8 $7
HD Trolls Band Together $4
HD Trolls Trilogy $6
HD Indiana Jones Dial of Destiny $5
HD Teenage Mutant Ninja Turles Mayhem $5
HD Exorcist Believer $3
HD The Marvels $7
HD The Creator $6
HD A Haunting in Venice $7
HD Paw Patrol Mighty Movie $5
HD A24 Horror 5-Film Collection $9
HD Ant-Man Wasp Quantamania $4
HD Avatar 2 $3
HD Babylon (Brad Pitt) $5
HD Babylon 5 Road to Home $4
HD Barbie $4
HD Book Club Next Chapter $4
HD Devotion $5
HD Disney Black Panther Wakanda Forever $3
HD Dumb Money $5
HD Elemental (Disney) $5
HD Equalizer 1 $2
HD Equalizer 2 $2
HD Equalizer 3 $3
HD Expendables 1,2,3,4 Bundle $8
HD Fast X $4
HD Flash $4
HD Gran Turismo $4
HD Guardians of the Galaxy v.3 $5
HD Jerry & Marge Go Large $6
HD Justice League X RWBY Heroes & Huntsmen part 1 $2
HD Justice League X RWBY Heroes & Huntsmen part 2 $3
HD Knights of the Zodiac $4
HD Little Mermaid (2023) $4
HD Marsh King's Daughter $3
HD Meg 2 The Trench $5
HD Metalocalypse Army Doomstar $5
HD Mission Impossible Dead Reckoning $4
HD Mob Land $5
HD My Big Fat Greek Wedding 1 $3
HD My Big Fat Greek Wedding 2 $2
HD My Big Fat Greek Wedding 3 $4
HD Nun 2 $5
HD Outlander Season 6 $3
HD Paws of Fury $5
HD Puss in Boots Last Wish $4
HD Seriously Red $4
HD Shazam 2 $3
HD Spider-Man Across the Spider-Verse $3
HD Spider-Man Into the Spider-Verse $2
HD Super Mario Bros $5
HD The Machine $4
HD Top Gun Maverick $3
HD Transformers Rise of the Beasts $3
HD Venture Bros Radiant Blood Babbon Heart $3
HD 5th Wave $4
HD 65 $4
HD A Quiet Place $3
HD A Quiet Place 2 $3
HD All the Devil's Men $4
HD Antebellum $4
HD Assassin's Creed $3
HD Bad Boys $3
HD Bad Boys for Life $4
HD Belly (DMX/NAS) $3
HD Boss Baby $3
HD Boss Baby 2-Movie $5
HD Boss Baby Family Business $3
HD Bourne Spremacy (VUDU) $3
HD Bros $4
HD Candyman (2021) $4
HD Case for Christ (VUDU) $3
HD Crawl $4
HD Dark Tower $4
HD Deadpool #1 HD Vudu/MA or 4K iTunes $3
HD Death Wish (Bruce Willis) $5
HD Despicable Me 2 (VUDU) $5
HD Despicable Me 3 (VUDU) $3
HD Detective Knight Independence $5
HD Die Hard 1 $4
HD Die Hard 3 $4
HD Die Hard 4 $4
HD Die Hard 5 $4
HD Dinosaur 13 $3
HD Dirty Dancing (Patrick Swayze) $3
HD Disney 101 Dalmatians (Cartoon) $5
HD Disney Aladdin (Cartoon) $5
HD Disney Ant-man and the Wasp $4
HD Disney Avengers $4
HD Disney Avengers Endgame $4
HD Disney Avengers Infinity War $4
HD Disney Beauty and the Beast (Cartoon) $5
HD Disney Bednobs and Broomsticks
HD Disney Black Panther $3
HD Disney Brave $6
HD Disney Call of the Wild $4
HD Disney Cars $5
HD Disney Cars 3 $3
HD Disney Celebrating Mickey $5
HD Disney Christopher Robin (2018) $6
HD Disney Cinderella #2 $6
HD Disney Cinderella #3 $6
HD Disney Cinderella (1950) $6
HD Disney Doctor Strange multiverse Madness $2
HD Disney Encanto $4
HD Disney Fantasia $6
HD Disney Fantasia 2000 $6
HD Disney Finding Dory $4
HD Disney Ford V Ferarri $5
HD Disney Fox and the Hound #2 $6
HD Disney Fox and the Hound $6
HD Disney Free Guy $3
HD Disney Guardians of the Galaxy $4
HD Disney Guardians of the Galaxy v.2 $4
HD Disney Hocus Pocus $5
HD Disney Hunchback of Notre Dame #2 $6
HD Disney Hunchback of Notre Dame $6
HD Disney Incredibles #1 $6
HD Disney Incredibles #2 $4
HD Disney Iron-Man 3 $4
HD Disney Jungle Book (Cartoon) $5
HD Disney Jungle Cruise $2
HD Disney Lady and the Tramp #2 $6
HD Disney Lightyear Full Code $3
HD Disney Lilo & Stitch $5
HD Disney Lilo & Stitch 2 Stitch has a Glitch $5
HD Disney Little Mermaid (Cartoon) #2 $6
HD Disney Little Mermaid (Cartoon) #3 $6
HD Disney Little Mermaid (Cartoon) $5
HD Disney Luca $3
HD Disney Mary Poppins (1964) $6
HD Disney Moana $4
HD Disney Mulan (Cartoon) $6
HD Disney Mulan 2 (Cartoon) $6
HD Disney Mulan Live version $2
HD Disney New Mutants $5
HD Disney Nightmare before Christmas $5
HD Disney Onward $3
HD Disney Pete's Dragon (2016) $5
HD Disney Peter Pan Anniversary Edition $5
HD Disney Pirate Fairy $6
HD Disney Pixar Short Films v.3 $5
HD Disney Pocahontas $6
HD Disney Pocahontas 2 $6
HD Disney Princess and the Frog $6
HD Disney Raya Last Dragon $3
HD Disney Rescuers $5
HD Disney Rescuers Down Under $5
HD Disney Robin Hood (Cartoon) $6
HD Disney Rocky Horror Picture $4
HD Disney Ron's Gone Wrong $3
HD Disney Santa Claus $5
HD Disney Santa Claus 2 $5
HD Disney Santa Claus 3 $5
HD Disney Sleeping Beauty $6
HD Disney Snow White Seven Dwarfs $6
HD Disney Tangled $6
HD Disney the Pirate Fairy $6
HD Disney Thor 2 $4
HD Disney Thor Love and Thunder $2
HD Disney Thor Ragnarok $5
HD Disney Toy Story $5
HD Disney Toy Story 3 $5
HD Disney Toy Story 4 $3
HD Disney Willow $5
HD Disney Wreck-it Ralph #1 $6
HD Disney Wreck-it Ralph #2 $4
HD Disney Zootopia $4
HD Divergent 3-Movie Bundle $5
HD Don't Breathe $5
HD Downton Abbey A New Era $3
HD E.T. (VUDU)
HD Emoji Movie $4
HD Empire of Light $6
HD Everest (VUDU) $3
HD Fast & Furious 10-Movie Bundle $8
HD Fault in our Stars $4
HD Ferdinand $5
HD Fifty Shades Darker (VUDU) $3
HD First Man (Ryan Gosling) $3
HD Fury (Brad Pitt) $4
HD Ghostbusters #1 $2
HD Ghostbusters #2 $2
HD God's Not Dead 2 (VUDU) $3
HD Goosebumps 2 $4
HD Greatest Showman $3
HD Halloween (2018) $3
HD Halloween Ends $3
HD Halloween Kills $4
HD Hidden Figures $4
HD Holiday Inn $4
HD Hotel Transylvania 3 $3
HD Hunger Games 4-Movie Bundle $8
HD Huntsman Winters War (VUDU) $3
HD I Can Only Imagine $2
HD Independence Day Resurgence $3
HD Inferno (Tom Hanks) $4
HD Insidious Last Key $5
HD Jumanji Welcome 2 the Jungle $3
HD Jurassic World 5-Movie Bundle $5
HD Kick-Ass #2 (VUDU) $3
HD Kill Bill v.2 $4
HD Kingsman Golden Circle $2
HD Kingsman Secret Service $2
HD Little (2019) $5
HD Little Monsters (Fred Savage) $6
HD Logan $4
HD Lone Survivor (VUDU) $3
HD Lucy (VUDU) $3
HD Mamma Mia! 2-Movie Bundle $6
HD Maze Runner Scorch Trials $4
HD Mickey and Friends vol.1 $5
HD Morbius $3
HD Mummy Trilogy $6
HD News of the World $4
HD Olympus has Fallen $5
HD Only the Brave $4
HD Paper Towns $3
HD Peter Rabbit 2 $3
HD Pitch Perfect #1 $3
HD Pitch Perfect #2 $3
HD Planet of the Apes Dawn $4
HD Planet of the Apes War $4
HD Playing with Fire (VUDU) $3
HD Proud Mary $3
HD Red Sparrow $4
HD Ricki and the Flash $4
HD Ride Along #1 (VUDU) $3
HD Risen $4
HD Rock the Dog 3 $3
HD Scarface (VUDU) $3
HD Scream 5 $4
HD Scream 6 $4
HD Secret Dare to Dream $4
HD Secret Headquarters $5
HD She Said $5
HD Skyscraper $3
HD Snatched (Goldie Hawn) $4
HD Snow White Huntsman (VUDU) $3
HD Spider-Man Far From Home $3
HD Spider-Man Homecoming $2
HD Spider-Man No Way Home $2
HD Spirit Stallion Cimarron $4
HD Star Trek Director's Edition $4
HD Strawberry Shortcake Berry Best Friends $5
HD Strawberry Shortcake Berry Hi-Tech Fashion $5
HD Strawberry Shortcake Sweet Dreams Movie $5
HD Sweetwater $4
HD Ten Commandments $5
HD The Great Wall (VUDU) $3
HD The Lost City (Sandra Bullock) $4
HD The Marksman (Liam Neelson) $4
HD The Mummy (1999) (VUDU) $3
HD The Nut Job (VUDU) $3
HD The Purge (2013) $4
HD Top Gun #1 $3
HD Trolls #1 $4
HD Underworld Blood Wars $2
HD Venom Carnage #2 $4
HD Widows $3
HD X-Men , X2 , X3 $7
HD X-Men Apocalypse $4
HD Zero Dark Thirty $4
///////////////////////////////////////////////
4k Mario Bros $5
4K Spiral Book of Saw $4
4K Sonic 2$5
4K AD Astra $5
4K Casablanca $5
4K A Christmas Story $5
4K Batman Mask of Phantasm $4
4K Wayne's World 🌎 $6
4K Edge of Tomorrow $5
4K Smokey and the Bandit $5
4K 65 $6
4K Aladdin (Cartoon) $5
4K Aladdin Live (Will Smith) $4
4K Angel has Fallen $5
4K Aquaman 2 $7
4K Birds of Prey Harley Quinn $5
4K Black Adam $5
4K Black Panther #1 $5
4K Black Panther Wakanda $5
4K Cold Pursuit $4
4K Deadpool 1 $4
4K Despicable Me 1 (iTunes) $5
4K Despicable Me 2 (iTunes) $4
4K Despicable Me 3 (iTunes) $3
4K Minions (iTunes) $4
4K Westside Story (2021) Disney $5
4K Doctor Strange #1 $5
4K Doctor Strange Multi-Verse Madness $6
4K Enter the Dragon $6
4K Equalizer 3 $6
4K Exorcist Believer $5
4K Expendables 1,2,3,4 $12
4K Expendables 4 $5
4K Fast 9 $5
4K Gemini Man ( Will Smith) $4
4K Guardians of the Galaxy #1 $6
4K Hunger Games 4-Movie Bundle $10
4K Hunger Games Songbirds Snakes $7
4K Hunter Killer $5
4K Ironman 1 $6
4K Ironman 3 $6
4K John Wick 3 $3
4K John Wick 4 $6
4K Jurassic World Fallen Kingdom $2
4K Knives Out $5
4K Kung-Fu Panda #1 $6
4K Lightyear (Disney) $5
4K Lion King (cartoon) $5
4K Lion King (Live) $2
4K Lone Survivor (iTunes) $3
4K Mama Mia here we go again $3
4K Meg 2 $7
4K Midway $5
4K Ninja Turtles (2014) $3
4K Oppenheimer $8
4K Planes, Trains, Automobiles $3
4K Playing with Fire 4K iTunes $3
4K Rambo last Blood $3
4K Saw #1 $2
4K Saw X $5
4K Scarface $5
4K Scary Stories Tell in the Dark $5
4K Scream 3 $3
4K Skyscraper $5
4K Smokey and the Bandit $5
4K Spider-Man Across the Spider-Verse $5
4K Spider-Man No Way Home $5
4K Star Wars A New Hope $7
4K Star Wars Force Awakens $3
4K Star Wars Rise of Skywalker $3
4K Star Wars Rogue One $4
4K Sum of all fears $4
4K Talk to Me $6
4K Terminator Dark Fate $5
4K Thor 1 $6
4K Thor 2 Dark World $6
4K Thor Love and Thunder $6
4K Titanic $5
4K Top Gun Maverick $5
4K Toy Story 3 $6
4K Toy Story 4 $2
4K Transformers Rise of the Beasts $5
4K Trolls Band Together $7
4K Wonka $7
4K Zach Snyder's Justice League $7
I accept PayPal FF, Zelle, Venmo, FB Pay and Cash App
I accept PayPal FF, Zelle, Venmo, FB pay and Cashapp, and Amazon gift card

hey all,
i’m relatively new to the youtuber drama scene but i’ve been binging a few creators here and there and i have to say, my life is boring as hell bc im beyond entertained by what i have seen so far. i’ve only just scratched the surface with the channels/vids i’ve seen, so i was hoping to see if i could get some recommendations from this sub as far as what youtuber drama coverage (channels and/or specific videos) to watch next. i prefer longein depth videos, but i’ll happily take any and all suggestions— thank you! [:

I just finished the anime in about 2 days after it being suggested it to me by a friend and I absolutely loved it.
Everything from the writing when it comes to character development or the plot twists, the animation, relationships between characters, music, the good vibes that the slower scenes pull off when the characters are eating and drinking, how funny Denji can be with some of his motives, and Makima… don’t get me started on Makima.
looking forward to the movie and more episodes in the future, and am already planning to rewatch but has anyone found anything similar to Chainsaw Man? Maybe by the same creator?
I’ve been in an anime lull lately so haven’t seen a lot of the series that have came out recently, but safe to say CM got me back into it. I know there is a lot more out there to get the same result, but I want a way to continue the feeling this show gave me.
Thank y’all in advance!

In response to Apple Music's Top 100 album list (which I thought was horrid but hey who am I), I decided to make my own top 100 album list to make corrections where I thought it was needed. I'm sure all of us music enthusiasts have attempted this before, but I really went at it this time. I scoured the internet for musical opinions, used AI, and of course a little bit of personal opinion, although I tried to be as unbiased as humanly possible. I tried my best to take into account critical acclaim, popularity, artistic value, cohesiveness & flow, influence, and just overall value. Here it is, let me know what you'd change or think about my list or Apple's list!
(Also, I made sure only to do one album per musical act, as there's so much great music out there it felt wrong to double up on the same artist)
~The Greatest Albums of All Time~
1. Abbey Road by The Beatles
2. Pet Sounds by The Beach Boys
3. A Love Supreme by John Coltrane
4. The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie
5. OK Computer by Radiohead
6. To Pimp A Butterfly by Kendrick Lamar
7. Rumours by Fleetwood Mac
8. Blue by Joni Mitchell
9. Kind of Blue by Miles Davis
10. The Velvet Underground & Nico by The Velvet Underground & Nico
11. My Beautiful Dark Twisted Fantasy by Kanye West
12. Songs in the Key of Life by Stevie Wonder
13. In the Court of the Crimson King by King Crimson
14. Loveless by My Bloody Valentine
15. Illmatic by Nas
16. Nevermind by Nirvana
17. Wish You Were Here by Pink Floyd
18. Disintegration by The Cure
19. Hounds of Love by Kate Bush
20. What’s Going On by Marvin Gaye
21. Led Zeppelin IV by Led Zeppelin
22. Madvillainy by Madvillain
23. Heaven or Las Vegas by Cocteau Twins
24. Vespertine by Bjork
25. The Miseducation of Lauryn Hill by Lauryn Hill
26. Journey in Satchidananda by Alice Coltrane ft. Pharoah Sanders
27. Remain in Light by Talking Heads
28. Electric Ladyland by The Jimi Hendrix Experience
29. Grace by Jeff Buckley
30. The Queen is Dead by The Smiths
31. Highway 61 Revisited by Bob Dylan
32. Unknown Pleasures by Joy Division
33. Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan
34. The Black Saint and the Sinner Lady by Mingus
35. Paranoid by Black Sabbath
36. The Downward Spiral by Nine Inch Nails
37. Doolittle by Pixies
38. The Low End Theory by A Tribe Called Quest
39. Is This It by The Strokes
40. Pink Moon by Nick Drake
41. Ágætis byrjun by Sigur Rós
42. Aquemini by Outkast
43. Mezzanine by Massive Attack
44. Discovery by Daft Punk
45. Songs of Leonard Cohen by Leonard Cohen
46. In the Aeroplane Over the Sea by Neutral Milk Hotel
47. Daydream Nation by Sonic Youth
48. Illinois by Sufjan Stevens
49. Ride the Lightning by Metallica
50. The Velvet Rope by Janet Jackson
51. The Doors by The Doors
52. Blonde by Frank Ocean
53. Sometimes I Might Be Introvert by Little Simz
54. The Glow Pt 2 by The Microphones
55. Pastel Blues by Nina Simone
56. Donuts by J Dilla
57. Marquee Moon by Television
58. Either / Or by Elliott Smith
59. Future Days by Can
60. Since I Left You by The Avalanches
61. Horses by Patti Smith
62. Souvlaki by Slowdive
63. MM..FOOD by MF DOOM
64. Love Deluxe by Sade
65. When the Pawn… by Fiona Apple
66. Lift Yr. Skinny Fists Like Antennas to Heaven! by Godspeed You Black Emperor!
67. Bloom by Beach House
68. Liquid Swords by Genius/GZA
69. Piñata by Freddie Gibbs & Madlib
70. Close to the Edge by Yes
71. Laughing Stock by Talk Talk
72. Endtroducing….. by DJ Shadow
73. Selected Ambient Works 85-92 by Aphex Twin
74. Soundtracks for the Blind by Swans
75. Titanic Rising by Weyes Blood
76. Mama’s Gun by Erykah Badu
77. Spiderland by Slint
78. The Lonesome Crowded West by Modest Mouse
79. Juju by Siouxsie and The Banshees
80. The Money Store by Death Grips
81. Dots and Loops by Stereolab
82. Floating Into the Night by Julee Cruise
83. LONG SEASON by Fishmans
84. Velocity : Design : Comfort by Sweet Trip
85. Atrocity Exhibition by Danny Brown
86. Deathconsciousness by Have A Nice Life
87. Karma by Pharoah Sanders
88. Symbolic by Death
89. Dreamboat Annie by Heart
90. Igor by Tyler, the Creator
91. Hot Rats by Frank Zappa
92. First Utterance by Comus
93. Ants from Up There by Black Country, New Road
94. Kalk samen kuri no hana by Sheena Ringo
95. Dragon New Warm Mountain I Believe In You by Big Thief
96. A I A: Alien Observer by Grouper
97. De todas las flores by Natalia Lafourcade
98. Adan no kaze by Ichiko Aoba
99. 3D Country by Geese
100. Daughter of Darkness by Natural Snow Buildings

I know a lot of work and planning goes in WEBTOONs and I realize that creators are likely to have other responsibilities and obligations, but I think consistently short episodes are a disservice to the story.
It drags scenes out and slows the character and plot development. For stories with a lot of characters and a complex world this also reduces the chance of getting more insights. And for people who pay to access episodes ahead it’s not entirely fair to them. I feel like Hand Jumper is one WEBTOON that has this issue.

Hello,
After searching through this subreddit, I saw a post from 5 days ago asking about the newest release of the FF benchmark for Dawntrail, which apparently promised to do out with the old lighting in the character creator and inject the new Dawntrail ones. The original letter said that the updated benchmark was due to release on May 23rd. A comment beneath that thread said that a recent live letter pushed its release to May 30th instead, allegedly, which is 2 days from now. However, I have been unable to locate or find that letter - would anyone have a link to it, so that I may read through its comments?
I'm very nervous about the upcoming changes. I play a Viera character, and only just installed the benchmark today. And, like the borderline-hundreds of other players on this 38-page long thread basically begging Square Enix not to go through with these """graphical improvements""" for Viera, my Veena Viera got absolutely evicerated by these changes visually. I know the new benchmark was promised to fill in the blanks with some of the high-texture resolution's, but I need to know if any other changes to the characters actual physical appearances were promised.
Honestly, It's probably just copium on my end, at this point. Going into the benchmark itself, outside of the character creator, my Viera still looks terrible in what I presume is the actual new lighting in all of the scenes. I may be cooked already. Not to mention, a view I see on this subreddit fairly frequently is that SE takes a grand total of zero feedback from the English forums when it comes to their game. If that actually is the case, then I just have to pray the thread of Viera changes in Japan is even longer than the one here.
Anyway, thanks for tolerating my rant. Here's to hoping this benchmark shows us an improvement to... Literally any race besides Hrothgar.

I just saw furiosa and loved it but one family had a kid like 2-3 years old in the theater on their phone the whole time.
Luckily I couldn’t see his screen where I sat and It could’ve been a lot worse since I could only hear him talk during really quiet scenes.
I don’t blame the kid if anything I’m sad he was too young to really enjoy the movie much less sit still and quite for its 2.5 hour runtime. I just think the second you become a parent you aren’t allowed to go to fun rated r movies lol hire a sitter.
Imo When you get knocked up you are sentenced to paw patrol and Mario movie until he/she is like 11-13.

Im buying a DS for my birthday coming later this year. I love collecting "old" games and is one of my dreams to own one. I've been eyeing one in a used stuff store ( i dont know what theyre called in the US) and i already have a list, but more the merrier. Here it is:
New super mario bros
Super mario 64 DS
Sonic rush
Sonic colors
Mario kart DS
Resident Evil Deadly silence
Pokemon white
Pokemon black 2
Pokemon platinum
Rythm heaven
Kirby super star ultra
Mario e Luigi bowser inside story
GTA chinatown
Tetris DS
Ace attorney
LEGO indiana jones
Rayman DS

Dementium - The Ward

Nanco museum
And maybe another LEGO or Spiderman game idk. I think a licensed game fits in a collection
Not to mention it comes with a GBA slot, wich i want
Pokemon emerald
Sonic advance 2
Sonic battle
Godzilla domination
Maybe some of GBA video for the memes?
Anyway. I love 2D and 3D platformers, colleathon or not. Also, i dislike RPG´s but a fan of horror games. Also tell me if one of them is ass. Thanks in advance. (also Heartgold or Soulsilver?)

Game	System	Condition
Centipede	Gameboy	Loose
Ice Hockey	NES	Loose
Skate or Die	NES	Loose
Super Mario and Duck Hunt	NES	Loose
Namco Museum 64	N64	Loose, untested
Kirby 64 (Hoshi no Kirby 64)	N64	Loose
Hey You Pikachu (Pikachu Genki Dechu)	N64	Loose
マリオパーティ - Mario Party (Japanese)	N64	Loose
Mario Party 3 (Japanese)	N64	Loose
Mario Golf (Japanese)	N64	Loose
Pokemon Stadium Gold Silver (Japanese)	N64	Loose
Yoshi's Story (Japanese)	N64	Loose
Danganronpa Decadence Collectors Edition	Switch	CIB
Sonic Mania	Switch	Case and Slipcover only
Super Robot Wars 30	Switch	NIB
Namco Museum	PS2	Loose
Growlanser: Wayfarer of Time	PSP	Loose (game store stickers)
Assassins Creed III Liberation	PS Vita	Loose
BlazBlue: Chrono Phantasma	PS Vita	Loose
Chaos:Child	PS Vita	Loose
Danganronpa 2	PS Vita	Loose
Digimon Story Cyber Sleuth (JP Version)	PS Vita	Loose
Eiyuu Densetsu: Sen no Kiseki	PS Vita	Loose
Muramasa Rebirth	PS Vita	Loose
Need for Speed: Most Wanted	PS Vita	Loose
Persona 4 Golden	PS Vita	Loose
Root Letter	PS Vita	Loose
SD Gundam G Generation Genesis	PS Vita	Loose
Soul Sacrifice Delta	PS Vita	Loose
Tokyo Xanadu	PS Vita	Loose
Ys: Memories of Celceta	PS Vita	Loose
Fifa 14	PS4	CiB
Ghost Trick (JP Import)	PS4	CIB
Marvel Avengers	PS4	NIB
Sega Genesis Classics	PS4	CIB
AEW Fight Forever	PS5	CIB
Wolfenstein Old/New	Xbox One	CiB
Monster Hunter World	Xbox One	CiB
NHL 96	Genesis	Loose

Misc items
Gameboy Four Player Adapter DMG-07
Gamestop Gamecube Controllers
Nintendo 3ds off brand charger.
Xbox 360 Media Remote (short)
Xbox 360 Media Remote (long)
Mario Golf Super Rush Pin Set
Xbox Core Wireless controller, white (has a black battery back for a rechargable battery. Standard batteries still fit)
Black Nintendo Wii (bad disc drive), softmod installed (no games included) includes 1 Wii remote, RCA cables, power adapter and 2 Gamestop Gamecube controllers
SoftModded Wii (bad disc drive), power, AV, WiiMote (no games included)
SOUNDTRACKS

• Mario + Rabbids Kingdom Battle
• Borderlands Original Soundtrack
• Borderlands 2 Original Soundrtrack

Wants:

• Nine Persons Nine Hours Nine Doors
• Zero Time Dilemna
• Blood Bowl 3
• Famicom Detective Club
• Fairy Fencer F: Refrain Chord
• Return of Obia Dinn
• The Centenial Case: Shijima Story
• Wolf Among Us
• Playstation Vita consoles
• Playstation Vita games
• Steam Games
• Your list

Following Chapultepec from early this year released on NAAFI, Extasis Records is thrilled to present Coastal Acid, a captivating new EP from LAO that embodies the essence of Mexico's coastal landscape. This 7-track collection is a fusion of classic drum machine sounds, innovative LFO routings, and spectral resonators, all woven together to create a unique sound that nods to the influential acid techno pioneers. The EP's sonic palette is deeply rooted in the Latin Club style, born from the vibrant club scenes of Mexico City, and infused with the futuristic flair of Rephlex Records. Drawing inspiration from the likes of DMX Krew, Ceephax Acid Krew, and AFX. This EP is a must-listen for fans of club music, acid and techno and those seeking a fresh perspective on the genre.
listen <3 https://laolaolao.bandcamp.com/album/coastal-acid

PLAYBOY Interview With Conan O'Brien Interview by Kevin Cook For Playboy Magazine February 1998
A candid conversation with the preppie prince of "Late Night" about his rocky start, his show's secret one-day cancellation and how David Letterman saved the day.
He was polite. He was funny. He gave us a communicable disease.
At 34 Conan O'Brien is hotter than the fever he was running when we met in his private domain above the "Late Night" sound stage. A gangly freckle-faced ex-high school geek he is "one of TV's hottest properties" according to "People" magazine. The host of "Late Night With Conan O'Brien" has become his generation's king of comedy.
Uneasy lies the head that wears a crown. Congested too, but O'Brien has far more to worry about than his head cold. A perfectionist who broods over one bad minute in an otherwise perfect hour of TV, he worries he might be anhedonic, "I have trouble with success," he says, "I was raised to believe that if something good happens something bad is coming." Sure things look good now "Rolling Stone" calls "Late Night" "the hottest comedy show on TV." Ratings are better than ever, particularly among 18- to 34-year-olds, the viewers advertisers crave.
But O'Brien only works harder. Despite his illness he taped two shows in 26 hours on three hours' sleep. He smoothly interviewed Elton John then burst into coughing fits during commercials. Later in his crammed corner office overlooking Manhattan traffic Conan the Cool gulped Dayquil gel caps. He coughed spewing microbes.
"Sorry, sorry," he said. Of course O'Brien can't complain. He came seriously close to falling to being banished behind the scenes as just another failed talk show host.
At his first "Late Night" press conference he corrected a reporter who called him a relative unknown, "Sir I am a complete unknown," he said. That line got a laugh, but soon O'Brien looked doomed. His September 13, 1993 debut began with O'Brien in his dressing room preparing to hang himself only to be interrupted by the start of his show. Before long his career was hanging by a thread. Ratings were terrible. Critics hated the show. Tom Shales of "The Washington Post" called it as "lifeless and messy as roadkill." Shales said O'Brien should quit.
Network officials held urgent meetings discussing the Conan O'Brien debacle. Should they fire him? How should they explain their mistake?
In the end of course he turned it around. The network hung with him long enough for the ratings to improve and the host of the cooler-than-ever "Late Night" now defines comedy's cutting edge just as Letterman did ten years ago.
Even Shales loves "Late Night" these days. He calls O'Brien's turnaround "one of the most amazing transformations in television history."
O'Brien was born on April 18, 1963 in Brookline, Massachusetts. His father, a doctor, is a professor at Harvard Medical School. His mother, a lawyer, is a partner at an elite Boston Law firm. Conan, the third of six children became a lector at church and a misfit at school. Tall and goofy, bedeviled with acne, he tried to impress girls with jokes. That plan usually bombed, but O'Brien eventually found his niche at Harvard where he won the presidency of the "Harvard Lampoon" in 1983 and again in 1984 - the first two-time "Lampoon" president since humorist Robert Benchley held the honor 85 years ago.
After graduating magna cum laude with a double major in literature and American history he turned pro. Writing for HBO's "Not Necessarily The News." O'Brien was earning $100,000 a year before his 24th birthday. But writing was never enough.
He honed his performance skills with the Groundlings, a Los Angeles improv group. There he worked with his onetime girlfriend Lisa Kudrow, now starring on "Friends." But Conan was not such a standout. In 1988 he landed a job at "Saturday Night Live" - but as a writer, not as on-air talent. In almost four years on the show O'Brien made only fleeting appearances, usually as a crowd member or security guard. His writing was more memorable. He wrote (or co-wrote) Tom hanks' "Mr Short-Term Memory" skits as well as the "pump you up" infosatire of Hanz and Franz and the nude beach sketch in which Matthew Broderick and "SNL" members played nudists admiring one another's penises. With dozens of mentions of the word that hit was the most penis-heavy moment in TV history. It helped O'Brien win an Emmy for comedy writing.
In 1991 he quit "SNL" and moved on to "The Simpsons" where he worked for two years. His urge to perform came out in wall-bouncing antics in writers' meetings. "Conan makes you fall out of your chair" said "Simpsons" creator Matt Groening. O'Brien's yen to act out was so strong that he spurned Fox's reported seven-figure offer to continue as a writer. He was driving for the spotlight.
By then David Letterman had announced he was turning shin - leaving NBC taking his ton-rated act to CBS. Suddenly NBC was up a creek without a host. The network turned to Lorne Michaels, O'Brien's "Saturday Night Live" boss. Michaels enlisted Conan's help in the host search planning to use him in a behind-the-scenes job. But when Garry Shandling, Dana Carvey and almost every other star turned down the chore of following Letterman, Michaels finally listened to Conan's crazy suggestion, "Let me do it!" Michaels persuaded the network to entrust it's 12:30 slot which Letterman had turned into a gold mine to an untested wiseass from Harvard.
O'Brien was working on one of his last "Simpsons" episodes when he got the news. He turned "paler than usual," Groening recalled. The Conan moseyed back to where the other writers were working, "I'll come back with the Homer Simspon joke later. I have to go replace Letterman," he said.
NBC executives now get credit for their foresight during those dark days of 1993 and 1994. They snared the axe and now reap the multimillion-dollar spoils of that decision. In fact, the story is not so simple. We sent Contributing Editor Kevin Cook to unravel the tale of O'Brien's survival, which he tells here for the first time. Cook reports:
"His office is chock-full of significa. There's a three-foot plastic pickle the Letterman staff left behind in 1993 - perhaps to suggest what a predicament he was in. There's a copy of Jack Paar's 'I Kid You Not' and a coffee-table book called 'Saturday Night Live: The First 20 Years.' His bulletin board features letters from fans such as John Watters and Bob Dole and an 8" x 10" glossy of Andy Richter with the inscription: "To Conan - Your bitter jealousy warms my black heart. Love and Kisses Andy."
"Of course it's all for show. From the photos of kitch icons Adam West and Robert Stack to the framed Stan Laurel autograph, from the deathbed painting of Abraham Lincoln, to the ironic star taped to Conan's door - they're all clever signals that tell a visitor how to view the star. Lincoln was his collegiate preoccupation: stardom is his occupation. Somewhere between the two I hoped to find the real O'Brien.
"As a Playboy reader he wanted to give me a better-than-average interview. I wanted something more - a definitive look at the guy who may end up being the Johnny Carson of his generation."
"Here's hoping we succeeded. If not I carried his germs 3000 miles and infected dozens of Californians for no good reason.
O'Brien: Yes, this is how to do a Playboy Interview -- completely tanked on cold medicine. I'll pick it up and read, "Yes, I'm gay."
Playboy: We could talk another time. O'Brien: (coughing) No, it's OK. I memorized Dennis Rodman's answers. Can I use them?
Playboy: You sound really sick. Do you ever take a day off? O'Brien: No. The age of talk show hosts taking days off is over. Johnny Carson could go to Africa when he was the only game in town -- "See you in two weeks!" But nobody does that now. I will give you a million dollars on the first day Jay takes off for illness.
Playboy: Do you ever slow down and enjoy your success? O'Brien: If anything, the pace is picking up. Restaurateurs insist on giving me a table even if I'm only passing by, so I'm eating nine meals a night. Women stop me on the street and hand me their phone numbers.
Playboy: So you have groupies? O'Brien: Oh yes. And other fans. Drifters. Prisoners. Insomniacs. Cab Drivers, who must watch a lot of late night TV, seem to love me lately. They keep saying, "You will not pay, you will not pay, you make me happy!"
Playboy: How happy did your new contract make you? O'Brien: Terrified. The network said, "We're all set for five years." I said, "Shut up, shut up! I can't think that far ahead." Tonight, for instance, I do my jokes, then interview Elton John and Tim Meadows. We finished taping about 6:30. By 6:45 my memory was erased and my only thought was, Tomorrow: John Tesh. And I started to obsess about John Tesh. Sad, don't you think?
Playboy: Not too sad. You got off to a rocky start but now you're so hot that People magazine recently said, "that was then, this is wow." O'Brien: I try not to pay much attention. Since I ignored the critics who said I should shoot myself in the head with a German Luger, it would be cheating to tear out nice reviews now and rub them all over my body, giggling. Though I have thought about it.
Playboy: Tell us about your trademark gag. You interview a photo of Bill Clinton or some other celeb, and a pair of superimposed lips provide outrageous answers. O'Brien: We call it the Clutch Cargo bit, after that terrible old cartoon series. They saved money on animation by superimposing real lips on the cartoons. I wanted to do topical jokes in a cartoony way -- not just Conan doing quips at a desk. TV is visual; I want things to look funny. But we're not Saturday Night Live; we couldn't spend $100,000 on it. Hence, the cheap, cheesy lips, You'd be surprised how many people we fool.
Playboy: Viewers believe that's really the president yelling, "Yee-haw! Who's got a joint?" O'Brien: It's strange. You may know intellectually that Clinton doesn't talk like Foghorn Leghorn. Ninety-eight percent of your brain knows the president wouldn't say, "Whoa Conan get a load of that girl!" But there are a few brain cells that aren't sure. When Bob Dole was running for president we had him doing a past-life regression: "My cave, get away." And then back further, "Must form flippers to crawl on to rocky soil," he says. There may be people out there who believe that Bob Dole was the first amphibian.
Playboy: Do you ever go too far? O'Brien: The fun is in going too far. It's a nice device because you get Bill Clinton to do the nastiest Bill Clinton jokes. We'll have Clinton making fart noises while I say "Sir! Please!"
Playboy: Are you enjoying your job now, with your new success? O'Brien: Well, there are surprises. I hate surprises. Like most comics, I'm a control freak. But I am learning that the show works best when things are out of control. Tonight I ask Elton John if he likes being neighbors with Joan Collins. He says he isn't neighbors with Joan Collins. He lives next door to Tina Turner. So I panic -- huge mistake! But Elton saves the day. "Joan Collins, Tina Turner, it doesn't matter. Either way I could borrow a wig," he says. Huge laugh, all because I fucked up. Later he surprised me by blurting out that he's hung like a horse. The camera cuts to me shaking my head: That crazy Elton. What can I do? Of course, I'm delighted that he went too far.
Playboy: That "What can I do?" look resembles a classic take of Jack Benny's. O'Brien: There's an old saying in literature: "Good poets borrow; great poets steal." I think T.S. Eliot stole it from Ezra Pound. Comics steal, too. Constantly. When I watched Johnny Carson, I noticed that he got a few takes from Benny and Bob Hope. When a comedy writer told me how much Woody Allen had borrowed from Hope, I thought, What? They're nothing alike. Then I went back and watched Son of Paleface, and there's Hope, the nervous city guy backing up on his heels, wringing his hands and saying, "Sorry, I'll just be moving along." Now look at early Woody Allen. You see big authority figures and Woody nervously saying, "Look, I'll just be on my way." Of course Woody made it his own, but he must have watched and loved Bob Hope.
Playboy: Who are your role models? O'Brien: Carson. Woody Allen. SCTV. Peter Sellers. When Peter Sellers died I felt such a loss, thinking, There won't be anymore of that. There's some Steve Martin in my false bravado with female guests: "Why, hel-lo there!" And I won't deny having some Letterman in my bones.
Playboy: You were surprise as Letterman's successor. At first you seemed like the wrong choice. O'Brien: I didn't get ratings. That doesn't mean I didn't get laughs. Yes, I had a giant pompadour and I looked like a rockabilly freak. I was too excited, pushed too hard, and people said, "That guy isn't a polished performer." Fine! But it isn't my goal to be Joe Handsomehead cool, smooth talk show host. Late Night with Conan O'Brien is supposed to be a work in progress, and now that we've had some success there's a danger of our getting too polished and morphing into something smoothly professional. Which would suck.
Do you know why I wanted this show? Because Late Night with David Letterman played with the rules and it looked like fun. Here was a place where people did risky comedy every night for millions of people. We had to keep this thing alive. There should be a place on a big network where people are still messing around.
Playboy: How bad were your early days on the show? O'Brien: Bad. Dave left here under a cloud: his fans and the media were angry with NBC. Then NBC picks a guy with crazy hair and a weird name. And the world says, "Harvard? Those guys are assholes." I sincerely hope that the winter of December 1993, our first winter, was the worst time I will ever have. I'd go out to do the warm up and the back two rows of seats would be empty. That's hard to look at. I would tell a joke and then hear someone whisper, "Who's he? Where's Dave?"
Playboy: You had trouble getting guests. O'Brien: Bob Denver canceled on us. We shot a test show with Al Lewis of The Munsters. We did the clutch cargo thing with a photo of Herman Munster. Unfortunately, Fred Gwynne, who played Herman, had recently died, and Al Lewis kept pointing at the screen, saying, "You're dead! I was at your funeral!"
Playboy: For months you got worried notes from network executives. What did they say? O'Brien: They were worried. The fact that Lorne Michaels was involved bought me some time. But Lorne had turned to me at the start and said, "OK, Conan. What do you want to do?" Now television critics were after me and the network was starting to realize what a risk I was. Suggestions came fast and furious. I kept the note that said, "Why don't you just die?"
Playboy: Did they suggest ways to be funnier? O'Brien: They were more specific and tactical. The network gets very specific data. Say there was a drop in ratings between 12:44 and 12:48 when I was talking to Jon Bon Jovi. I'll be told, "Don't ever talk to him again" Or they'll want me to tease viewers into staying with us: "You should tease that -- say, 'We'll have nudity coming up next!'"
Playboy: You did come close to being cancelled. O'Brien: We were cancelled.
Playboy: Really? You have never admitted that. O'Brien: This is the first time I've talked about it. When I had been on for about a year, there was a meeting at the network. They decided to cancel my show. They said, "It's cancelled." Next day they realized they had nothing to put in the 12:30 slot, so we got a reprieve.
Playboy: Were you worried sick? O'Brien: I went into denial. I tried hard not to think, Yes, I'm bad on the air and my show has none of the things a TV show needs to survive. We had no ratings. No critics in our corner. Advertisers didn't like us. Affiliates wanted to drop us. Sometimes I'd meet a programming director from a local station where we had no rating at all. The guy would show me a printout with no number for Late Night's rating, just a hash mark or pound sign. I didn't dare think about that when I went out to do the show.
Playboy: Are you defending denial? O'Brien: How else does anyone get through a terrible experience? The odds were against me. Rationally, I didn't have much chance. Denial was my only friend. When I look back on the first year, it's like a scene from an old war movie: Ordinary guy gets thrown into combat, somehow beats impossible odds, staggers to safety. His buddy say, "You could have been killed!" The guy stops and thinks. "Could have been killed?" he says. His eyes cross and he faints.
Playboy: How did you dodge the bullet? O'Brien: There were people at NBC who stood up for me. I will always be indebted to Don Ohlmeyer, who stuck to his guns. Don said, "We chose this guy. We should stick with him unless we get a better plan." He was brutally honest. He came to me and said, "Give me about a 15 percent bump in the ratings and you'll stay on the air. If not, we're going to move on."
Playboy: Ohlmeyer started his career in the sports division. O'Brien: Exactly, his take was, "You're on our team." Of course, it wasn't exactly rational of Don to hope I'd be 15 percent funnier. It was like telling a farmer, "It better rain this week or we'll take your farm away."
Playboy: What did you say to Ohlmeyer? O'Brien: There wasn't time. I had to go out and do a monologue. But I will always be indebted to Don because he told me the truth. Wait a minute -- you have tricked me into talking lovingly about an NBC executive. Let me say that there were others who were beneath contempt -- executives who wouldn't know a good show if it swam up their asses and lit a campfire.
Playboy: Finally the ratings went your way. Hard work rewarded? O'Brien: Well, I also paid off the Nielsen people. That was $140,000 well spent.
Playboy: Ohlmeyer plus bribery saved you? O'Brien: There was something else. Just when everyone was kicking the crap out of the show, Letterman defended me.
Playboy: Letterman had signed off on NBC saying, "I don't really know Conan O'Brien, but I heard he killed someone." O'Brien: Then I pick up the paper and he's saying he thinks I am going to make it. "They do some interesting, innovative stuff over there," he says. "I think Conan will prevail." And then he came on as a guest. Remember, this was when we were at our nadir. There was no Machiavellian reason for David Letterman, who at the time was the biggest thing in show business, to be on my show.
Playboy: Why did he do it? O'Brien: I'm still not sure. Maybe out of a sense of honor. Fair play. And it woke me up. It made me think. Hey, we have a real fucking television show here.
Of six or seven pivotal points in my short history here, that was the first and maybe the biggest. I wouldn't be sitting here -- I probably wouldn't even exist today -- if he hadn't done our show.
Playboy: The Late Night wars were hardly noted for friendly gestures. O'Brien: How little you understand. Jay, Dave and I pal around all the time. We often ride a bicycle built for three up to the country. "Nice job with Fran Drescher!" "Thanks, pal. You weren't so bad with John Tesh." We sleep in triple-decker bunk beds and snore in unison like the Three Stooges.
Playboy: You talk more about Letterman than your NBC teammate Leno. O'Brien: I hate the "Leno or Letterman, who's better?" question. I can tell you that Jay has been great to me. He calls me occasionally.
Playboy: To say what? O'Brien: (Doing Leno's voice) "Hey, liked that bit you did last night." Or he'll say he saw we got a good rating. I call him at work, too. It can be a strange conversation because we're so different. Jay, for instance, really loves cars. He's got antique cars with kerosene lanterns, cars that run on peat moss. He'll be telling me about some classic car he has, made entirely of brass and leather, and I'll say, "Yeah, man, I got the Taurus with the vinyl." One thing we have in common is bad guests. There are certain actors, celebrities with nothing to say, who move through the talk show world wreaking havoc. They lay waste to Dave's town and Jay's town, then head my way.
Playboy: You must be getting some good guests. Your ratings have shown a marked improvement. O'Brien: Remember, when you're on at 12:30 the Nielsens are based on 80 people. My ratings drop if one person has a head cold and goes to bed early.
Playboy: Actually, you're seen by about 3 million people a night. Your ratings would be even higher if college dorms weren't excluded from the Nielsens. How many points does that cost you? O'Brien: I told you I'm an idiot. Now I have to do math too?
Playboy: Do you still get suggestions from NBC executives? O'Brien: Not as many. The number of notes you get is inversely proportional to your ratings.
Playboy: What keeps you motivated? O'Brien: Superstition. We have a stagehand, Bobby Bowman, who holds up the curtain when I run out for the monologue. He is the last person I see before the show starts, and I have to make him laugh before I go out. It started with mild jabs: "Bobby, you're drunk again." Bobby laughs, "Heehee."" Then it was, "Still having trouble with the wife, Bobby?" But after hundreds of shows, you find yourself running out of lines. It's gotten to where I do crass things at the last second. I'll put his hand on my ass and yell, "You fucking pervert!" Or drop to my knees and say, "Come on, Bobby, I'll give you a blow job!"
"Ha-ha. Conan, you're crazy," he says. But even that stuff wears off. Soon, I'll be making the writers work late to give me new jokes for Bobby.
Playboy: Did you plan to be a talk show host or did you fall into the job? O'Brien: I was an Irish Catholic kid from St. Ignatius parish in Brookline, outside of Boston. And that meant: Don't call attention to yourself. Don't ask for too much when the pie comes around. Don't get a girl pregnant and fuck up your life.
Playboy: Were you an alter boy? O'Brien: I wanted to be an alter boy, but the priest at St. Ignatius said, "No, no. You're good on your feet, kid," and made me a lector. A scripture reader at Mass. He was the one who spotted my talent.
Playboy: What did you think of sex in those days? O'Brien: I was sexually repressed. At 16 I still thought human reproduction was by mitosis.
Playboy: How did you get over your sexual repression? O'Brien: Who says I got over it? My leg has been jiggling this whole time.
Playboy: What were you like in high school? O'Brien: Like a crane galumphing down the hall. A crane with weird hair, bad skin and Clearasil. Big enough for basketball but lousy at it. My older brothers were better. I would compensate by running around the court doing comedy, saying, "Look out, this player has a drug addiction. He's incredibly egotistical."
I was an asshole at home, too. My little brother Justin loved playing cops and robbers, but I kept tying him up with bureaucratic bullshit. When he'd catch me, I'd say, "I get to call my lawyer." Then it was, "OK, Justin, we're at trial and you've been charged with illegal arrest. Fill out these forms in triplicate." Justin was eight; he hated all the lawsuits and countersuits. He just cried.
Playboy: Were you a class clown? O'Brien: Never. I was never someone who walked into a room full of strangers and started telling jokes. You had to get to know me before I could make you laugh. The same thing happened with Late Night. I needed to get the right rhythm with Andy and Max and the audience.
Playboy: So how did you finally learn about sex? O'Brien: My parents gave me a book, but it was useless. At the crucial moment, all it showed was a man and a woman with the bed covers pulled up to their chins. I tried to find out more from friends, but it didn't help. One childhood friend told me it was like parking a car in a garage. I kept worrying about poisonous fumes. What if the fumes build up? Should you shut off the engine?
Playboy: For all your talk about being repressed, you can be rowdy on the air. O'Brien: The show is my escape valve. When I tear off my shirt and gyrate my pelvis like Robert Plant, feigning orgasm into the microphone, that shows how repressed I am -- a guy who wants to push his sex at the lens but can only do it as a joke.
Playboy: Aren't you tempted to live it up? O'Brien: I always imagined that if I were a TV star I would live the way I pictured Johnny Carson living. Carousing, stepping out of a limo wearing a velvet ascot with a model on my arm. Now that I have the TV show, I drive up to Connecticut on the weekends and tool around in my car. I could probably join a free-sex cult, smoke crack between orgies and drive sports cars into swimming pools, and my Catholic guilt would still be there, throbbing like a toothache. Be careful. If something good happens, something bad is on the way.
Playboy: Yet you don't mind licking the supermodels. O'Brien: At one point a few of them lived in my building, women who are so beautiful they almost look weird, like aliens. To me, a woman who has a certain approachable amount of beauty becomes almost funny. It's the same with male supermodels. They look like big puppets. So while I admire their beauty I probably won't be "romantically linked" with a model. I'd catch my reflection in a ballroom mirror and break up laughing.
Playboy: The horny Roy Orbison growl you use on gorgeous guests sounds real enough -- O'Brien: Oh, I've been doing that shit since high school. It just never worked before.
Playboy: Your father is a doctor, your mother an attorney. What do they think of their son the comedian? O'Brien: My dad was the one who told me denial was a virtue. "Denial is how people get through horrible things," he said. He also cut out a newspaper article in which I said I was making money off something for which I should probably be treated. So true, he thought. But when I got an Emmy for helping write Saturday Night Live, my parents put it on the mantel next to the crucifix. Here's Jesus looking over, saying, "Wow, I saved mankind from sin, but I wish I had an Emmy."
Playboy: Ever been in therapy? O'Brien: Yes. I don't trust it. I have told therapists that I don't particularly want to feel good. "Repression and fear, that's my fuel." But the therapists said that I had nothing to worry about. "Don't worry Conan you will always be plenty fucked up."
Playboy: When a female guest comes out, how do you know whether to shake her hand or kiss her? Is that rehearsed O'Brien: No, and it's awkward. If you go to shake her hand and her head starts coming right at you, you have to change strategy fast. I have thought about using the show to make women kiss me, but that would probably creep out the people at home. I decided not to kiss Elton John.
Playboy: Do you get all fired up if Cindy Crawford or Rebecca Romijn does the show? O'Brien: I like making women laugh. Always have, ever since I discovered you can get girls' attention by acting like an ass. That's one of the joys of the show -- I'm working my eyebrows and going grrr and she's laughing, the audience is laughing. It's all a big put-on and I'm thinking. This is great. Here is a beautiful woman who has no choice but to put up with this shit.
But it's not always put on. Sometimes they flirt back. Sometimes there's a bit of chemistry. That happened with Jennifer Connelly of The Rocketeer.
Playboy: One guest, Jill Hennessy, took off her pants for you. Then you removed yours. Even Penn and Teller took off their pants. O'Brien: Something comes over me. It happened with Rebecca Romijn -- I was practically climbing her. Those are the times when Andy and the audience seem to disappear and it's just me and this lovely woman sitting there flirting. I keep expecting a waiter to say, "More wine, Monsieur?"
Playboy: Would you lick the wine bottle? O'Brien: It's true, there's a lot of licking on the show. I have licked guests. I have licked Andy. Comedy professionals will read this and say, "Great work, Conan. Impressive." But I have learned that if you lick a guest, people laugh. If I pick this shoe off the floor, examine it, Hmmm, and then lick it, people laugh. I learned this lesson on The Simpsons, where I was the writer who was forever trying to entertain the other writers. I still try desperately to make our writers laugh, which is probably a sign of sickness since they work for me now. Licking is one of those things that look funny.
Playboy: Johnny Carson never licked Ed McMahon. O'Brien: We are much more physical and more stupid than the old Tonight Show. Even in our offices before the show there's always some writer acting out a scene crashing his head through my door. A behind-the-scenes look at our show might frighten people.
Playboy: One night you showed a doctored photo of Craig T. Nelson having sex with Jerry Van Dyke. Did they complain about it? O'Brien: I haven't heard from them. Of course I'm blessed not to be a part of the celebrity pond. I have a television show in New York, an NBC outpost. I don't run with or even run into many Hollywood people.
Playboy: You also announced that Tori Spelling has a penis. O'Brien: I did not. Polly the Peacock said that.
Playboy: Another character you use to say the outrageous stuff. O'Brien: Polly is not popular with the network.
Playboy: You mock Fabio, too. O'Brien: If he sues me, it'll be the best thing that ever happened. A publicity bonanza: Courtroom sketches of Fabio with his man-boobs quivering, shaking his fist, and me shouting at him across the courtroom. I'm not afraid of Fabio. He knows where to find me. I'm saying it right here for the record: Fabio, let's get it on.
Playboy: Ever have a run-in with an angry celeb? O'Brien: I did a Kelsey Grammar joke a few years ago, something about his interesting lifestyle, then heard through the network that he was upset. He had appeared on my show and expected some support. At this point my intellect says, "Kelsey Grammar is a public figure. I was in the right." Then I saw him in an airport. Kelsey didn't see me at first: I could have kept walking. But there he was, eating a cruller in the airport lounge. I thought I should go over. I said hello and then said, "Kelsey, I'm sorry if I upset you." And he was glad. He looked relieved. He said, "Oh, that's OK." We both felt better.
....See my other post with the last third of the interview

When the show first started in 1966 it wasn't successful at all, it was moody and gothic sure but it's supernatural elements were merely hinted at, it was kind of slow and and somewhat uneventful and had a lot of tropes that people had already seen in most daytime shows before. They did begin adding more and more paranormal stuff as the first year progressed and it did help, but the network ABC told Dan Curtis who created it that he had to bring up ratings in 26 weeks or the show was cancelled.
Dan Curtis decided that if his show had to end it was going out with a bang and he created the character of Barnabas Collins a vampire a member of the Collin's family {most of the main characters on the show) he was chained in his coffin in the late 1700's. Barnabas' introduction into the show caused ratings to sky rocket, more and more people began tuning in to see what Barnabas would do next. The goal was to kill Barnabas off at the end of this new storyline but the writers and the creator soon realized that they couldn't just kill Barnabas off anymore and they decided to do something that viewers hadn't seen before, Barnabas was a vampire who hated who he was and longed to step out into daylight and struggled with his nature. I don't know if Barnabas was the first brooding vampire but he helped popularize it with audiences.
The ratings kept going up and soon Barnabas became the main character on the show and Dark Shadows became the first soap opera that had mass crossover appeal. Kids were running home after school to watch it, women watched and men were watching. The producers even came up with a time travel past into the late 1700s to flesh out the backstory of Barnabas which saw Victoria being trapped in this timeline. After Barnabas was introduced the show became a full blown gothic horror soap with all manner of ghosts, warlocks, witches, werewolves, monsters and more time travel.
A movie called House of Dark Shadows came out in 1970 which was a box office success and didn't have to worry about daytime restrictions and was more gory then the show could ever be. There was a sequel a year or so later called Night of Dark Shadows, a lavish primetime revival aired and was cancelled after half a season in 1990, there have been several attempts to create a new Dark Shadows over the years but none of them made it past their pilots and there was a box office bomb made by Tim Burton starring Johnny Depp. They keep trying to recapture the original daytime series but I think it's one of those things that's only going to work well once.
The original show has a campy charm to it which the Tim Burton film heavily leans into, the show was shot live and with a low budget, they had no money for extra takes there wasn't much money for big set pieces though sometimes the makeup work was pretty good. Sometimes actors would flub their lines, sometimes sets in the back ground fell apart, crew members accidentally being in the wrong position, in one episode a cast member is seen walking through a shot during the ending credits wearing his regular clothes. The original series is really great and worth watching it if you're willing to look past this.
I thought of something interesting to add to this post, according to a book I read in the 90s about behind the scenes Dark Shadows stuff written by one of the actresses, Jonathan Frid who played Barnabas would often get fan mail from kids who wrote to Barnabas and talked about their fears and problems they faced, Jonathan likened the character of Barnabas as a dark santa clause

What is decisive is not that man frees himself to himself from previous obligations, but that the very essence of man itself changes, in that man becomes subject. We must understand this word subiectum, however, as the translation of the Greek hypokeimenon. The word names that-which-lies-before, which, as ground, gathers everything onto itself. This metaphysical meaning of the concept of subject has first of all no special relationship to man and none at all to the I. However, when man becomes the primary and only real subiectum, that means: Man becomes that being upon which all that is, is grounded as regards the manner of its Being and its truth. Man becomes the relational center of that which is as such. But this is possible only when the comprehension of what is as a whole changes. In what does this change manifest itself? What, in keeping with it, is the essence of the modern age?
When we reflect on the modern age, we are questioning concerned the modern world picture [Weltbild] *12. We characterize the latter by throwing it into relief over against the medieval and the ancient world pictures. But why do we ask concerning a world picture in our interpreting of a historical age? Does every period of history have its world picture, and indeed in such a way as to concern itself from time to time about that world picture? Or is this, after all, only a modern kind of representing, this asking concerning a world picture?
What is the world picture? Obviously a picture of the world. But what does “World” mean here? What does “picture” mean? “World” serves here as a name for what is, in its entirety. The name is not limited to the cosmos, to nature. History also belongs to the world. Yet even nature and history, and both interpenetrating in their underlying and transcending of one another, do not exhaust the world. In this designation the ground of the world is meant also, no matter how its relation to the world is thought (Appendix 5).
With the word “picture” we think first of all of a copy of something. Accordingly, the world picture would be a painting, so to speak, of what is as a whole. But “world picture” means more than this. We mean by it the world itself, the world as such, what is, in its entirety, just as it is normative and binding for us. “To get into the picture” [literally, to put oneself into the picture] with respect to something means to set whatever is, itself, in place before oneself just in the way that it stands with it, and to have it fixedly before oneself as set up in this way. But a decisive determinant in the essence of the picture is still missing. “We get the picture” concerning something does not mean only that what is stands before us - in all that belongs to it and all that stands together in it - as a system. “To get the picture” throbs with being acquainted with something, with being equipped and prepared for it. Where the world becomes picture, what is, in its entirety, is juxtaposed as that for which man is prepared and which, correspondingly, he therefore intends to bring before himself and have before himself, and consequently intends in a decisive sense to set in place before himself (Appendix 6). Hence world picture, when understood essentially, does not mean a picture of the world but the world conceived and grasped as picture. What is, in its entirety, is now taken in such a way that it first is in being and only is in being to the extend that it is set up by man, who represents and sets forth. Wherever we have the world picture, an essential decision takes place regarding what is, in its entirety. The Being of whatever is, is sought and found in the representedness of the latter.
However, everywhere that whatever is, is not interpreted in this way, the world also cannot enter into a picture; there can be no world picture. The fact that whatever is comes into being in and through representedness transforms the age in which this occurs into a new age in contrast with the preceding one. The expressions "world picture of the modern age" and "modern world picture" both mean the same thing and both assume something that never could have been before, namely, a medieval and an ancient world picture. The world picture does not change from an earlier medieval one into a modern one, but rather the fact that the world becomes picture at all is what distinguishes the essence of the modern age [der Neuzeit]. For the Middle Ages, in contrast, that which is, is the ens creatum, that which is created by the personal Creator-God as the highest cause. Here, to be in being means to belong within a specific rank of the order of what has been created - a rank appointed from the beginning - and as thus caused, to correspond to the cause of creation (analogia entis) (Appendix 7). But never does the Being of that which is consist here in the fact that it is brought before man as the objective, in the fact that it is placed in the realm of man's knowing and of his having disposal, and that it is in being only in this way.
The modern interpretation of that which is, is even further from the interpretation characteristic of the Greeks. One of the oldest pronouncements of Greek thinking regarding the Being of that which is runs: To gar auto noein estin te kai einai.*15 This sentence of Parmenides means: The apprehending of whatever is belongs to Being because it is demanded and determined by Being. That which is, is that which arises and opens itself, which, as what presences, comes upon man as the one who presences, i.e., comes upon the one who himself opens himself to what presences in that he apprehends it. That which is does not come into being at all through the fact that man first looks upon it, in the sense of a representing that has the character of subjective perception. Rather, man is the one who is looked upon by that which is; he is the one who is - in company with itself - gathered toward presencing, by that which opens itself. To be beheld by what is, to be included and maintained within its openness and in that way to be borne along by it, to be driven about by its oppositions and marked by its discord - that is the essence of man in the great age of the Greeks. Therefore, in order to fulfill his essence, Greek man must gather (legein) and save (sozein), catch up and preserve, what opens itself in its openness, and he must remain exposed (aletheuein) to all its sundering confusions. Greek man is as the one who apprehends [der Vernehmer] that which is, and this is why in the age of the Greeks the world cannot become picture. Yet, on the other hand, that the beingness of whatever is, is defined for Plato as eidos [aspect, view] is the presupposition, destined far in advance and long ruling indirectly in concealment, for the world's having to become picture (Appendix 8).
[*12. The conventional translation of Weltbild would be “conception of the world” or “philosophy of life.” The more literal translation, “world picture,” is needed for the following of Heidegger’s discussion; but it is worth noting that “conception of the world” bears a close relation to Heidegger’s theme of man’s representing of the world as picture.
*15. The accepted English translation of this fragment is, “For thought and being are the same thing” (Nahm).]
In distinction from Greek apprehending, modern representing, whose meaning the word repraesentatio first brings to its earliest expression, intends something quite different. Here to represent [vorstel-len] means to bring what is present at hand [das Vorhandene] before oneself as something standing over against, to relate it to oneself, to the one representing it, and to force it back into this relationship to oneself as the normative realm. Wherever this happens, man "gets into the picture" in precedence over whatever is. But in that man puts himself into the picture in this way, he puts himself into the scene, i.e., into the open sphere of that which is generally and publicly represented. Therewith man sets himself up as the setting in which whatever is must henceforth set itself forth, must present itself [sich ... prasentieren], i.e., be picture. Man becomes the representative [der Reprasentant] of that which is, in the sense of that which has the character of object.
But the newness in this event by no means consists in the fact that now the position of man in the midst of what is, is an entirely different one in contrast to that of medieval and ancient man. What is decisive is that man himself expressly takes up this position as one constituted by himself, that he intentionally maintains it as that taken up by himself, and that he makes it secure as the solid footing for a possible development of humanity. Now for the first time is there any such thing as a 'position' of man. Man makes depend upon himself the way in which he must take his stand in relation to whatever is as the objective. There begins that way of being human which mans the realm of human capability as a domain given over to measuring and executing, for the purpose of gaining mastery over that which is as a whole. The age that is determined from out of this event is, when viewed in retrospect, not only a new one in contrast with the one that is past, but it settles itself firmly in place expressly as the new. To be new is peculiar to the world that has become picture.
When, accordingly, the picture character of the world is made clear as the representedness of that which is, then in order fully to grasp the modern essence of representedness we must track out and expose the original naming power of the worn-out word and concept "to represent" [vorstellen]: to set out before oneself and to set forth in relation to oneself. Through this, whatever is comes to a stand as object and in that way alone receives the seal of Being. That the world becomes picture is one and the same event with the event of man's becoming subiectum in the midst of that which is.
Only because and insofar as man actually and essentially has become subject is it necessary for him, as a consequence, to confront the explicit question: Is it as an "I" confined to its own preferences and freed into its own arbitrary choosing or as the "we" of society; is it as an individual or as a community; is it as a personality within the community or as a mere group member in the corporate body; is it as a state and nation and as a people or as the common humanity of modern man, that man will and ought to be the subject that in his modern essence he already is! Only where man is essentially already subject does there exist the possibility of his slipping into the aberration of subjectivism in the sense of individualism. But also, only where man remains subject does the positive struggle against individualism and for the community as the sphere of those goals that govern all achievement and usefulness have any meaning.
The interweaving of these two events, which for the modern age is decisive - that the world is transformed into picture and man into subiectum - throws light at the same time on the grounding event of modern history, an event that at first glance seems almost absurd. Namely, the more extensively and the more effectually the world stands at man’s disposal as conquered, and, the more objectively the object appears, all the more subjectively, i.e., the more importunately, does the subiectum rise up, and all the more impetuously, too, do observation of and teaching about the world change into a doctrine of man, into anthropology. It is no wonder that humanism first arises where the world becomes picture. It would have been just as impossible for a humanism to have gained currency in the great age of the Greeks as it would have been impossible to have had anything like a world picture in that age. Humanism, therefore, in the more strict historiographical sense, is nothing, but a moral-aesthetic anthropology. The name “anthropology” as used here does not mean just some investigation of man by a natural science. Nor does it mean the doctrine established within Christian theology of man created, fallen, and redeemed. It designates that philosophical interpretation of man which explains and evaluates whatever is, in its entirety, from the standpoint of man and in relation to man (Appendix 10).
The increasingly exclusive rooting of the interpretation of the world in anthropology, which has set in since the end of the eighteenth century, finds its expression in the fact that the fundamental stance of man in relation to what is, in its entirety, is defined as a world view (Weltanschauung). Since that time this word has been admitted into common usage. As soon as the world becomes picture, the position of man is conceived as a world view. To be sure, the phrase “world view” is open to misunderstanding, as though it were merely a matter here of a passive contemplation of the world. For this reason, already in the nineteenth century it was emphasized with justification that “world view” also meant and even meant primarily “view of life.” The fact that, despite this, the phrase “world view” asserts itself as the name for the position of man in the midst of all that is, is proof of how decisively the world became picture as soon as man brought his life as subiectum into precedence over other centers of relationship. This means: whatever is, is considered to be in being only to the degree and to the extent that it is taken into and referred back to this life, i.e., is lived out, and becomes life-experience. Just as unsuited to the Greek spirit as every humanism had to be, just so impossible was a medieval world view, and just as absurd is a Catholic world view. Just as necessarily and legitimately as everything must change into life-experience for modern man the more unlimitedly he takes charge of the shaping of his essence, just so certainly could the Greeks at the Olympian festivals never have had life-experiences.
The fundamental event of the modern age is the conquest of the world as picture. The word "picture" [Bild] now means the structured image [Gebild] that is the creature of man's producing which represents and sets before. In such producing, man contends for the position in which he can be that particular being who gives the measure and draws up the guidelines for everything that is. Because this position secures, organizes, and articulates itself as a world view, the modern relationship to that which is, is one that becomes, in its decisive unfolding, a confrontation of world views; and indeed not of random world views, but only of those that have already taken up the fundamental position of man that is most extreme, and have done so with the utmost resoluteness. For the sake of this struggle of world views and in keeping with its meaning, man brings into play his unlimited power for the calculating, planning, and molding of all things. Science as research is an absolutely necessary form of this establishing of self in the world; it is one of the pathways upon which the modern age rages toward fulfillment of its essence, with a velocity unknown to the participants. With this struggle of world views the modern age first enters into the part of its history that is the most decisive and probably the most capable of enduring (Appendix 11).
A sign of this event is that everywhere and in the most varied forms and disguises the gigantic is making its appearance. In so doing, it evidences itself simultaneously in the tendency toward the increasingly small. We have only to think of numbers in atomic physics. The gigantic presses forward in a form that actually seems to make it disappear - in the annihilation of great distances by the airplane, in the setting before us of foreign and remote worlds in their everydayness, which is produced at random through radio by a flick of the hand Yet we think too superficially if we suppose that the gigantic is only the endlessly extended emptiness of the purely quantitative. We think too little if we find that the gigantic, in the form of continual not-ever-having-been-here-yet, originates only in a blind mania for exaggerating and excelling. We do not think at all if we believe we have explained this phenomenon of the gigantic with the catchword “Americanism" (Appendix 12).
The gigantic is rather that through which the quantitative becomes a special quality and thus a remarkable kind of greatness. Each historical age is not only great in a distinctive way in contrast to others; it also has, in each instance, its own concept of greatness. But as soon as the gigantic in planning and calculating and adjusting and making secure shifts over out of the quantitative and becomes a special quality, then what is gigantic, and what can seemingly always be calculated completely, becomes, precisely through this, incalculable. This becoming incalculable remains the invisible shadow that is cast around all things everywhere when mas has been transformed in subiectum and the world into picture (Appendix 13).
By means of this shadow the modern world extends itself out into a space withdrawn from representation, and so lends to the incalculable the determinateness peculiar to it, as well as a historical uniqueness. This shadow, however, points to something else, which it is denied to us of today to know (Appendix 14). But man will never be able to experience and ponder this that is denied so long as he dawdles about in the mere negating of the age. The flight into tradition, out of a combination of humility and presumption, can bring about nothing in itself other than self-deception and blindness in relation to the historical moment.
Man will know, i.e., carefully safeguard into its truth, that which is incalculable, only in creative questioning and shaping out of the power of genuine reflection. Reflection transports the man of the future into that “between” in which he belongs to Being and yet remains a stranger amid that which is (Appendix 15). Hölderlin knew of this. His poem, which bears the superscription “To the German,” closes:
How narrowly bounded is our lifetime,
We see and count the number of our years.
But have the years of nations
Been seen by mortal eye?
If your soul throbs in longing
Over its own time, mourning, then
You linger on the cold shore
Among your own and never know them.

Looking to trade all of the following below. I would primarily be looking for Zelda themed limited edition 3DS or Gameboy consoles or other Zelda stuff (I do own all of the mainline games CIB but any other offers is welcome). I am also open to GameCube game offers such as Animal Crossing / Sonic Gems Collection / Viewtful Joe games / Harvest Moon games / Wario Ware & Wario World / other GameCube offers. Also open to PS2 horror games such as Silent Hill. And any PS5 game offers. Send me your lists :)
-Legend of Zelda Oracle of Ages CIB. https://imgur.com/a/knVskwG The game and box are both in great condition along with the manuals and inserts. The game contacts have been cleaned with IPA and is tested.
-Classic NES Zelda II Adventure of Link / Metroid 1 https://imgur.com/a/TLzcpta Both games have had their contacts clean with IPA and properly tested.
-Mario Golf Toadstool Tour GameCube Player’s Choice. Disc / case / no manual. https://imgur.com/a/h9jkibE Game / Case are both in great condition and has been tested.
-Legend of Zelda Ocarina of Time NTSC-Japan. https://imgur.com/a/KgFRgH3 Game / Box / Inserts are all in great condition. Also has been cleaned with IPA and tested. Please keep in mind JPN cartridges do not work in American N64’s unless you have modded or replaced the part in your N64 that blocks JPN cartridges. (My N64 has a 3D printed part to allow for JPN cartridges).
-Legend of Zelda A Link to the Past Manual. https://imgur.com/a/nO6xgay Manual is in fair condition with some wear / bends but nothing too serious. All pages are intact and nothing is ripped or torn.
Everything pictured will be shipped in their own respective boxes + bubble wrap (Link to the Past manual in between cardboard + bubble mailer).

Background: Grew up poor, finally got a NES around the time of Double Dragon 3 but played the crap out of the NES at various friends' houses. Got a Genesis alongside the pack-in of Sonic the Hedgehog and honestly, have major nostalgia for both consoles.
My Dilemma: I started heavily collecting the NES prior to the pandemic with that idiot dream of collection an entire North American set. I have roughly 100 NES games at the moment, an original console, 12 controllers, an NES Classic and 3 NES clone consoles, everything is in pristine condition, 20 of the games are actually boxed, and most games are the common bangers (Tyson's Punch Out!, Castlevanias, Zeldas, Marios, etc.). With the pricing as is in 2024 there is NO WAY I am ever completing this collection and it literally sits inside of several totes, never played with except for the occasional round of NES Classic.
I have just as much nostalgia for the Sega Genesis and it is a lot more affordable atm. I am considering dealing the NES collection in its entirety off for a Model 1 Genesis, Retron Mega HD, Master System converter, and roughly 20-30 boxed (not complete) games, with the most expensive being Thunder Force series or Starflight. My nostalgia for the Genesis does not include the rare, expensive stuff, as I remember Super Monaco GP, F22 Interceptor, Altered Beast, etc. Common stuff. I'm in NO WAY interested in completing a Genesis collection. I have a broken Master System with several games and working controllers.
I'm throwing this out there to the gaming community because I know I'll never be in a position to collect this extensively for the NES again and especially in this condition BUT I also love the idea of jumping onto SEGA and paying literally nothing to hit the ground running. Would you deal off a decent NES collection in great shape that is rarely played in order to land a Sega Genesis collection in great shape that will be played but is obviously less collectable? Thanks!

First, let us make something clear. This is a very subjective look; other people may have different opinions, and we don't claim to own the one and only truth here. Now that this has been said, let us go on.
Lately, there have been challenges to the claim that 'We Have Arrived' by Mescalinum United is 'really' the first Hardcore track ever. People point to other earlier tracks that already have quite distorted bass drums or otherwise heavy sounds.
Are these challenges legit? Perhaps 'We Have Arrived' is not the first Hardcore track at all?
Let us take a look at this. First, the dry facts. 'We Have Arrived' has a distorted, 'Gabber' type bass drum, howling synths/sirens, overly distorted percussion, frantic sounds, and noises. It's undoubtedly a Hardcore track. But was it the first one?
I would say: yes. For the following reason:
People point to other tracks that were earlier and already had 'heavy' sounds in one way or another. But I think this is missing the point by far because people focus too much on what are more or less just 'production' details.
Yes, there were tracks with heavy bass drums before 'We Have Arrived.' Also, shortly afterwards, there were tracks with truly distorted 909s and such. But I think 'We Have Arrived' stood out, literally for years after its release.
Let us look at two aspects of this: First, what was later called 'Techno' was referred to as 'House' in the Netherlands. It was to the point that 'Gabberhouse' became established as a term similar to Hardcore Techno. I believe this goes beyond semantics. Techno, as a whole, evolved from House, and the Gabberhouse sound was still tied to the House sound. What was House? It was a genre that evolved from Disco in the 80s (or late 70s). It represented people coming together in a venue or club, getting drunk or high, dancing, enjoying life, having fun, and celebrating with positive moods and vibes. It was a lot like Disco, but more intense. The early Gabberhouse tracks followed in that direction. They were fun party music for a real intense celebration, just more extreme than the usual House fare.
A lot of early 'hard' tracks were actually kind of novelty tracks, even somewhat silly and cheesy at times. This doesn't diminish their value because they were intended as party music and worked in that way.
No disrespect meant at all (because I love the following track), but I would say that even 'Alles naar de klote' was still such an 'extreme party' track. It certainly isn't a dark, somber, or introspective track, right?
On the other hand, 'We Have Arrived' was different. It had a distinct attitude. In my opinion, this new attitude, mood, feel, philosophy, and ideology marked the true advent of Hardcore Techno. Describing precisely what was expressed by this attitude, concept, or theme is hard, maybe even impossible. But it was undoubtedly a very dark thing. A dark mood. Brutal. Nihilistic. Without mercy. Without remorse. Rebellious.
And that was something truly new, something no other Techno, House, or EBM track had at that time. Early Gabberhouse had that sense of 'Hey, we are here to celebrate and have a good time, and now we take it to the extreme.' There was nothing like that in Mescalinum United's track. 'We Have Arrived' doesn't evoke a sense of 'good vibration' and a happy celebration. It's a sonic attack that kicks you directly in the teeth—and in your mind.
When other early Gabber producers were interviewed, they said: 'we're doing music because we want to have a party, we want to have fun'. When Marc Acardipane was interviewed he said (paraphrased): 'we're doing music to prepare people for the coming times, because times will get tough'.
Certainly, dark dance or rhythmic music existed before in genres such as EBM, Industrial, and No Wave. However, it was not Hardcore.
Now, some may argue that this is an interesting interpretation and analysis (or perhaps an uninteresting one), but also a bit of nit-picking and overthinking. "It's akin to the topic of discussing which member of the Beatles had which role in a particular song. While it may captivate music historians and trainspotters, the average person listening to a Beatles song on the radio couldn't care less."
However, I don't view it that way. It's not purely a matter of theoretical value. I believe 'We Have Arrived' had tangible, practical consequences and results for the ongoing development of Hardcore.
This 'dark, nihilist, remorseless' attitude, or rather, this 'Hardcore' attitude, fundamentally transformed the emerging scene and continues to shape it to this day.
Because after the initial wave of Gabberhouse tracks, we started to see the emergence of darker and more somber Hardcore tracks (beyond PCP and its associated labels). Hardcore and Gabber, as a whole, took a darker turn. While some parts of the scene in the mid-90s veered toward what some might call 'commercial radio bullshit,' with its overly happy and cheesy sounds, twisted and disturbing genres like Speedcore, Acidcore, Industrial Hardcore, Doomcore, or even Breakcore emerged. In my opinion, these genres were spawned from the seed planted by Mescalinum United's track, albeit with many steps in between. Yet, they are still connected to this very root.
Without 'We Have Arrived,' we might have a world with Gabberhouse but without Hardcore Techno. This pivotal development, along with the subsequent branching out into various styles and subgenres (such as Doomcore, Slowcore, etc.), continues to evolve and will persist into the future.
'We Have Arrived' was the first bona fide Hardcore Techno track, period. Its significance goes beyond just its drums, noise, or distortion. Most importantly, it defined the attitude and state of mind that we now associate with 'Hardcore Techno.'

First, let us make something clear. This is a very subjective look; other people may have different opinions, and we don't claim to own the one and only truth here. Now that this has been said, let us go on.
Lately, there have been challenges to the claim that 'We Have Arrived' by Mescalinum United is 'really' the first Hardcore track ever. People point to other earlier tracks that already have quite distorted bass drums or otherwise heavy sounds.
Are these challenges legit? Perhaps 'We Have Arrived' is not the first Hardcore track at all?
Let us take a look at this. First, the dry facts. 'We Have Arrived' has a distorted, 'Gabber' type bass drum, howling synths/sirens, overly distorted percussion, frantic sounds, and noises. It's undoubtedly a Hardcore track. But was it the first one?
I would say: yes. For the following reason:
People point to other tracks that were earlier and already had 'heavy' sounds in one way or another. But I think this is missing the point by far because people focus too much on what are more or less just 'production' details.
Yes, there were tracks with heavy bass drums before 'We Have Arrived.' Also, shortly afterwards, there were tracks with truly distorted 909s and such. But I think 'We Have Arrived' stood out, literally for years after its release.
Let us look at two aspects of this: First, what was later called 'Techno' was referred to as 'House' in the Netherlands. It was to the point that 'Gabberhouse' became established as a term similar to Hardcore Techno. I believe this goes beyond semantics. Techno, as a whole, evolved from House, and the Gabberhouse sound was still tied to the House sound. What was House? It was a genre that evolved from Disco in the 80s (or late 70s). It represented people coming together in a venue or club, getting drunk or high, dancing, enjoying life, having fun, and celebrating with positive moods and vibes. It was a lot like Disco, but more intense. The early Gabberhouse tracks followed in that direction. They were fun party music for a real intense celebration, just more extreme than the usual House fare.
A lot of early 'hard' tracks were actually kind of novelty tracks, even somewhat silly and cheesy at times. This doesn't diminish their value because they were intended as party music and worked in that way.
No disrespect meant at all (because I love the following track), but I would say that even 'Alles naar de klote' was still such an 'extreme party' track. It certainly isn't a dark, somber, or introspective track, right?
On the other hand, 'We Have Arrived' was different. It had a distinct attitude. In my opinion, this new attitude, mood, feel, philosophy, and ideology marked the true advent of Hardcore Techno. Describing precisely what was expressed by this attitude, concept, or theme is hard, maybe even impossible. But it was undoubtedly a very dark thing. A dark mood. Brutal. Nihilistic. Without mercy. Without remorse. Rebellious.
And that was something truly new, something no other Techno, House, or EBM track had at that time. Early Gabberhouse had that sense of 'Hey, we are here to celebrate and have a good time, and now we take it to the extreme.' There was nothing like that in Mescalinum United's track. 'We Have Arrived' doesn't evoke a sense of 'good vibration' and a happy celebration. It's a sonic attack that kicks you directly in the teeth—and in your mind.
When other early Gabber producers were interviewed, they said: 'we're doing music because we want to have a party, we want to have fun'. When Marc Acardipane was interviewed he said (paraphrased): 'we're doing music to prepare people for the coming times, because times will get tough'.
Certainly, dark dance or rhythmic music existed before in genres such as EBM, Industrial, and No Wave. However, it was not Hardcore.
Now, some may argue that this is an interesting interpretation and analysis (or perhaps an uninteresting one), but also a bit of nit-picking and overthinking. "It's akin to the topic of discussing which member of the Beatles had which role in a particular song. While it may captivate music historians and trainspotters, the average person listening to a Beatles song on the radio couldn't care less."
However, I don't view it that way. It's not purely a matter of theoretical value. I believe 'We Have Arrived' had tangible, practical consequences and results for the ongoing development of Hardcore.
This 'dark, nihilist, remorseless' attitude, or rather, this 'Hardcore' attitude, fundamentally transformed the emerging scene and continues to shape it to this day.
Because after the initial wave of Gabberhouse tracks, we started to see the emergence of darker and more somber Hardcore tracks (beyond PCP and its associated labels). Hardcore and Gabber, as a whole, took a darker turn. While some parts of the scene in the mid-90s veered toward what some might call 'commercial radio bullshit,' with its overly happy and cheesy sounds, twisted and disturbing genres like Speedcore, Acidcore, Industrial Hardcore, Doomcore, or even Breakcore emerged. In my opinion, these genres were spawned from the seed planted by Mescalinum United's track, albeit with many steps in between. Yet, they are still connected to this very root.
Without 'We Have Arrived,' we might have a world with Gabberhouse but without Hardcore Techno. This pivotal development, along with the subsequent branching out into various styles and subgenres (such as Doomcore, Slowcore, etc.), continues to evolve and will persist into the future.
'We Have Arrived' was the first bona fide Hardcore Techno track, period. Its significance goes beyond just its drums, noise, or distortion. Most importantly, it defined the attitude and state of mind that we now associate with 'Hardcore Techno.'

First, let us make something clear. This is a very subjective look; other people may have different opinions, and we don't claim to own the one and only truth here. Now that this has been said, let us go on.
Lately, there have been challenges to the claim that 'We Have Arrived' by Mescalinum United is 'really' the first Hardcore track ever. People point to other earlier tracks that already have quite distorted bass drums or otherwise heavy sounds.
Are these challenges legit? Perhaps 'We Have Arrived' is not the first Hardcore track at all?
Let us take a look at this. First, the dry facts. 'We Have Arrived' has a distorted, 'Gabber' type bass drum, howling synths/sirens, overly distorted percussion, frantic sounds, and noises. It's undoubtedly a Hardcore track. But was it the first one?
I would say: yes. For the following reason:
People point to other tracks that were earlier and already had 'heavy' sounds in one way or another. But I think this is missing the point by far because people focus too much on what are more or less just 'production' details.
Yes, there were tracks with heavy bass drums before 'We Have Arrived.' Also, shortly afterwards, there were tracks with truly distorted 909s and such. But I think 'We Have Arrived' stood out, literally for years after its release.
Let us look at two aspects of this: First, what was later called 'Techno' was referred to as 'House' in the Netherlands. It was to the point that 'Gabberhouse' became established as a term similar to Hardcore Techno. I believe this goes beyond semantics. Techno, as a whole, evolved from House, and the Gabberhouse sound was still tied to the House sound. What was House? It was a genre that evolved from Disco in the 80s (or late 70s). It represented people coming together in a venue or club, getting drunk or high, dancing, enjoying life, having fun, and celebrating with positive moods and vibes. It was a lot like Disco, but more intense. The early Gabberhouse tracks followed in that direction. They were fun party music for a real intense celebration, just more extreme than the usual House fare.
A lot of early 'hard' tracks were actually kind of novelty tracks, even somewhat silly and cheesy at times. This doesn't diminish their value because they were intended as party music and worked in that way.
No disrespect meant at all (because I love the following track), but I would say that even 'Alles naar de klote' was still such an 'extreme party' track. It certainly isn't a dark, somber, or introspective track, right?
On the other hand, 'We Have Arrived' was different. It had a distinct attitude. In my opinion, this new attitude, mood, feel, philosophy, and ideology marked the true advent of Hardcore Techno. Describing precisely what was expressed by this attitude, concept, or theme is hard, maybe even impossible. But it was undoubtedly a very dark thing. A dark mood. Brutal. Nihilistic. Without mercy. Without remorse. Rebellious.
And that was something truly new, something no other Techno, House, or EBM track had at that time. Early Gabberhouse had that sense of 'Hey, we are here to celebrate and have a good time, and now we take it to the extreme.' There was nothing like that in Mescalinum United's track. 'We Have Arrived' doesn't evoke a sense of 'good vibration' and a happy celebration. It's a sonic attack that kicks you directly in the teeth—and in your mind.
When other early Gabber producers were interviewed, they said: 'we're doing music because we want to have a party, we want to have fun'. When Marc Acardipane was interviewed he said (paraphrased): 'we're doing music to prepare people for the coming times, because times will get tough'.
Certainly, dark dance or rhythmic music existed before in genres such as EBM, Industrial, and No Wave. However, it was not Hardcore.
Now, some may argue that this is an interesting interpretation and analysis (or perhaps an uninteresting one), but also a bit of nit-picking and overthinking. "It's akin to the topic of discussing which member of the Beatles had which role in a particular song. While it may captivate music historians and trainspotters, the average person listening to a Beatles song on the radio couldn't care less."
However, I don't view it that way. It's not purely a matter of theoretical value. I believe 'We Have Arrived' had tangible, practical consequences and results for the ongoing development of Hardcore.
This 'dark, nihilist, remorseless' attitude, or rather, this 'Hardcore' attitude, fundamentally transformed the emerging scene and continues to shape it to this day.
Because after the initial wave of Gabberhouse tracks, we started to see the emergence of darker and more somber Hardcore tracks (beyond PCP and its associated labels). Hardcore and Gabber, as a whole, took a darker turn. While some parts of the scene in the mid-90s veered toward what some might call 'commercial radio bullshit,' with its overly happy and cheesy sounds, twisted and disturbing genres like Speedcore, Acidcore, Industrial Hardcore, Doomcore, or even Breakcore emerged. In my opinion, these genres were spawned from the seed planted by Mescalinum United's track, albeit with many steps in between. Yet, they are still connected to this very root.
Without 'We Have Arrived,' we might have a world with Gabberhouse but without Hardcore Techno. This pivotal development, along with the subsequent branching out into various styles and subgenres (such as Doomcore, Slowcore, etc.), continues to evolve and will persist into the future.
'We Have Arrived' was the first bona fide Hardcore Techno track, period. Its significance goes beyond just its drums, noise, or distortion. Most importantly, it defined the attitude and state of mind that we now associate with 'Hardcore Techno.'