#leslie speaker

[hammondcast]

Jon Hammond's Hammond Report From 1959 B 3 Everybody January 24 2023

#WATCHMOVIE HERE: Jon Hammond's Hammond Report From 1959 B 3 Everybody January 24 2023

Jon's archive https://archive.org/details/jon-hammonds-hammond-report-from-1959-b-3-everybody-january-24-2023 

Youtube https://www.youtube.com/watch?v=F0r8OkvaXFo&t=17s 

FB https://www.facebook.com/558692101/videos/1376750113080099/ 

Jon Hammond's Hammond Report From 1959 B 3 Everybody January 24 2023

by

 Jon Hammond 

 Topics

 Hammond B3, Hammond Report, Everybody, Prize Winner, Gator Cases Frameworks, Kart, Guitar Strap, Levy's Leathers, Report, Leslie Speaker, Photography, Travel, Music

Language

 English

Jon Hammond's Hammond Report from 1959 B3 Everybody January 24 2023 - Music Stories Photography travel and gigs!Bringing you up-to-date folks, I'm the lucky winner of Marlene's Music December giveaway contest, I won a beautiful Levys Leathers moon phases guitar strap + Gator Cases Frameworks equipment cart, all-terrain! Some assembly required - I got a needle nose pliers and put the kit together successfully, the maiden voyage to get a 6 gallon box of Poland Spring Natural Spring Water! This tune from Dean Martin in 1964 actually knocked The Beatles out of the top spot, Hard Day's Night was #1, but Everybody Loves Somebody took over! Have a beautiful day and even better one tomorrow folks - I'm going in to play a morning gig today, c u around,Jon Hammond #EVERYBODY #prizewinner  #hammondb3 #organist #guitarstrap #kart #Report #lesliespeaker

Addeddate

 2023-01-24 16:47:26

Identifier

 jon-hammonds-hammond-report-from-1959-b-3-everybody-january-24-2023 

Hammond B3, Hammond Report, Everybody, Prize Winner, Gator Cases Frameworks, Kart, Guitar Strap, Levy's Leathers, Report, Leslie Speaker, Photography, Travel, Music 

Hammond B3, Hammond Report, Everybody, Prize Winner, Gator Cases Frameworks, Kart, Guitar Strap, Levy's Leathers, Report, Leslie Speaker, Photography, Travel, Music

[pennanbrae]

Feeling organic with the Hammond Organ & Leslie Speaker.

[daddysmusicblog]

[bloggy-woggle]

you may know me as the inventor of the light-up leslie

[evelynhugosthings]

"Gender is the poetry each of us makes out of the language we are taught."

Leslie Feinberg, activist, speaker, and author.

[benjamindehli]

Fender Rhodes - Amp Comparison Comparing different amplifiers for the Fender Rhodes electric piano. The direct signal from the Rhodes is recorded once and then sent through the different amplifiers with a re-amp box. Instrument: - Rhodes Mark I Stage Piano Amplifiers: - Fender Twin Reverb - Roland JC-120 - Vox AC15H1TV - Tandberg Model 2 T (TB2) - Leslie 122 Microphones: - Shure SM57 - Royer R-121 - Sennheiser e 602-II (for lower rotor on Leslie) Signal chain: - Rhodes with Avion Studios RetroFlyer Preamp - Universal Audio Apollo - Hairball Audio FET/RACK Revision D - Radial X-Amp into amplifier (except for direct out example) - Chase Bliss Audio & Meris CXM 1978 (almost inaudible, just adds some "air" and stereo width) - DIYRE G Bus VCA Compressor RetroFlyer Preamp settings: - High pass filter in middle position (60 Hz) - Mid boost/cut just below middle position - Stereo tremolo is turned off (until the very end of each example)

[jbkerkhoff]

Build A Great VPO — Part 2 : Salvage and Move

[ileaveclawmarks]

An interview with Leslie Feinberg appearing in the Oct/Nov 1998 issue of On Our Backs.

Please click on image to read or find the transcript below:

Feinberg and hir activist peers have transformed the landscape of current queer politics: they have introduced "trans" (even into the mission statement of the National Organization for Women) as an umbrella term for transgender and transsexual persons. "Transgender" refers to any person whose gender expression appears at odds with his or ber biological sex, including transvestites, drag queens and kings, intersexed persons, "passing" men and women, feminine men, and masculine women. "Transsexual" refers to men and women who challenge the sex they were assigned at birth, whether they choose sex-reassignment surgery or not. Feminism popularized the distinction between "sex" (as biological sex) and "gender" (as the social expression of masculinity, androgyny, and femininity); the trans movement took this distinction to the streets.

Feinberg and hir activist peers have transformed the landscape of current queer politics: they have introduced "trans" (even into the mission statement of the National Organization for Women) as an umbrella term for transgender and transsexual persons. "Transgender" refers to any person whose gender expression appears at odds with his or ber biological sex, including transvestites, drag queens and kings, intersexed persons, "passing" men and women, feminine men, and masculine women. "Transsexual" refers to men and women who challenge the sex they were assigned at birth, whether they choose sex-reassignment surgery or not. Feminism popularized the distinction between "sex" (as biological sex) and "gender" (as the social expression of masculinity, androgyny, and femininity); the trans movement took this distinction to the streets.

Feinberg discusses her struggle with the health care system in hir new book, Trans Liberation: Beyond Pink or Blue. Released in October, Trans Liberation chronicles Feinberg's career as a public speaker and collects the addresses s/he delivered to a variety of groups, from Gay Pride organizers to straight male transvestites. We spoke with Feinberg about why sexual freedom is impossible without freedom of gender expression.

On Our Backs: Trans Liberation was released this fall. Can you tell us about what you're working on now?

Feinberg: I'm deep into a novel titled Drag King Dreams. It's about a working-class, Jewish trans person who has a foot in both the diverse trans communities and also the lesbian, gay, and bi communities. It's a book about figuring out what "home" means and who your people are. I'm also trying to write a fable titled "Tale of Two Hearts." it's really a love song to Minnie Bruce Pratt-my wife, my lover, and my friend. It's just one chorus of the love song I write to Minnie Bruce every day of my life.

On Our Backs: Your relationship with poet Minnie Bruce Pratt, thanks in part to her book S/he, is well known. What is your advice to those of us seeking a long term relationship as loving as yours?

Feinberg: I just know that for me, this is a relationship unlike any other I've ever had. I wasn't looking for a lifetime commitment when I met Minnie Bruce. I°d been dating nonmonogamously for quite a while, nothing serious. Minnie Bruce and I both did a lot of work individually to grow up, get sober and work hard at developing our political consciousness and activism. We were ready for each other. Ready to be loving, to communicate, and to listen.

On Our Backs: Pat Califia once wrote that she wishes there would come a time when we don't pick a sexual partner by his or her gender, but by other criteria, such as whether the person is a top or a bottom. In your ideal world, what would attract people to one another?

Feinberg: It's hard for me to hypothesize. In the world we live in, individuals do organize their preferences around gender expression. But a spectrum of sexuality existed in ancient societies that predated state. sponsored repression of human love. That leads me to think that these preferences might continue to exist in future societies in which no form of sex or gender is outlawed or demeaned. I don't think the problem today is preferences so much as prejudices. For example, I read personal ads in which people say "no druggies or butches need apply." Wow! That's preiudice. If you say in an ad that you're looking for someone feminine or androgynous or some other form of preference. that's very different from saving "no butches." As more and more prejudices are defeated, and in a world freed from divide-and-rule bigotry, people will be freer to explore their preferences about gender and about individuals.

On Our Backs: Do transgendered persons have sexual representation-pornography, erotic fiction, videos made for and by themselves?

Feinberg: Right now, there are many people trying to write erotica that bends gender. And I think it's very important. For many of us, it's very hard, never being able to identify with the sexuality we see everywhere in the dominant culture. [So] it was very important for me to write about sexuality in Stone Butch Blues. In the novel I'm working on now, I've been thinking a lot about how to write about sexuality that's not necessarily masculine or feminine, or gay or straight.

On Our Backs: What do you mean by "sexuality that's not necessarily masculine or feminine"?

Feinberg: I see masculinity and femininity as forms of gender expression. But a person's gender expression doesn't necessarily determine their sexuality. It doesn't determine whether you'll be attracted to someone of a similar gender expression or a dissimilar one. It doesn't mean you'll be sexually aggressive or submissive or both. That's what makes me so angry when I hear people derisively refer to someone as "thinks she's so butch but she rolls over in bed." It's an assumption that masculinity translates into being a top sexually. It limits the range of sexual expression of masculine females. And it's a sexual attack on someone who is, by virtue of their social oppression, already sexually wounded.

On Our Backs: Both sex scenes from Stone Butch Blues were excerpted for collections of lesbian erotica. Did you intend the scenes to be sexually arousing for readers - to be erotica - when you wrote them?

Feinberg: That's such an interesting question. I have to say that when I set out to write the sex scenes, I began to be aware of internalized censorship: "Can I or should I write about this or that?" So I consciously blocked out any thought of readers with this odd mental trick: I told myself that whatever I wrote, I didn't have to publish it. First write it, then decide. By doing that, I discovered that I could write about the kind of sex that i thought was true to the emotional makeup of the characters. If it was erotic for readers, I think it was because I was true to the characters themselves, so the sex was "real," if you know what I mean.

On Our Backs: Can sexuality exist without gender? Or is gender an essential component of sexuality?

Feinberg: Certainly everyone is gendered - quite complexly. And we infuse much of who we are, as gendered people, into our sexuality. But sexuality is so complicated by oppression right now that it's really hard to study it removed from its social soil. Jesse Helms defeated funding for a study that would have backed up much of what Kinsey revealed decades ago: that human sexuality is not two opposite poles- one normal, one not. Sexuality is on a spectrum, and many individuals move along that continuum during their lives. But lesbian, gay, and bisexual love is outlawed in the majority of states in the United States. So how can a truly objective, intensive study of sexuality even be conducted? It's like doing a study on religious beliefs and affiliations during the Nazi regime in Germany. So much of what we will learn about the relationship of gender and desire, as well as unraveling other questions about the matrix of sexuality, will be tied to the victories of our liberation of humanity from oppression altogether.

On Our Backs: In Trans Liberation you wrote about how frustrating it is voting for a two-party system when both parties are backed by big business. Do you vote? Should poor, queer, and trans people even bother voting?

Feinberg: Well, politics is about more than voting. It's also about finding ways to move people to action. In a particular situation, voting on an issue in an election or a candidate could help advance the movement. In general, though, I don't think voting for Republicans or Democrats - both supported by wings of corporate America, as are their parties - advances our struggle. I believe we need to build an independent liberation movement that's not tied down by waiting to see what happens in the next election. Everything our movement has ever won, including progressive legislation, has been won based on the strength of our struggle.

On Our Backs: Lesbians who accept transgender liberation in theory often balk at making alliances with transsexuals. Why is this so?

Feinberg: First and foremost, transsexual men and women helped build the modern lesbian, gay, and bisexual communities and movement. I know of at least one transsexual sister who fought the cops at Stonewall. They haven't always been recognized for their valuable contributions. But I believe strongly that those in the lesbian communities who are opposed to building coalitions with the diverse trans communities are just one current, and very often a minority current. The question is: Which current of any movement will lead? Those who seek to narrow the movement, or those who seek to broaden and strengthen its collective power?

*In this interview, On Our Backs refers to Feinberg with the pronouns "hir" (pronounced "here") and "s/he." We choose to do so because Feinberg has stressed that if society is to accept transgendered people, our language must expand as well. S/he gives as an example Ms., a common term now, but unacceptable before the women's movement.

Source.

[caesium-55]

Lewis just wants to sleep. He's tired. He just arrived yesterday from Las Vegas and he needs to grant himself a lazy day or else, he'll go insane. He already planned out a perfect morning. You, on the bed with him in the most innocent sense—Lewis wouldn't mind sex because sex is nice and all but he also loved just resting with you and basking in your existence and your being—freely drifting in and out of the realm of sleep, no annoying alarm waiting to ruin his morning with that god-awful buzzing nose, basking in the silence and peace of a morning in the quiet part of Monaco, and letting the hours pass by without care. Then, when you both get sick of the sheets, you go down and grab breakfast in that café just across the building that sells amazing crepes.

But he wakes up and your side of the bed is cold and empty and panic sinks in his system quickly. He glances around the room. Sunlight peeks through the tiny gap of the black out curtains in the window. Besides the night lamp, it's the only source of light in the room. Your phone is not on the bedside table, Lewis notes. That means you slipped away from the bed and left the room some time ago without Lewis noticing. Usually, he'd feel it if you even just twitched and he'd wake up in a heartbeat, but the jet lag and the exhaustion that engulfed his entire body must have stopped him from doing so.

He sits up and rubs his face with his palms. He decides to follow after you downstairs.

The door abruptly opens with a loud bang, making Lewis flinch and turn his head towards. Lewis's face transitions from sleepy to shocked to confused.

You're wearing a gown that greatly resembles the type of gowns that the female cast of Netflix's Bridgerton wore in the show. It's a mixture of lilac and pink, both are pretty colors. Your hair is fixed into an elegant half-do with a plastic tiara to complete everything. On one hand, you carry a portable Bluetooth speaker. In the other, a microphone. You sport the most serious facial expression in the universe but nothing about you screams seriousness at all. Especially not with the funky-shaped eyeglasses that sit on the bridge of your nose.

You slam your hand against the light switch next to the door and the entire room brightens. Lewis chuckles at the sight of you, eyes twinkling with mirth. The room never feels more alive than it does now.

"Ta-da."

"Good morning, baby."

The intro of the song starts blaring through the speaker. A strong beat of drums. Then, you began to sing.

“After the war I went back to New York

A-after the war I went back to New York

I finished up my studies and I practiced law

I practiced law, Lewis worked next door—"

"Baby, you practice medicine—"

"Even though we started at the very same time

Lewis Hamilton began to climb

How to account for his rise to the top?"

You point the mic towards him. Lewis smiles and shrugs his shoulders.

"Man, the man is non-stop."

Lewis chuckles, amused. You are getting into it. You put your mic on your mouth again.

"Gentlemen of the jury, I'm curious, bear with me

Are you aware that we're making hist'ry?

This is the first murder trial of our brand-new nation

The liberty behind deliberation (Non-stop!)

I intend to prove beyond a shadow of a doubt

With my assistant counsel

Co-counsel—"

Lewis tries to leave the sheets so he can get his phone and capture you in video. You stop him by putting a hand on his shoulder.

"Hamilton, sit down."

"I'm sat."

You begin pacing around the room, hands waving around in theatrical fluorish.

"Our client Levi Weeks is innocent

Call your first witness

That's all you had to say

Okay

One more thing–"

You walk up to him and Lewis waits for your next move.

"Why do you assume you're the fastest in the room?"

"Because I am?"

"Why do you assume you're the fastest in the room?

Why do you assume you're the fastest in the room?

Soon that attitude may be your doom!"

Lewis shakes his head at you.

"Why do you drive like you're running out of time?

Drive day and night like you're running out of time?

Every day you fight, like you're running out of time

Keep on fighting, in the meantime."

Your number ends with you doing a dramatic pose and Lewis bursts out laughing, the sound mixing with the fading music.

"I love you so much. You have no idea."

This is far from the ideal morning he's planned out. This is not quiet. This is not peaceful. This is boisterous and obnoxious and too much energy so early in the day and every bone in Lewis's body still screams exhaustion.

But Lewis wouldn't trade this morning over the peaceful morning in his mind. Not when you looked so happy singing and rapping that Hamilton song. You theater nerd. God, Lewis didn't know he was physically capable of loving a person this much.

"Hey baby, if we get a son, can we name him Alexander?"

"Whatever you want."

Lewis wishes this morning will never end.

[geekgirl750]

Random details I noticed in Scream after watching it for the umpteenth time.

First:

Stu has a dog?!

In the final confrontation scene in the kitchen before Stu brings out Sidney's dad I noticed that there was a note written on the white board behind him

Here it is in more detail, although the quality isn't the best as I had to screenshot the scene from YouTube:

When I paused to read it in the actual film I was able to make out most of the note except for the small writing in the upper right (Which I think is either a phone number or date) but I'm pretty sure the note reads:

"Hi Stu, Sorry we missed you today. We'll be back Sunday. Be good! Love mom & dad. P.S. feed the dog."

The last line I wasn't sure about because it was blurry but I matched the note from this shot to the shot where Stu is sitting at the desk on the telephone and sure enough the last line is "P.S. Feed the dog"

So basically, Stu canonically has a dog which I think is super funny because it makes me wonder where the dog was during the party and what type of dog it is.

It also makes more sense for the dog door in the garage that Tatum tries to crawl through to be put there for the Macher's family dog rather than the cat.

Side tangent head cannons:

The orange cat we see run out before Tatum is killed in the garage belongs to Stu's sister Leslie and has a basic name like Marmalade or Garfield

Stu is 100% a dog person and hates his sister's cat because its tried to scratch him on a number of occasions and now he's lowkey afraid of it

That's why when he's left home alone he doesn't really watch the cat and lets it do as it pleases. (His sister is adamant that the cat is indoor only but Stu is kinda careless lets the cat roam free outside through the dog door)

The Macher's family dog is either a basic crusty ass white dog that belongs to his mom and has a ridiculously fancy name like Princess or Dutchess

Or the dog is something small and hyperactive like a Jack Russell that Stu used to play fetch with and run around with in the backyard as a kid

Like I said before I feel like the Machers aren't super creative with naming their pets. If the dog is a boy his name is probably Max or something like that.

Okay second thing:

I never noticed this but you can see Randy dancing with/ flirting with a girl at the party when Sid and Tatum first walk in

And then later that girl is being led away by a different guy so I guess Randy struck out twice that night lol

(Also peep Stu and Tatum flirting/ kissing in the lower left)

Thirdly:

In the garage scene after Ghostface first cuts Tatum's arm she stumbles backwards and bangs into a bike

This is more of a head canon than anything but I noticed that the bike is more feminine in coloring (shades of red and purple) so it makes me wonder if it belongs to Stu's mom or maybe his sister.

Lastly,

The layout of Stu's house makes no sense!

So I'm going to make another longer post about this because I spent like an hour last night comparing shots from Scream 1996 to shots from Scream 5 to get an understanding of the Macher house because it's almost labyrinthian in it's layout, especially the upstairs, but I'm pretty sure there's no way that house has 3 bedrooms if Stu's sister is supposed to be canon.

Anyways, here are a couple details I noticed that I thought were interesting:

I think the house has an intercom system! You can seen what looks like speaker/receiver on the wall behind the lamp in Stu's room as Sidney runs by it.

Lastly,

The Macher house has a back stairwell!!!

So I've watched this movie a bunch of times and I always thought that there was a door in the kitchen that led directly to the garage but that's NOT TRUE!

When Tatum goes to get the beer for Stu you can see that the kitchen is connected to the dining room and off the dining room is a door that leads into a laundry room/ mud room.

To Tatum's right you can see what looks like an ironing board and then a set of railings/steps which I'm assuming is a back set of stairs that leads to the upper floor.

You can see again in the reverse shot that the door that gets locked behind Tatum isn't actually the kitchen door but the door to the laundry room in between the garage and the kitchen .

Seeing this changed my whole perception of Tatum's death scene because I was always like how did no one see Ghostface sneaking around the party, whether it was Billy or Stu, and not realize when he goes back inside after killing Tatum rather than leaving through the garage. Now I think it's because whoever was Ghostface never actually cut through the party at all.

HE WENT UP THE BACK STAIRS!

And the layout of the laundry room would have hidden him from view of the kitchen as he would have behind the wall and out of sight.

I want to go more into detail about the logistics about how I think Billy and Stu got around the house as Ghostface as well as the entire layout of the house in a second post because I think the set design is so interesting but for now these are just some cool things I noticed that I wanted to share.

[hammondcast]

TGIF Get Back In The Groove Hammond Report Jon Hammond

#WATCHMOVIE HERE: TGIF Get Back In The Groove Hammond Report Jon Hammond 

Jon's archive https://archive.org/details/tgif-get-back-in-the-groove-hammond-report-jon-hammond  

Youtube https://youtu.be/KQW7PdlyWxQ 

FB https://www.facebook.com/558692101/videos/1451477062059316/ 

Instagram https://www.instagram.com/p/Ct2Dh9JOGUb/ 

TGIF Get Back In The Groove Hammond Report Jon Hammond

by

 Jon Hammond 

Publication date

 2023-06-24

Usage

 Attribution-NonCommercial-NoDerivs 4.0 International

Topics

 Hammond Organ, Hammond B3, Leslie Speaker, TGIF, Get Back in The Groove, Jon Hammond, Hammond Report

Language

 English

TGIF Get Back in The Groove Hammond Report Jon Hammond #TGIF #hammondorgan #hammondb3 #lesliespeaker#jonhammond

Addeddate

 2023-06-24 11:21:00

Identifier

 tgif-get-back-in-the-groove-hammond-report-jon-hammond 

Topics

 Hammond Organ, Hammond B3, Leslie Speaker, TGIF, Get Back in The Groove, Jon Hammond, Hammond Report

Language

 English

Topics, Hammond Organ, Hammond B3, Leslie Speaker, TGIF, Get Back in The Groove, Jon Hammond, Hammond Report Language English

[thetarttfuldickhead]

It would never have happened if not for Dr. Fieldstone. Now, Leslie’s delighted about her joining the Richmond team on a more permanent basis – she works wonders with the lads (and one head coach who shall remain unnamed, if only because he’s still a little sensitive about seeing a therapist) – but it does mean that Leslie’s once more out of an office. Just for the moment, of course, until he can find a suitable space without kicking anyone else out of their room. It’s really no hassle. He’s doing fine on the bench just behind the recyling bins outside of the copy room.

Or he was, until Roy Kent stops by just on the other side of said bins and, seemingly entirely unaware of Leslie’s presence, starts fiddling with his phone in what can only be described as an angry way.

It’s Roy, so that’s nothing out of the ordinary, and Leslie’s just about to offer a friendly greeting when he hears the hollow rings of an outgoing call and ah, it’d be terribly rude interrupt, wouldn’t it? 

For a long moment there’s nothing but beep after beep and Roy’s muttered pick the fuck up you fucking prick and then—

“What the fuck do you want?” 

Jamie’s not on speaker, but the sound’s loud enough for Higgins to not only recognize the voice but to hear every word, and the jagged, slightly petulant edge to them. 

“Where the fuck are you?” Roy growls. 

“How’s that any of your business? Training’s fucking over for the day, Coach.” Spat, more or less.

“Don’t be a fucking— “ Roy cuts himself off. “I need to see you.”

“Why?” 

“Fucking hell! I wanted to… I want to fucking apologize, all right!” Roy sounds very, very annoyed about it.

“You can do that over phone. Or in a text.” Jamie sounds slightly less annoyed, but not by much.

Leslie dares crane his neck just so to sneak a peek at Roy’s face. Roy has closed his eyes, looking pained as he grits out a simple, strained: “No. I can’t.” 

“Why the fuck not?” 

Roy looks to the ceiling. Looks like he’d rather be anywhere else. Still he plods on, and Leslie feels a small surge of pity, small surge of pride. 

“Because you’ll want to hug me afterwards,” Roy says, “and you can’t fucking do that over phone, can you?” 

There’s a long pause. Leslie finds himself holding his breath, and not only because he’s halfway terrified he’ll start nervously gagging if this goes on for much longer. 

“Fine,” Jamie says eventually. “You can meet me back at my place in twenty.”

“Yeah, okay. Cheers.” 

A snort, somewhere between derisive and exasperated. “You better fucking hug me back.”

With that, Jamie hangs up. Roy takes a few deep breaths before stomping off and leaving Leslie to carefully consider what he’s overheard. Obviously something must have happened at training and if their head coach and star player have a proper falling out and Ted’s not there to talk some sense in them—

Eh. They’ll sort it out. Leslie returns to his e-mails.

[thebeatles]

John Lennon, for "Tomorrow Never Knows," (1966) wanted to sound like "Dalai Lama chanting from a hilltop" and shared his idea to George Martin. John's idea was hanging upside down, suspended with wired, and spinning him around a microphone. That idea was reasonably rejected by George and was left to look for better options.

The solution: connecting John's vocals through a Leslie rotating speaker.

Here is an excerpt from Bob Spitz, The Beatles: The Biography (2005) (p. 601-602):

Meanwhile, John discussed several ideas for the vocal with his producer, each one a conceit of his overactive imagine. "He wanted his voice to sound like Dalai Lama chanting from a hilltop," Martin recalled. Most producers would have dismissed such a cheeky idea out of hand, but Martin, a wise patient man, gave the Beatles enormous leeway. Their ideas might sound like gibberish initially, but he recognized that because of their lack of formal musical training, they often only needed someone to "translate" what they meant, to express in terms that made sense to structured technicians and in that respect Martin viewed his role as "the officer interpreter." In many cases, he struggled to create some kind of Tibetan influence or effect in the studio, realizing that ordinary echo or reverb wouldn't do the trick. Recording out of doors was also out of the question; there was no way to contain or control the sound. And John's suggestion -- that "we suspect him from a rope in the middle of the studio ceiling, put a mike in the middle of the floor, give him a push, and he'd sing as he went around and around," according to Geoff Emerick -- was met with a meaningful, albeit barely a tolerating smile. (When pressed by John, they were always said to be "looking to it," Emerick recalled.) It was nineteen-year-old Emerick who eventually came up with an inventive solution he suggested putting John's voice through a Leslie speaker and re-recording it as it came back out. To a straitlaced, formalistic EMI technician, this sounded about as nutty as suspending John from a rope, but the more Martin thought about it, the more he saw its possibilities. A Leslie was a speaker with variable rotating baffles that was usually paired with a Hammond console organ. "By putting his voice through that and then recording it again, you got a kind of intermittent vibrato effect," Martin explained. It was a revolutionary idea -- but considered taboo at Abbey Road, where engineers were discouraged from "playing about with microphones."

[glow-worms-are-believers]

Stranger in the Night (dp x dc)

Valerie wakes up to the sound of knocks on the door. As she blinks up confusedly at the ceiling, she can hear some noise coming from the bedroom over, her father then. Her eyes slid close again and she’s hanging, in-between conscious and not before the hushed voice of her father and an unknown speaker tear her away from sleep fully. With a groan, she rubs at her eyes before sitting up. As she trudges towards the door, the voices become more distinct.

“-really am but I didn’t know where else to go,” the voice that is not her father says.

“What do you expect me to do?” Her father answers and Valerie can hear the weariness in his voice.

She reaches the last corner just as the stranger answers.

“She needs a place to stay,” the stranger says and Valerie who can see around the corner now, sees that it’s a woman, with short grey hair and stern features.

“Leslie, I’m not a doctor, if she’s as injured as you said-,” her dad answers and that has Valerie perking up her ears. Who is this 'she'?

“Her condition is stable. I can give you prescriptions and a colleague’s number in case something goes wrong but what she really needs now is rest,” the now named Leslie answers.

“Look,” Valerie’s father states, “even if I could take her in - and that’s a big if - Amity has… changed. It’s not safe, especially for an injured teenage girl.”

“Damon,” the woman starts and Valerie can hear the emotion in her voice, “Damon, please. She doesn’t have anywhere else to go.”

There’s a silence before her dad sighs. “Fine,” he concedes. “She can stay.”

“Thank you,” the stranger says and Valerie’s father nods before cocking his head.

“Val,” he says and his voice is intentionally louder and the teenager knows she’s caught. She steps around the corner sheepishly.

“Yes?” she answers.

“Why don’t you set up the guest bedroom for our guest,” her dad requests and waits for Valerie to nod and start walking away before he turns back towards the woman.

“Can I at least ask what her name is?”

Valerie is moving away, towards the wardrobe where they keep the bedcovers when the answer comes.

“Stephanie. Stephanie Brown.”

[alotofpockets]

Familiar location | Leslie Shay

Pairing: Leslie Shay x Reader Summary: Where 51 gets called to a house fire and Shay recognizes the adres to be yours.

Masterlist | Chicago Fire masterlist | Words: 1.2k

It had been a quiet shift for 51, only a few small calls, so the team was enjoying themselves in the common room just chatting away. Shay was mid-conversation with Dawson when the alarm bells rang for a house fire, the moment the street name was called over the speakers Shay’s eyes widened, “That’s y/n’s place.” She runs to the car, full of worry. Dawson steps in front of her partner, “Let me drive.” Dawson knew that Shay’s feelings for you went deeper than just best friends, though the girl had yet to admit it. She didn’t want Shay to drive to this one.

On the drive Shay tries calling you several times, but she couldn’t get ahold of you. She was worried sick, unable to sit still. As soon as Dawson pulled over the car at the scene, Shay jumped out and ran towards your house, in a panicked manner. The moment she laid her eyes on you, she was finally able to breathe again. There you stood, unharmed, talking to the Chief. She ran the rest of the way towards you and hugged you tight. You hadn’t seen her coming as you had your back towards her, but you knew instantly whose arms were wrapped around you. Shay lets go to check you out, to make sure you actually weren’t injured. “Are you okay?” She says pulling you back into a hug. “Yes, I’m okay.” This time you were able to hug her back, you nestled your head into her shoulder, you were unharmed, but your house being on fire was still a lot to take in. 

“What happened?” Shay asks as you’ve calmed down a bit. “I don’t know, I heard an explosion and all of a sudden there were flames everywhere. I ran outside and my neighbors called 911 when they heard the explosion and came to check on me.” Boden speaks up, “When the fire is out, I’ll have Severide check to see if he can find out what happened. What’s important now, is that you made it out unharmed.” He pats your shoulder. 

Dawson had checked on your neighbors to see if any of them needed help, when everyone was good she came your way. Giving you a quick hug, “It’s so good to see that you’re okay.” The three of you watch the team fight the fire, Shay’s arm still wrapped around your shoulder, as you lean into her side. 

When the fire was dealt with, Severide and the rest of squad 3 went in to check out what started the fire. About 15 minutes later he comes out, “The fire started in the fuse box, my guess is either faulty wiring or outdated wiring. Your insurance should cover everything, let me know if there’s anything I can do to help with that.” You thank Severide, and accept his offer to help you with the insurance claim. 

Engine 51 is out next, and Herrmann walks up to you and Boden next, “We have to let everything settle for a bit, but in like 30 minutes we can go in and see what we can salvage for you.” You thank him as well and sit down on the ambulance steps along with Shay. “You can take all the stuff they can salvage to mine and Severides, stay with us until everything is sorted out.” She hands you a bottle of water, “Thanks Les.” 

You drive to the firehouse in the back of the ambulance, since their shift was nearing its end. A few of the team offered to join you, Shay and Severide, to see what they could salvage from your house. With a couple of boxes you head to your temporary home. 

“You can take my room, and I’ll sleep on the couch.” Severide offered. You shake your head, “That’s really sweet, but I can just take the couch, it’s fine.” Shay watched the conversation with a slight furrow in her brow. “If you want we can just share my room, no need for anyone to sleep on the couch when there’s a king sized bed in mine.” You agree to Shay’s offer and put your stuff down in her room.

At night the two of you lay down in the bed, Shay turns your way “Goodnight y/n.” shared with a peck on your lips. Her eyes widen when she realizes what she had just done. “I am so sorry, I don’t know why I did that.” She’s about to get up to sleep on the couch after all, too embarrassed to stay, and too afraid she’ll do it again if she doesn’t leave. Your shock wears off before she manages to get off of the bed, so you grab her arm and pull her back. Connection your lips again, she kisses you back instantly. Your lips dance together as if they had known each other for years, the kiss was soft, and sweet. It was something the both of you had been craving, it was perfect. 

After kissing her for a while longer, you let her know that you’re really tired from today. She pecks your cheek, “Okay, let’s get some rest then.” You fall into her arms, and she holds you close. Despite the events of today, you’re able to fall asleep fast, in the comforting hold of your best friend. 

When you wake up, the spot on the bed next to you that was once occupied by Shay, was now empty and cold to the touch. You throw on a hoodie from Shay and leave her bedroom, only to find her pacing around the kitchen island. “Hey, is everything okay?” She stops pacing and locks her eyes on yours, “We need to talk about what happened last night.” You nod in agreement, “Okay, do you want to start?” 

“I really enjoyed kissing you, but I’m scared that maybe you felt like you had to because I kissed you out of nowhere.” You’re quick to her side, placing your hands on her cheeks. “I can’t say that I wasn’t taken back by that initial kiss, but I am so glad that you kissed me, because I’ve been wanting to kiss you for so long, Les.” Realization hits, you wanted her the same way as she wanted you. 

Her smile grows and she leans in, “So, I can kiss you again?” You nod and she presses her lips on yours only seconds later. You’re too focussed on Shay to hear Severide come walking in. “Well, good morning to you too, lovebirds. Glad you finally admitted your feelings for each other.” His comment earns him a warning glare from Shay, but he just shrugs it off. “So, y/n, I have a copy of the fire report for you. If you want we can contact the insurance company today to start the claim.” He continues like nothing happened. You ask if he can join you to go in the afternoon, which he agrees too.

Back in Shay’s room she asks, “If you don’t have any plans until the afternoon, do you maybe want to get some breakfast together?” You smile at the slight nervous look on her face, “Only if it’s a date.” With that comment her nerves fade quickly, “It’s a date.” And with that the first date of many to come was planned. 

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[april-is]

April 26, 2024: Origin Story, 1993, Adam Falkner

Origin Story, 1993 Adam Falkner

Your grandma says you look just like your cousin Frank, mostly in the eyes when you grin. They chuckle at the dinner table when there is Frankie in your hair, towhead cowlicks bolting into sky

like strands of snapped hay. No one stays long on the subject, really – just the way he lives in your laugh, your funny faces, how he smokes like a ghost from your whistle. Once, your nan

had to grip the back of a chair to keep from buckling. And he’s not dead. He just moved. They told him he had to. So he bought a blue ‘82 pickup & went to New York to “get AIDS

and die.” Which he did. But not before filling his lungs with sky the size of God country & the new-fashion baptism of a sequined, hungry life. Not before flashing

through a decade of open-mouth laughter & living room play readings, crowded apartment holidays & finally, the big breaks. Not before the coke parties & park muggings & good news to share

with the boys & dinners at diners that let you run a tab & hard news to share with the boys. Not before beach houses wind-whipped with salt & memory, where they sit arms pretzeled to watch

the sun steal into the other life. But that’s later. It is 1993. You are nine-and-a-half but going on knowing. It’s the fourth of July & everyone is here except everyone who never is. Your giggle

lingers like grease on the walls as you float the hallway, dull murmur carrying on from the kitchen & there—frozen on the dresser, like a trophy & a prayer. He kisses you back.

--

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