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duckapus · 7 months

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WarioWare Incorrect Quotes Collection

Wario: Boil up some Mountain Dew, it's gonna be a long night.

5-Volt: That is the worst thing you could've possibly said.

Ashley: Cauldron Boil and Cauldron Bubble, Baja Blast to Fuel My Trouble...

Jimmy: Why do you challenge them?

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Spitz: Of course you should fight fire with fire. You should fight everything with fire.

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Wario, after meeting Mona the first time: I've never been an inspiration before.

Wario: Not sure if I like having this much responsibility.

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Mona: What did you two do?

Kat:

Ana:

Mona: You're not in trouble, I just need to know if I have to lie to the police again or not.

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9-Volt: Why would anyone hate Wario?

Lulu: Maybe because they met him?

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Red, Texting: Ashley, there's a really big moth on the bathroom door, can you come get it?

Red: Please Ashley I'm gonna cry.

Red: Ashley

Red: Ashley?

Ashley, Texting: Hello, this is the Moth. You're next.

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Lulu: I have no parental figures to tell me not to wrestle bears.

5-Volt: It's me, I'm that parental figure. I'm telling you now; Do Not Wrestle Bears.

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Orbulon: I had too many magic beans.

Orbulon: The magic beans are coursing through my veins!

Dribble: Uhhhh, Orbulon?

Mike: Ignore him, he ate seven containers of Tic Tacs.

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(During WarioWare Snapped)

Wario, handing forged Health and Safety approval stickers to Kat and Ana: Okay kids, plaster these on anything that looks like a lawsuit.

Ana: Wario, is this legal?

Wario: When the cops aren't around, everything's legal!

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Dr. Crygor, trying to learn internet slang: So Yoink is just the opposite of Yeet?

Penny: Yes but it's just as fast.

Mantis, also trying to learn internet slang: *nods solemnly* The Stars Yeeteth, and the Stars Yoinketh away.

Cricket, looking out the window: I wonder if a fall from this height would be enough to kill me on impact.

Doris 1, with the tone of someone with Experience: It isn't.

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Ashley's Parents: We raised a perfectly well-functioning child.

Ashley: Oh, I have a sibling I don't know about?

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*Mona, Cricket and 13-Amp are sitting in jail together*

Mona: So who should we call?

13-Amp: I'd call 5-Volt, but honestly I feel safer in jail.

Cricket: *sighs* And Master would probably see it as some kind of learning experience.

Mona: ...Wario?

13 and Cricket: Wario.

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Wario: Clearly, this is the Stars' way of punishing us.

Jimmy T: I thought you didn't believe the Stars are divine beings.

Wario: I do for the bad stuff...

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Cricket: Sorry, I didn't catch your name.

Cicada: That's okay, I didn't throw it.

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13-Amp, reading from an online quiz: Would you stab your best friend in the leg for ten million coins?

9-Volt: You stab me, then when my leg gets better we buy all the games we want!

18-Volt: Oh! You stab me too, then we can have 20 million!

9-Volt: Good thinking!

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Wario: While I'm gone, Jimmy, you're in charge.

Jimmy: Groovy!

Wario: *whispering* 5-Volt, you're secretly actually in charge.

5-Volt: Obviously.

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Cicada: Dear diary, my teen angst bullshit now has a body count.

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Captain Syrup: So, who exactly is in charge here?

Wario: Well, on paper I'm the CEO, but in practice it's usually whoever yells the loudest.

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daisychain-unchained · 3 months

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youtube

I would kill to have video of this performance, or better yet have seen it live!

The rhythm section is so fierce, it’s like you’re sitting right next to Jonesy’s amp, and I can only imagine how relentless Bonzo was on the drums. Those triplets are something else.

The sounds Jimmy pulls from his guitar are raunchy and groovy and driving all at once. I cannot get enough of those piercing chords.

I need to see Robert’s stage presence during that rhythm change, during “why don’t you roll over baby, see what it’s like on the other side”, and especially during that last belting note he hits at the end.

#i just had to rave about this for a minute #I’ve wanted to for a long time #i love the album version so much and they just top themselves here #and you don’t often get to hear jonesy this clearly #he’s really the backbone here #it’s unhealthy how much I love this song #the intro pulls you in immediately #led zeppelin #Youtube #robert plant #jimmy page #john paul jones #john bonham #the lemon song

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cb-sodapop · 6 months

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Groovy earthworm Jimmy

#sodapop #digital art #drawing #digital drawing #fanart #purple #art #glowing eyes #friend art #earthworm jim #mr earthworm #sega #sega earthworm #worms

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moshemedia2000 · 3 months

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"Groovy Jimmy Excerise Video"

#Groovy Jimmy #lolcow art #youtube celebrity #thumbnail #black youtuber #bluepilled #delusional #my edit #photoshop

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dustedmagazine · 1 month

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Listening Post: Mdou Moctar

Mdou Moctar is, without question, one of the pre-eminent rock guitarists of our time, as much a master of heavy, hazy grooves as of double-tapped Van Halen-esque shreddery. His music is steeped in a very specific desert blues aesthetic, the swaying, side-to-side rhythms that evoke camel caravans, the keening call and response that suggests lonely attempts at communion in remote campsites, the hard-bashed but intricate percussion, the silky multi-colored tunics that the band sports onstage. And yet, it’s universal in the same amp fried lineage as Jimi Hendrix, Jimmy Page, Jeff Beck, Eddie Hazel and, oh right, Eddie van Halen.

Dusted has been enamored of Mdou Moctar for quite some time, beginning with Patrick Masterson’s highly entertaining review of the Akounak Tedalat Taha Tazoughai OST in 2015—the music for a remake of Prince’s Purple Rain in the Tamashek language— on Sahel Sounds.Masterson observed, “The idea of a Tuareg Purple Rain would have been unthinkable in 1984, not least of all because —and I cannot stress enough how funny I find this — there is no Tamashek word for ‘purple.’ Yet, 31 years later, here we are — the magic of a smaller world has helped bring an academic outsider’s joke to life. The punchline, of course, is that it’s as good as advertised.”

We collectively fell for Ilana (The Creator) and its out-of-hand shredding in 2019.Isaac Olsen noted, “If you still have a punk-induced allergy to flashy guitar solos, be warned; there’s not a track on Ilana where Moctar doesn’t take every available opportunity to — no other word for it — shred. Fortunately, Moctar earns the right to play his ass off by recruiting a band whose hungry energy matches and spurs on his own and by, for the first time, writing a whole album of tunes worthy of his chops.” The record brought a normally fractious Dusted roster to unity and dominated the 2019 Mid-Year feature.

Two years later, Afrique Victime won praise for its less showy, more groovy vibe. Said Jennifer Kelly in her review, “While he’s been one of rock music’s best guitarists for a while, the larger platform takes him out of the niche desert blues category and into the broader multinational arena. He might be excused for capitalizing by leaning into the rock elements of his sound, but instead, he’s putting forward the droning, mystic, call-and-response twilight magic of northwest African guitar music.”

And so we come to Funeral for Justice, another scorcher. The new record is as sharp and impassioned as any Moctar and his band have done so far, and it is inflamed with political energy. It comes after a period of exile after civil war in Niger. It calls out the injustices of colonialism, economic inequality and exploitation in cuts including the title track, “Oh France” and “Modern Slaves.” It cooks on the strength of a band that has never sounded better or more locked in, and it has one or two guitar solos, too.

Intro by Jennifer Kelly

Jennifer Kelly: How are you all liking the new Mdou Moctar? I’m feeling like it’s the best thing he’s ever done, not different exactly but more intense and volcanic. Definitely turned up to 11.

Bill Meyer: My first reaction is that while Funeral For Justice definitely foregrounds the shredding, I miss the layered sound of Afrique Victime. But I’m tickled to hear the increased prominence of electronic percussion and autotune. It’s kind of a roots move, given that the first time a lot of people heard him was on a tune originally identified only as “Autotune,” which appeared on the Sahel Sounds compilation, Music From Saharan Cellphones.

Tim Clarke: I saw Mdou Moctar live last year at a music festival, and it was very loud and thrilling. This is the first time I've listened to a full album. It makes me realize how little I'm drawn to fast guitar playing! And the band's trademark "cantering" rhythm feels like a bit of a musical rut. But when they explore outside these parameters, things get more interesting, especially when they play around with a mix of recording fidelities at the start of second track, "Imouhar." I also like the fact the record is concise and well-paced. Definitely piqued my interest to hear more of what the band can do.

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Christian Carey: The combination of desert blues and intense rock solos is amazing - and fairly singular. The group vocals create an appealing contrast to Mdou's shredding.

I'm not sure that he can raise the intensity level any higher than this — turned up to 12?

Jennifer Kelly: I'm so glad you guys picked up on this. Lots to think about.

First regarding Bill's comment about a "rootsier" sound, it's complicated isn't it?

We look to third world artists for authenticity, which in its most reductive form means less electrification, fewer electronics, etc. But as Bill points out, Mdou's early stuff was heavily autotuned, as for instance here:

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And a lot of the Sahel Sounds’ (and thanks, Bill, for making sure we gave them credit for being first with this stuff) cellphone compilations have a very slick, disco-electronic vibe. And that's music largely produced for African audiences without much consideration of a global audience. So which is authentic?

Also, my understanding, Tim, is that the rhythm is based on the way camels walk and a nod to West Africa's nomadic culture and heritage? You hear the same beat in Tinawarin's stuff.

Tim Clarke: I can definitely hear the camel's gait in the cantering rhythm section, that slightly awkward, loping feel. It's certainly unique.

Bryon Hayes: The almost hard rock riff in the intro of the title track originally confused me (did I put the right album on?), but I found it really powerful upon further spins of the album, especially how it segues into the cantering rhythm. Also, the roar as the lower fidelity section of “Imouhar” transitions to a higher fidelity is downright mind-melting! He’s experimenting with song form, and it really works.

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Michael Rosenstein: As much as I've liked Mdou Moctar's music, I have to admit that this one is starting to lose me a bit. But that has way more to do with my musical proclivities than it does to the music at hand. What originally drew me to Moctar's music was the rawness of it; that uneasy balance of "shredding" that others have mentioned with a trance-like, cyclical flow. That was really foregrounded in his early albums like Afelan or Anar both of which were released a decade ago. This new one sounds, to my ears, much more heavily produced and fussed over. I admit, though, that I'm really uneasy with my assessment in that, as much as I hope I'm not, I fear I am just bringing my old, white, privileged judgement to bear. Is this just me judging that the music is no longer "authentic" enough? Or is it just that he is embracing the rock leanings inherent to his music and that just resonates less with me?

I do find it curious that, as far as I can tell, none of Moctar's music on Sahel Sounds is available anymore (including the one track on Music from Saharan Cellphones: Volume 2 referenced by Bill.) I have no idea if that is by his choice, by contractual obligations with Matador, or by the choice of the Sahel Sounds folks.

Jennifer Kelly: I noticed that those records were missing, too, when I looked for the Sahel Sounds records to hear the autotune. I wonder what happened?

Some of the songs are still very trance-y..."Imouhar," for example, especially at the beginning (it gets loud later), "Takoba" all the way through. The production seems about the same as on Afrique Victime to me, clean but not overly so. (Though, I will admit that I probably like the rock stuff more than Michael does.)

We haven't really talked about the political backdrop to this record, have we? The fact that Civil War in Niger has left them stranded in the States since 2023. I don't speak Tamshek but it seems that a lot of the songs with English titles are about politics and colonialism, which may affect the way they play and present the material, yes? It's different from writing songs about village life or falling in love with the local beauty.

Ian Mathers: I'll admit, there's at least a part of me that wishes this whole record was just unabashedly Going For It as hard as the opening title track does. Not that I don't like the relatively more restrained material; I'm not terribly knowledgeable about African music in general but "Takoba" reminds me of one of the few records from the continent I do very much know and love, the one Ali Farka Toure did with Ry Cooder (Talking Timbuktu) that my dad played all the time when I was in high school. Toure was from Mali, which at least shares a border with Niger, so hopefully I'm not being too ignorant hearing similarities in some of the guitar playing there. The more monomaniacally the band gets cooking here, generally, the more I like it (I really like "Sousoume Tamacheq," for example). I think I probably like it a little more than (the also excellent!) Afrique Victime, although I think for similar but opposite reasons to Michael, that it's just more to my taste and not necessarily a better record.

I'd also love to see a full set of lyrics/translations, and everything I've read about the sociopolitical context of the band and this music has been fascinating, but mostly right I'm just appreciating and enjoying this record in a similar way to, say, Oneida's "Sheets of Easter" or that U SCO record I picked for our 2023 Slept On round up.

Tim Clarke: Further to what you're saying about enjoying the "everything on 11" aspect of Moctar's sound, I can't help wondering what the band would sound like recorded by Steve Albini. That I'd like to hear!

Ian Mathers: Oh, good point; maybe because we talked about African Head Charge a while back I'm now also wondering what Adrian Sherwood would make of them.

Bill Meyer: I don’t think you’re too far off the mark in seeing a similarity between Moctar’s and Ali Farka Toure’s music, Ian. Toure worked with the languages and styles of several ethnic groups from the Malian interior, soI’m sure he would have been acquainted with the precedents for what Moctar does. Moctar is from subsequent generation, so his music is more in touch with what has been popular in the Sahel in this century. But another thing they both have in common is that they’ve been worked a lot on non-African stages, gotten hold of gear that isn’t particularly available back home, and undergone a personal course of development on a world stage.

Their politics are different, though. I think Toure was the mayor (or something similar) of his town. He was pretty invested in fostering the stability of the existing Malian state, thus all the songs in different languages that encouraged people to get along. He was the big man in town who responsibly leveraged his popularity as a musician to obtain resources for his community. Your CD purchases generated income for Niafunke’s farming community. Moctar, on the other hand, was just another guy on the street, albeit an artistically ambitious one, until musical opportunities permitted him to tour and make records outside of Niger. His stance, as far as I can grasp it, is critical of African leaders who don’t look out for their people, and even more critical of the foreign powers that have run roughshod over his country (mostly France and the US).

Matador came through with the lyrics.

[Here are some excerpts.]

“ FUNERAL FOR JUSTICE”

Dear African leaders, hear my burning question

Why does your ear only heed France and America?

They misled you into giving up your lands

They delightfully watch you in your fraternal feud

They possess the power to help out but chose not to

Why is that? When your rights are trodden upon

“ MODERN SLAVES”

Oh world, why be so selective about human beings?

My people are crying while you laugh

All you do is watch

Oh world, why be so selective about counrties?

Yours are well built while ours are being destroyed

Yours are well built while ours are being destroyed.

Jennifer Kelly: Wow, that is fiery stuff.

Ian Mathers: I can also see in the translated lyrics even more of a connection between the two countries, with Tamasheq described as "A helpless orphan abandoned by 3 countries / Mali-Niger, Niger-Mali and Algeria as the third." Interesting to note the gap between Toure and Moctar's respective places in society (at least right now, for Moctar). I didn't specifically think of reggae when I was reading the lyrics, Bill, but once you point it out there does seem to be a number of shared themes, maybe even some metaphors and imagery, there.

#dusted magazine #listening post #mdou moctar #funeral for justice #matador #sahel sounds

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thislovintime · 1 year

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Remembering Michael on December 10th. Pictured with Peter, Davy, and Micky, and Barbara Hamaker. Some photos by Gene Trindl, Michael Ochs Archives, Tom M. Morton, Colin Beard, Ali Cotton.

Remembering Michael.

“You should’ve heard Mike singing some of those old Jimmie Rodgers The Singing Brakeman songs. He was so good, that stuff was just — you know, that stuff just warmed the cockles of my heart, you know. He could just do that stuff all day long. Just — I could just sit at his feet and listen to that for hours.” - Peter Tork, WHNN-FM, 2012

“At the Troubadour […], Peter Tork strolled in, banjo on his knee. Later, in-between ‘Alvin’ and a great banjo finger-picker, Peter yelled a hello to Mike Nesmith, who was standing in the upstairs darkness and the two fell into a hilarious patter routine." - Ginni Ganahal, TeenSet Magazine, February 1968 (read more here)

"[July 1, 1967] At this point Peter proudly produced a fan letter for Mike a rare occurrence. Mike looked vaguely impressed with his fan letter and read aloud, ‘Dear Mike. We saw the Monkees at the airport on Wednesday and my sister Linda touched Micky’s arm and then I saw you and threw up…’ ‘Hey,’ said Peter, ‘let me see that! You’re not that bad looking. I don’t believe it.’ Peter read from the letter, 'Dear Mike. We saw the Monkees at the airport on Wednesday and my sister Linda touched Micky’s arm and then I saw you and threw up!’ The letter did not, of course, say this but it’s all part of the Tork-Nesmith off-stage variety act.” - NME, July 8, 1967 (read more here)

Peter and Michael on KDWB-AM in August 1967, here.

Peter and Mike on their favorite Monkees episode, "Fairy Tale" - here.

“Michael used to run a hootenanny at the Troubadour in West Hollywood, and so I met him there. But that’s all, just to say hi to, pretty much.” - Peter Tork, GOLD 104.5, 1999

“I have a great deal of respect for Mike as a musician and a songwriter. He’s very good. He could make it on his own easily. Also he’s one of the funniest people I’ve ever met.” - Peter Tork, Flip, August 1967

“I really get along with Mike best. He’s married and enjoys his evenings at home with his family. My favorite date is to stop by his place, have some coffee, play cards, and listen to groovy music.” - Peter Tork, Hullabaloo, September 1967

“I remember staying at Mike’s house in Hollywood when we first started filming the series. It was the upper story of a two-story building on a little hillside. Mike’s wife, Phyllis, was wonderful. Mike and I laughed a lot and played music together. I remember that time very fondly.” - Peter Tork, When The Music Mattered (1984)

Q: “Being that your tastes were similar, and you both were the first to leave the group, why didn’t you form a group with Peter Tork?” Michael Nesmith: “I don’t like Peter Tork — never have liked him, I don’t like him as a man. I have to qualify that now: Me not liking somebody doesn’t mean that they’re bad people — he could do a lot of wonderful things for and to me. Not liking someone to me is a very gut reaction — a very visceral attitude. The first reaction to Peter was one of dislike. I don’t like him, I have never liked him, and I probably will never like him. I didn’t enjoy playing in a band with Peter, and I still don’t. Our tastes were much the same, our political beliefs were similar, our ideas of fun, pleasure, our intellectual capacity, our ability to talk to each other — we were very much alike. I have a great respect for Peter — his technical abilities on an instrument and the positions he took were well conceived ideas, always a posture with a motive, never emotional. I don’t like my mother. She happens to be a very nice lady — never done anything that would make me not like her — but I don’t. I like my wife.” - Hit Parader, February 1972

“It was something that was known on the set. They knew Pete and I went our own ways. This wasn’t a dislike of someone who had committed some infraction against me or some sort of crime. It was just, ‘Oh, this guy eats those little noodles and I don’t like ’em and I can’t eat with the guy.’ It was kind of an off-putting thing. It was, ‘Oh, he likes to play paintball and I don’t like to play paintball.’ So we never played paintball, but every once in a while we’d find ourselves in the same paintball park because we owned it, so we had to keep it clean and do all the stuff we had to do and we did do it. We didn’t have too many civil words to say to each other, but we also didn’t fight all the time. We just didn’t say much. There wasn’t a lot to say. Peter would play me the songs that he thought were good and I didn’t. And I would play him the songs I thought were good and he wouldn’t. Then we just left it at that. Partners in silence.” - Michael Nesmith, Rolling Stone, December 3, 2019

“Michael was very kind to me at the outset. He put me up through the entire shooting of the pilot process. He and his wife had a wonderful little apartment just big enough for a guest on the day bed, which overlooked Hollywood. I remember a Thanksgiving Day when the air was crystal clear in a way that I’ve never seen it before or since in L.A., and you could see all the way out to Catalina. It was wonderful. That crystal clarity symbolizes the whole era for me. Mike and I wrote a few things together. We were very comradely and very buddy buddy, and it was a wonderful time, with Mike’s then wife, Phyllis, and Christian, their little infant baby. The early days of the pilot shooting were just great by my lights and I had a wonderful time.” - Peter Tork, quoted in Hey, Hey, We’re The Monkees (1996) (read more here)

"After [Peter] went down for the first interview, I asked how how he felt he did and he said, ‘Well, it looks good. I’ll see how things go.’ And they kept calling him back. He liked Michael Nesmith. That was the first thing that happened." - Stephen Stills, Tiger Beat, July 1967 (read more here)

“I did give Peter a voice audition on Saturday’s Child but I had to finally say, ‘look Pete, I can’t play banjo and you can’t sing. If I played the banjo I’d sound like you singing, I have to erase the tape.’ So Peter left in a huff and came back with Michael, who pulled off his motorcycle helmet, crashed it down onto the console and demanded ‘why don’t you let Peter sing? You guys never let us come to the sessions, it’s just you two with Davy and Micky.’" - Tommy Boyce, Monkeemania: The True Story of The Monkees (1997) (x)

"Mike joined us in the UK for our 30th anniversary tour in 1997. I enjoyed that tour very much; it was a good time. Nevertheless, Mike never said anything to me when he decided to leave the band after the ’97 European tour, and I still don’t know why he left.” - Peter Tork, Medium, 2017

"Yeah, I’d rather have him in, all things considered. I think that it makes an event when he’s there that, that isn’t when he’s not. [...] I think, you know, Mike changed his mind for reasons that I don’t quite understand, but what the heck." - Peter Tork, GOLD 104.5, 1999 (x)

"I still have a lot of respect for Michael." - Peter Tork, WDBB, February 2006 (x)

"I will miss him — a brother in arms. Take flight my Brother.” - Michael Nesmith, Facebook, February 2019 (x)

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thegroovywitch · 1 year

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#john paul jones #led zeppelin #jimmy page #robert plant #classic rock #rock #vintage #retro #rock music #rock n roll #classic rock fandom #vintage aesthetic #groovy #by dee dee 🌺🕯️

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freakattack · 16 hours

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Since you did that LGBT+ headcanon post for the Mario cast, could you do one for the WarioWare crew?

LOL thank you for taking interest in my gay luigi posts. I actually did make one of these before but that was two years ago and also mostly jokes so I think this is as good a time as any to do it again but in serious mode. I have also changed my mind on some of these so they might not all line up with the other post but such is life. Obligatory "That's My Opinion" so if my tabloid speculations don't line up with yours feel free to imagine me falling down a very deep hole, or you can squint your eyes and pretend you're squishing my icon between your fingers like a bug if that's more your speed I'm not your boss

WARIO: Already said this but sure I'll go into more detail about wario's sex life, I think he's aromantic and bisexual. I do realize it comes off as kind of shitty to make Mario be Romantic Asexual and "Evil Mario" be Aromantic Sexual, but as a Wario Megafan I just think that he values his friendships a lot more, and given what we have seen of wario's disgust for romance despite his very active libido* (I promise that link is not as bad as it looks), I think it would be remiss to pretend that he would ever want to settle down with someone. He still loves people in a platonic way - even beyond the warioware cast, he cared a lot about princess shokora by the end of WL4, and even though he does not necessarily LIKE waluigi (and I do subscribe to poppadopolos theory so I am of the belief that they were fuckin' and truckin' for a good portion of the early 2000's), I think wario still cares about him in his wario way. They are like a divorced couple that still has kids except instead of kids it's cheating at tennis. Also, I think that wario is transgender, because it explains a lot about him (e.g. his lack of nipples) and because that way nobody has to think about what his "real name" was before it was wario. It was his deadname! Everybody go home! Have a rotten day!

*I do not think that wario would canonically catcall random news reporters but I'm still counting this as nebulous evidence that wario can be horny

MONA: I think that she is bisexual but doesn't know it at this point in time and also isn't really stressing about it. Her taste is kind of skewed towards whatever wario is (in a puppy love type of way i do NOT ship them), but if she ended up having a close friendship with a girl her age I could see her catching feelings. I don't wanna say that wario is comphet because that's not entirely true but I do think that his unattainability is a comfortable way for her to not have to think about actually getting into a relationship. (For the record, I don't think she even wants to BE in a relationship with him, I think she is perfectly happy with the way things are, but mona has TMI'd about her opinion on wario's physique often enough that I kind of get the idea.)

JIMMY T: My opinions on him have not changed. Who do you think gave him the T? Also, I didn't mention this before, but I do think he is bisexual, and although it kind of feels like a cop-out to make the Holy Trinity of Warioware all bisexual, sometimes that's just how the cookie crumbles. Groovy!

DRIBBLE: This is where things start to diverge from the original post. I said he was bisexual before But I lied I think he just likes men. I think that he has a supportive family, but he's still a little shy about actually going out to meet people and start a relationship. You're probably not gonna like what I have to say next

SPITZ: I am soooooo sorry. But I think that he is straight. More power to you guys but I never really got into dribblenspitz as a Ship because I see their dynamic so strongly as the quintessential Cool Boss + Rookie that I can't imagine them in a romantic relationship. They have the most beautiful bromance of course, they would go to the ends of the earth for each other, but they wouldn't smooch. I think that spitz's dating life is/has been kind of sad (not in a angst way in a regular way) and were he to go back into the dating scene dribble would hype him up about it and give him advice and spitz would be like hey why don't you have a girlfriend? You're clearly better at this than me and dribble would say uuuhhhhh

ORBULON: Orbulon is hard to pigeonhole into these labels because the guys on orbulon's home planet operate on an entirely different paradigm from humans on earth. Reproduction via budding, communal childrearing, telepathic mega-cliques*.....on Earth, orbulon certainly has no interest in romance or beyond (both because he has no need for it and because he is two thousand years old on the planet of the apes), but he does have fun being a girl. You could call him "genderfluid", but he also doesn't feel too much of a connection to earth genders in general; he just likes wearing different hats.

*THAT'S MY OPINION

CRYGOR: I think that he has had no interest in romance for a hundred years, but also if he randomly picked up a stepdad for his adult children one day I would not be mad. (Mike might be, but he would eventually come around due to the Power of Love and whatnot.) Penny is his "granddaughter" but I think that this is more a label for convenience's sake and because she IS his granddaughter at heart. "But why does she randomly show up into everyone's lives in smooth moves as a full grown kid" Until warioware decides to show me her parents themselves I'm not entertaining this plot hole

PENNY: The reason I don't think penny is his granddaughter is because I still think she is a transgender clone of dr crygor. I think that crygor is enthusiastically supportive of her, gets her all the pink glittery shit her heart could desire, and helped her transition with his Science Inventions. I also think she is a lesbian, although I don't Ship her with anyone in the main cast (sorry again).

MIKE: Earlier I said that mike was "gay but he thinks everyone is annoying". That was before they revealed this bombshell:

Now, this could mean absolutely nothing. Checking the translation of the japanese website yields pretty much the same sentence. However, due to an incident involving a botched translation before the english version of this website came out, I had it in my head for a while that the connotation here was of a certain kind of fascination. And honestly, who could blame him? This is a karaoke machine that got frosty the snowman'd into existence. Of course he would be conflicted about who he is supposed to love. Does he have the heart of a man, or machine? Even Mike does not have an answer. So, my revised LGBT+ headcanon for Mike Crygor is "gay, and whatever this is".

5-VOLT: I'm on the fence about whether i Actually Think This but I am very fond of when people headcanon her as a trans woman, so I'm giving that a shout out. Shout Out! Other than that, I think she's only ever dated men and is happy that way.

.......Unless

#everyone not listed here is either too young for me to make that call or i have no idea

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