Fja.22lr

Franklin Longrifle

Bigfoot, Gun, Fishing, Mountain. Electronic music lover.

Finnish Zenyatta, Hanzo, and Wrecking ball player.

Live free or die.

[Fja.22lr @ZenithKick]

Worded it badly. I passed but most of my stuff was left unfinished.

[Fja.22lr @ZenithKick]

I was one test away from failing school but I never used chatgpt even once, instead I simply left it unfinished. Elite method.

[Bryan @Enternet_Guy]

How it feels to be the only one not using chatgpt on schoolwork

[Fja.22lr @ZenithKick]

@SmekkyLivesYayy @FJXSU

[🜏 Edmund McMillen 🜏 @edmundmcmillen]

16 years ago i made a game about a boy with no skin trying to save a girl made of bandages...

[Fja.22lr @ZenithKick]

Finally found my pen so I can draw digitally again

[Fja.22lr @ZenithKick]

Finland and Mongolia big winners🔥🔥🔥

[The True Size of Maps @TrueSizeOfMaps]

How the world would look like if borders were decided by nearest capital.

[L0rdspookwarp ꗞ | DIGGERPILLED @L0rdskywarppp]

I know it’s been said but whatever bullshit he’s doing on the keyboard at the beginning sounds so good

[Fja.22lr @ZenithKick]

It might be in my top 10 favorite songs. I love Equinoxe.

[Sofia Armónica | Música @sofiaarmonica]

En 1978, cuando el disco y el punk mandaban, Jean-Michel Jarre sacó Equinoxe y mostró que la música electrónica podía ser melódica, cinematográfica y popular sin perder su carácter instrumental 🎹🎶

“Equinoxe Pt. 4” es uno de los momentos más claros de ese cambio. Sequencers analógicos, capas de sintetizadores y un ritmo que avanza como una máquina suave pero humana.

No era el ruido experimental de los laboratorios ni el minimalismo de Kraftwerk: era electrónica con melodía reconocible, con espacio y con una sensación de futuro que todavía se siente fresca.

El álbum llegó a listas, llenó la Place de la Concorde con un millón de personas y demostró que el sintetizador podía ser el instrumento principal de un hit.

En esa época el videoclip y la imagen de Jarre ayudaron a fijar la idea de que la electrónica no era solo de nicho.

El sonido de Equinoxe abrió camino para el ambient, el new age y buena parte de lo que luego se haría con máquinas. Part 4, en particular, sigue siendo el ejemplo de cómo una secuencia y una melodía simple podían sonar a ciencia ficción cotidiana.

Si quieres escuchar el momento en que la electrónica dejó de ser rareza de laboratorio y se volvió paisaje, este es uno de los mejores puntos de entrada🎶

[Sofia Armónica | Música @sofiaarmonica]

En 1978, cuando el disco y el punk mandaban, Jean-Michel Jarre sacó Equinoxe y mostró que la música electrónica podía ser melódica, cinematográfica y popular sin perder su carácter instrumental 🎹🎶

“Equinoxe Pt. 4” es uno de los momentos más claros de ese cambio. Sequencers analógicos, capas de sintetizadores y un ritmo que avanza como una máquina suave pero humana.

No era el ruido experimental de los laboratorios ni el minimalismo de Kraftwerk: era electrónica con melodía reconocible, con espacio y con una sensación de futuro que todavía se siente fresca.

El álbum llegó a listas, llenó la Place de la Concorde con un millón de personas y demostró que el sintetizador podía ser el instrumento principal de un hit.

En esa época el videoclip y la imagen de Jarre ayudaron a fijar la idea de que la electrónica no era solo de nicho.

El sonido de Equinoxe abrió camino para el ambient, el new age y buena parte de lo que luego se haría con máquinas. Part 4, en particular, sigue siendo el ejemplo de cómo una secuencia y una melodía simple podían sonar a ciencia ficción cotidiana.

Si quieres escuchar el momento en que la electrónica dejó de ser rareza de laboratorio y se volvió paisaje, este es uno de los mejores puntos de entrada🎶

[Oody🐸🟨 @OodyOW]

Phone shut down mid goon so I had to keep cranking using my imagination

[ToonHive @ToonHive]

Happy 81st birthday to the talented John Lithgow.

The iconic voice of Lord Farquaad in ‘Shrek.’

[Cherry @Cherrybyso]

i genuinely believe if you play your deadlock main enough you start to just become them.

[Fja.22lr @ZenithKick]

@winstonoverwat2 Natural Venator aura

[Onii Chan @oniichanph]

We say goodbye to another legend today 😔

Attack on Titan and Ninja Sentai Kakuranger Actor Hiroshi Tsuchida Passed Away at Age 54 🕊️

For anime fans, Hiroshi Tsuchida’s voice belonged to Grisha Yeager, one of the characters whose choices shaped the entire story of Attack on Titan. For Super Sentai fans, however, Tsuchida was already familiar decades earlier as Saizou / Ninja Blue, appearing on screen in Ninja Sentai Kakuranger.

That combination made his career unusually broad. He moved from live-action tokusatsu into anime, video games, and Japanese dubbing, eventually becoming the Japanese voice of Lightning McQueen throughout Pixar’s Cars films while also portraying characters across Pokémon, Naruto, Soulcalibur, Street Fighter, Yakuza, and many more.

Some of his most memorable roles include:
- Grisha Yeager (Attack on Titan) — voice
- Saizou / Ninja Blue (Ninja Sentai Kakuranger)
- Daikichi Kawachi (Bunny Drop) — voice
- Professor Sycamore (Pokémon the Series: XY) — voice
- Lightning McQueen (Cars franchise) — Japanese voice
- Zasalamel (Soulcalibur series) — voice
- Necalli (Street Fighter V) — voice
- Raidō Namiashi (Naruto / Naruto: Shippuden) — voice
- Kazuki (Yakuza / Like a Dragon series) — voice
- Ganesha (Is It Wrong to Try to Pick Up Girls in a Dungeon?) — voice
- Ezel (Fairy Tail) — voice
- Masamune Nakatsukasa (Soul Eater) — voice
- Kōichirō Iketani (New Initial D the Movie) — voice
- Hidetoshi Nakata (Inazuma Eleven) — voice
- Skull Man (The Skull Man) — voice

From standing in a Super Sentai suit as Ninja Blue to becoming Eren Yeager’s father and even giving Lightning McQueen his Japanese voice, Hiroshi Tsuchida spent more than three decades crossing worlds that rarely overlap in one performer’s career.

Rest in peace, Hiroshi Tsuchida. 1972–2026. 🕊️

[Fja.22lr @ZenithKick]

@OgundimuFist Lochness monster isn't real, any other ideas tho?

[Fja.22lr @ZenithKick]

What do I do with my profile picture now.

[Jean-Michel Jarre @jeanmicheljarre]

OXYGENE & BEYOND 🌍 Big news coming tomorrow... sign up to the mailing list to ensure you hear it first! https://t.co/ccMIfVBBcg

[Fja.22lr @ZenithKick]

Retweet. But quoting since I do wanna say that I wish Bigfoot Society would stop using AI in thumbnails and banners and whatnot. I know Jeremiah is a great guy with a great podcast. I don't like how much this community loves to use AI for everything. I can get over the PGF now.

[Bigfoot Society @bigfoot_society]

OFFICIAL BIGFOOT SOCIETY STATEMENT

After watching Capturing Bigfoot and considering the evidence presented, my official position is that the 1967 Patterson–Gimlin film from Bluff Creek was a hoax.

I believe that one million percent, and I’ll gladly say it publicly.

Holy mackerel. What a time to be involved in the Bigfoot community.

I also believe that Bob Hieronimus and Greg Long deserve apologies from those who have unfairly ridiculed, attacked, or mistreated them over the years.

I understand why people are emotional right now. Some have spent decades studying, defending, and building friendships around this film. That’s a tremendous amount of personal investment, and I respect the emotions involved.

I encourage everyone to watch the documentary, examine the evidence, and come to their own conclusions.

As for Bigfoot Society, I’m ready to move forward.

The number one mission of Bigfoot Society has always been giving witnesses a safe environment to share their experiences and get something off their chest that they may have been carrying for decades.

I’ve interviewed over 1,000 witnesses. Many have never shared their experiences publicly. Some have spent 30, 40, or even 50 years wondering what they saw, afraid of ridicule, or simply wishing they had someone willing to listen.

Those people deserve to be heard.

They deserve respect, compassion, and a place where they can tell their stories without fear of being mocked or judged.

That is why I do this.

I believe there are people having extraordinary experiences in the wilderness that deserve serious attention. I want to continue documenting those accounts, investigating the areas where these encounters occur, and working toward answers, discovery, and ultimately conservation.

My belief in the importance of those witnesses remains as strong as ever.

I know there will be disagreements about this documentary and the future of the Patterson–Gimlin film. That’s okay. Everyone has the right to examine the evidence and reach their own conclusions.

As for me, I’m ready for the next chapter.

There are witnesses waiting to share their stories. There are experiences that need to be preserved. There are places that deserve investigation.

That’s where my time and energy belong.

The mission of Bigfoot Society continues.

It’s time to MOVE FORWARD.

— Bigfoot Society

https://t.co/86mwe1lZMo

[Fja.22lr @ZenithKick]

Haven't seen it yet, but it sure sounds like Patterson fooled us.

[rine 🛒 @ashtraygrrrl]

@poliicyoftruth silence! an american with ☭ in the username is educating you