#Output The Roof | Explore Tumblr Posts and Blogs

wheelsgoroundincircles · 4 months

Text

1955 Chrysler C-300

1955 Chrysler C-300: A Glimpse into the Golden Age of American Automobiles

The year 1955 marked a significant milestone in the history of American automotive engineering and design. It was a time when automakers were pushing the boundaries of performance, style, and innovation, and one car that epitomized this spirit was the 1955 Chrysler C-300. Often regarded as the first modern American muscle car, the C-300 not only represented a radical departure from conventional automobiles but also left an enduring legacy in the world of automotive enthusiasts. In this extensive exploration, we delve into the history, design, performance, and cultural impact of the 1955 Chrysler C-300, a symbol of the golden age of American automobiles.

The Birth of a Legend

The 1955 Chrysler C-300, where "C" stood for "Continental," was more than just a car; it was a statement of power, luxury, and style. Born out of Chrysler's desire to reclaim its position as a dominant force in American automobile manufacturing, the C-300 was a bold departure from the brand's previous offerings. It was the brainchild of Chrysler engineer and visionary, Bob Rodger, who saw an opportunity to marry a high-performance V8 engine with a full-sized luxury car, creating a new breed of American automobile.

Design: Classic Elegance with a Touch of Sport

The design of the 1955 Chrysler C-300 was a harmonious blend of classic elegance and sporty aesthetics. The car featured clean, uncluttered lines with a distinctive grille that became one of its signature design elements. The iconic, vertically stacked quad headlights and a wide, bold grille made a bold and unmistakable statement on the road. The subtle yet pronounced fins at the rear added a touch of sophistication and conveyed a sense of motion even when the car was at a standstill.One of the most striking design elements of the C-300 was its two-tone color scheme. Many C-300s featured a contrasting roof color, which accentuated the car's sleek profile. The attention to detail and craftsmanship in the exterior design set the C-300 apart as a true luxury automobile.

The interior of the C-300 was equally impressive. It featured sumptuous materials, tasteful chrome accents, and a driver-centric dashboard. Plush leather seats provided both comfort and support, making long drives a pleasure. The cabin was spacious, allowing passengers to enjoy the ride in style and luxury.

Performance: The Birth of American Muscle

What truly set the 1955 Chrysler C-300 apart was its groundbreaking performance. Under the hood, it was powered by the legendary Hemi V8 engine, which had already gained a reputation for its power and efficiency. In the case of the C-300, the Hemi V8 was tuned to deliver a staggering 300 horsepower, an unprecedented figure for a production car of its time. This made the C-300 the most powerful American car of 1955.The combination of a high-performance engine and advanced engineering made the C-300 a formidable force on the racetrack. In fact, it dominated the NASCAR circuit in its debut year, winning eight of the 16 races it entered. This racing success solidified the C-300's reputation as a true performance car, earning it the nickname "Banker's Hot Rod."

Engineering Innovations

The 1955 Chrysler C-300 introduced several engineering innovations that set the stage for future developments in the automotive industry. The Hemi V8 engine was at the forefront of these innovations. It featured hemispherical combustion chambers, which allowed for better airflow and combustion efficiency. This, in turn, contributed to the engine's remarkable power output and smooth operation.

Another notable innovation was the use of power-assisted brakes and power steering, both of which enhanced the car's drivability and safety. These features were a testament to Chrysler's commitment to providing a superior driving experience.

Cultural Impact and LegacyThe-1955-Chrysler-C-300

The 1955 Chrysler C-300 had a profound cultural impact that reverberates to this day. It represented a paradigm shift in American automotive manufacturing, heralding the dawn of the muscle car era. The C-300's racing successes on the NASCAR circuit elevated its status and contributed to the popularity of stock car racing in the United States.The car's blend of luxury and performance appealed to a new generation of consumers who desired both power and style. It embodied the American spirit of innovation and ambition, and its success inspired other automakers to explore the concept of high-performance production cars.

The legacy of the C-300 extends beyond its time. It laid the foundation for the muscle car movement of the 1960s and 1970s, influencing iconic models like the Ford Mustang, Chevrolet Camaro, and Dodge Charger. The C-300 remains a coveted collector's item, a symbol of an era when American automakers pushed the limits of engineering and design.

Conclusion

The 1955 Chrysler C-300 is a testament to the ingenuity, ambition, and creativity that defined the golden age of American automobiles. It represented a bold departure from the norm, marrying luxury with high-performance engineering in a way that captured the imagination of a generation. As a cultural icon and a pioneering force in the automotive world, the C-300 continues to inspire and captivate enthusiasts and collectors, ensuring its enduring legacy in the annals of automotive history.

#Chrysler C-300 #Chrysler #C-300 #car #cars #muscle car #american muscle #mopar #moparperformance #moparnation #moparworld

82 notes · View notes

thaisibir · 4 months

Text

Phantom Thieves react to getting anesthesia: headcanons from a real anesthetist

Ren: wakes up unusually chatty, thinks the recovery room nurse is Sae in the interrogation room, talks about all the stuff he has to do to increase his social stats

Ryuji: won't shut up about being a Phantom Thief and rats out his friends as Phantom Thieves (fortunately none of the OR staff believe him because they chalk it up to post-op delirium)

Ann: confesses her undying love to the recovery room nurse taking care of her (which destroys Morgana)

Yusuke: wakes up reciting a very long list of all the hospital food he wants to eat, ends up not eating for a while due to having the terrible luck of previously undiagnosed post-op nausea and vomiting (PONV sucks, and known history of it in a patient definitely affects the anesthetic plan. A lot of drugs in our disposal have anti-nausea properties: propofol, decadron, zofran being the most common. But a bunch of others can do the exact opposite and cause nausea: opioids, anesthetic gas, etomidate (which I call vomidate) etc. It's a careful balance of what meds to use and which to avoid, and it depends on the patient.)

Makoto: wakes up alternating between yakuza movie quotes and swearing every other word from surgery pain (a bad habit she got from Sae, who swears like a sailor out of work stress when she thinks Makoto can't hear)

Futaba: takes fore-fuckin'-ever to get to sleep, gets slugged with enough medication to knock out a 100 kg 6 foot tall man (redheads are known for needing higher than average anesthetic to go past the threshold of consciousness and awareness. This is actual book knowledge plus my own clinical experience. Futaba would be a real chore to anesthetize.)

Haru: wakes up throwing hands, swinging fists and feet into OR staff, keeps asking for her axe, has to be restrained to the bed until enough sedatives kick in to calm her down (little kids, teenage girls and big healthy guys tend to wake up violently as the anesthetic wears off. The solution and wonder drug for this: precedex.)

Morgana: makes a weepy proposal to Ann, launches into verbal treatises and theories on the psychology of the Metaverse (which just sounds like incoherent meowing and yowling to the vets)

And for the honorary PTs:

Sojiro: the amount of gunk and spit suctioned out of his mouth before removing the airway device is through the roof (suctioning the mouth and throat is super important during emergence of anesthesia, so that stuff doesn't make the vocal cords spaz out and slam shut, which is laryngospasm, an airway emergency. Smokers tend to produce excessive oral secretions, and if they smoke enough, it can even look gray and brown. Lovely huh?)

Sae: has a low heart rate in the 40s that kind of unnerves OR staff, but that's only because she's very athletic (very fit people can have pretty low baseline heart rate, because exercise remodels the heart to optimize blood output for less work/heart rate. Normal heart rate range is 60-100 bpm, but I've seen Ironman type athletes have 30-40 bpm.)

#persona 5 #persona 5 headcanons #ren amamiya #ryuji sakamoto #ann takamaki #morgana persona 5 #yusuke kitagawa #makoto niijima #futaba sakura #haru okumura #sojiro sakura #sae niijima #this was fun. hope you learned a bit of medical stuff today

52 notes · View notes

dreamings-free · 5 months

Text

‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

------

“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

#louis #fitf tour #fitfwt #lt crew #tpi magazine #05.01.24 #article #touring #thank youu omglarryrabbit ;)#love getting to peek behind the scenes this is great

96 notes · View notes

doingproblematicmedia · 1 year

Text

I touched real grass today* and am still annoyed about this, so here we go:

We cannot pretend Hogwarts Legacy doesn’t exist.

I have seen so many posts saying that “if you talk about this, you cannot be a real ally. Playing and talking about this game will do real harm to real people. Do not support Hogwarts Legacy.”

And why does this make me angry? Because it’s reductive and doesn’t acknowledge the real world we live in.

Let’s start with the basics: paying for the game financially supports WB and JKR. A boycott aims to harm someone financially, and I believe that not paying for this game is a good goal, with some real measurable results.

But I’ve seen as many posts condemning someone who would pirate the game. Pirating, which WB Media will count as a loss, doesn’t put money in JKR’s pocket, and therefore accomplishes the goal of a boycott: to hurt someone financially.

What is the goal of convincing people not to pirate the game? To make sure that people don’t play it? To make sure that people don’t talk about it?

I cannot condone this. Because Hogwarts Legacy will not go away, and it is important to talk about it.

Hogwarts Legacy is going to be one of the biggest games of the year, if not the biggest. Presales are through the roof. Millions of people are going to be playing this thing. It is not a commercial failure. It is not going to go away.

By silencing talk about Hogwarts legacy, we are silencing ourselves.

It is important to have a voice in this conversation. By trying to silence all talk about this game, we are shutting down critical discourse. Can a person effectively criticize a piece of media without engaging with it? Because a person plays this game, does that mean they are disqualified from bringing meaningful critical dialogue to the table?

If meaningful critique about this game is not offered, how can we expect to reach people? How can someone expand their thinking if the tools to expand it are not there?

There is so much talk about how engaging with Hogwarts Legacy will bring harm to real people. It is important to think about how our actions can do harm.

But critical engagement is not harmful.

And right now, the gaming press is not providing it.

As I write this (Feb 7 2023), the major outlets (at least the ones willing to touch it) have dropped their reviews. They almost all add some sort of sidebar disclaimer: We do not support JKR’s views on trans people. We support human rights and support people speaking with their wallets. Etc.

Cool, ok. Are they talking about the plot of the game? The thing that Jews are worried is going to be “Blood Libel Simulator 2023″? No they are not. How are we Jews going to push back on antisemitic content in this game if we don’t even know what’s in it? We need to be able to address what this game is going to be implying about us. Antisemitism is on the rise globally. I am scared for my Jewish family. I had to listen to a Gentile relative tell me over Christmas that Kanye was a ‘genius’.

Again, millions of people are going to be playing this. Not talking about any antisemitic tropes in it is only going to help them go unchallenged.

Critical works on Harry Potter are valuable.

Over the past few years, there has been an exceptional body of work put out that returns to Harry Potter. Takes a look at the books with a new eye, an eye that is more attuned to the casual cruelty JKR wields. Examines elements that we brushed over as children. Contextualizes Harry Potter in its British Neoliberal context, and points out the moral failings of JKR’s allegories. Realizes how Harry Potter does not call for true revolution, but merely a comfortable status quo.

Critical works like these have helped so many reevaluate Harry Potter with a more mature view. By looking at JKR’s output, we are better able to understand her current bigotry and call her on her views. Trans analyses of the books have highlighted transphobic material that went unremarked upon in the 2000s.

Why stop here?

Is it because talking about the game supports JKR? Or is it because people are condemning anyone who even thinks about talking about the game?

I know I’ve seen a million posts on my dash along these lines. “I don’t trust you if you play this game. I will block you if you talk about this game. You are not an ally if you talk about this game.”

And this, this makes me angry.

Because I know you’re trying to reach people who will pay for the game without thinking about who that money goes to. People who will not acknowledge the real terror JKR is inflicting on trans people. People who will say “let me enjoy the thing.”

But you’re not just reaching them. You’re also saying, in effect, “any talk about this game will get you shunned, blacklisted, harassed. Engaging with this game means that you are not a good person. Good people don’t talk about Harry Potter anymore.”

Aren’t we always banging on against online purity culture? Saying that media consumption is not activism, and that you don’t get to be a good person just by consuming the “right” media? Because right now, you’re saying the opposite. That media consumption is activism. That you are a good person because you don’t consume the bad media. That any talk about this does real harm to people.

And to be clear, I’m not talking about personal blocklists. Curating your online space and blocking stuff that you don’t want to see is not the problem here. The problem is the rather explicit statement that anyone who talks about Hogwarts Legacy is immoral.

And as a media critic, and a Jewish queer, I cannot accept this.

We must talk about the things that hurt us. We must continue pushing back against the bigotry of the Wizarding World. We must have a voice at the table, because no one is going to do it for us. Not the gaming press, not the suits at WB, and certainly not the world that produced millions of preorders for this game.

Once again, we cannot pretend Hogwarts Legacy doesn’t exist. The real question is: how will we talk about it?

Because if we’re not talking about it, someone else will be.

*A feat in a New England winter. Said grass was in a greenhouse.

#hogwarts legacy #jk rowling #harry potter #media criticism #doing hogwarts legacy #antisemitism #transphobia

173 notes · View notes

bellygunnr · 4 months

Text

Cold Hands

A KR08 piece. I forget which episode this is meant to tag, but it's just also trying to get into KITT3's head.

The command center, for once, is empty. Or as empty as it can be, with security protocol dictating that at least one member be occupying it at all times, especially in the dead of night. Tonight, it is Mike Knight as the lone sentry. A curious development-- a deviation, even, in his behavior. Perhaps Mr. Graiman's absence is an influence?

You ache to know. Silently, you switch on your scanner lights, upping the output until the stretch of the stone bunker you're facing is crimson. Mike's heart rate increases immediately. His breath, once even, hitches, and he turns to face you.

"I thought you were asleep," Mike says. "What's up?"

He abandons his post by pushing out of the chair and coming to stand by your fender. His left hand ghosts across your roof line, but the rest of him is held at arm's length. He looks strange, stretched out like that, like he's nervous to get close.

You consider drawing him in with humor. But the hour is late and he may be exhausted enough to grant you some mercy with your prying.

"You do not usually take the night shift," you say. "Particularly after arduous missions like today."

Mike tilts his head back. This is what he does, you know, when he is posed with a fact he wasn't expecting to confront.

"I just knew I wouldn't be able to sleep, KITT. I got a lot of guns pointed at me today."

Indeed.

You do not know how to compute that. He always has guns pointed at him. Up until this moment, you hadn’t considered it disturbed him.

"So you would have trouble sleeping," you surmise.

He smiles, head still tipped back, gaze fixed on the ceiling. His boots shuffle across the ground, bringing him closer to your chassis, which you start warming to the touch. The nanites are one of the few things that listen to you and you alone.

“Yeah. Yeah, but who doesn’t in this line of work?”

You briefly run the numbers. Not because his rhetorical question forces you to, but because you are curious. You only have organic data on the Graimans, Mike, and the few operatives blessed to have joined You previously. Sarah rarely sleeps soundly. Statistically, disturbed sleep is apparently common in “this line of work.”

Fascinating.

It is so utterly out of your control.

Yet you ache to be of assistance. You crunch ever more numbers and find yourself wanting. Mike leans more heavily against your body, until his torso is flat against your door, arms folded over your roof. He is warm. Perhaps he finds you warm, as well.

“You should rest here. I have been told my seats are quite comfortable.”

They should be, anyway. You can manipulate their form at will.

Mike laughs a little. It echoes. You capture the sound.

“Won’t I get in trouble for sleepin’ on the job, KITT? I thought you didn’t like it when I slacked off.”

You do not like it. His inability to focus on the job left you taskless and bored at the best of times. But just a month ago, he’d flatlined in your care, and just eight hours ago, he’d almost left you again. Conclusion: concessions must be made. Humans operate poorly when their needs are not met.

You open the driver’s door. Mike laughs again, hearing it, and strides around your hood. His hand drags lightly across your scanner cowling, sending reams of data through your processor. All of him leaves flashpoints of color across your matrix as he caves in to your plea and settles into the driver’s seat.

Several unformed ideas and thoughts skim your brain. You dismiss them harshly.

“Good night, Mike,” you murmur into the sound system.

He mumbles something in acknowledgement, but he’s asleep the moment his head drops back against the seat.

#kr2008 #mike traceur #mike knight #ki3t #k.i.t.t.#knight rider #gunny writes

17 notes · View notes

dark-lord-tom-returns · 1 month

Text

This isn't an instance of magic but I think it certainly deserves some examination. Magrat has a moment of reflection? After the pumpkin boat incident.

Certainly she was the best person for the wand. There was no doubt about that. Sometimes—and she hardly dared give the thought headroom, when she was under the same roof as Granny Weatherwax—she really wondered about the others’ commitment to witchcraft. Half the time they didn’t seem to bother.

Then she starts thinking about how she's better at medicine than the others because she knows about herbs, how she's studied their uses, how she's done the work to be able to heal people. And how the others don't seem to do any of that at all.

And Granny…she just gave people a bottle of colored water and told them they felt a lot better.

And what was so annoying was that they often did. Where was the witchcraft in that?

With a wand, though, things could be different. You could help people a lot with a wand. Magic was there to make life better. Magrat knew this in the pink fluttering boudoir of her heart.

This is an excellent example of the underlying attitude to magic of the witches. Magrat says it point blank: the "medicine" the other two give people often works. But Magrat doesn't believe it should because it's not how she does it.

She knows magic is real, she does it herself, but she also believes there is a right and a wrong way to use magic even when confronted with two powerful witches who do it the "wrong" way and get results.

I think this is why Magrat has such trouble with the wand. She has such a romanticized view of magic that she forgets that it's a means to an end and not the end itself. She looks at magic and sees the solution but in reality it's just one step toward a solution.

She says that the wand can help a lot of people. That it can make life better. But it can't. A hammer can't build a house but it can make building a house easier.

Magrat is the type of person who looks at chatgpt and sees the solution to all problems. We know it's not a solution, it's a tool and a faulty one, and how you use it can solve a problem, but only if you know how it works and she doesn't. So she's confused when she asks it to do her taxes and it keeps outputting tax fraud.

#discworld #magrat garlick #granny weatherwax #witches abroad #Witches don't pay taxes but still

13 notes · View notes

jackhkeynes · 18 days

Text

veðrvent "vane"

veðrvent /ˌvɛ.ðr̩ˈvɛnt/ [ˌvɛ.ðɐˈvɛnt]

vane, weathervane, weathercock, a mechanical device rotating around one axis and attached to an elevated object such as a roof for showing the direction of the wind;

anemometer, windmeter, a more sophisticated device for measuring and recording the speed and direction of the wind;

(metaphorically) volte-face, about-face, U-turn, flip-flop, a sudden reversal of opinion or strategy

Etymology: folk-etymological alteration of Old Borlish veðrevit "vane" under the influence of vent "wind" < synonymous ventus in Latin. The Old Borlish is a borrowing from Old Norse veðrviti "vane", literally "weather knower". Synchronically interpretable as "wind-glass"; though they are not normally made of glass, the word has been analysed as referring to glassware used for measurement. In metaphorical usage the word is seen from the eighteenth century.

Y torvegl indugs ec mesuranç suprem de veðrvent tras istr. /i tɔrˈvijl ɪnˈdajz ɛk ˌme.ziˈrants siˈprɛm de ˌvɛ.ðr̩ˈvɛnt traz ˈɪ.str̩/ [i tʊːˈvɪjl ɪnˈdajz ɛ ˌme.zɪˈʀans sɪˈpʀɛm de ˌvɛ.ðɐˈvɛnt tʀaz ˈɪ.stɐ] df storm induce.pst p.px output supreme of vane across island The storm led to record windspeed measurements nationwide.

#conlang #boral #conlanging #boralverse #alternate history #conworld

10 notes · View notes

multitrackdrifting · 1 year

Text

me: oh whats going on with rayark (dev. of cytus/sdorica/deemo/voez etc.)

twitter: most if not all of their new artworks are AI generated (MtL'd but native speakers have corroborated that the key idea is in-tact here). [see addendum below].

here's a former art director of cytus 2:

image in case it goes down

other [musical] artists who have worked on the game (such as kurokotei) have denounced the game and the company's attitude about AI art.

there's been pretty substantive backlash from each of the communities and the rhythm game community in general is not super enthusiastic about AI art. word has spread across their fanbases to universal disdain - there's a general agreement that this company should be buried within our memories because yeah, it's easy to say that "if it looks good why do you care where it came from", but that's just it - it lacks the technical polish and art direction that makes those games memorable but it's impossible to understand that argument if you're only interested in engaging with ai art discourse as a means of arguing about aesthetics or "real art" as opposed to the practical consequences of something a very loyal fanbase cherishes that has actually been tarnished by this new direction. art direction in particular is a huge part of the appeal of this company's works, and a lack of consistent aesthetic and artworks really does bring the roof down. whether you like things like vocaloid or rhythm games, you probably understand that the accompanying art for a song is a lot more than just a picture - the visuals are tied deeply to the impact and legacy of a song. the ui in those games is so barebones but the art carries them heavily.

youtube

this really stinks.

Addendum: A popular claim on twitter is that a lot of their artists were fired (one I did not make, given that there was no tangible proof of this). Rayark has issued their own statement clarifying that they have not fired their art team but doubled down on their commitment to AI art in a move to "adapt to the times" (a claim which is questionable given that industry leaders in the Mobage space don't really use AI-content for international titles but it might be more applicable to other regions).

While this assuages some fears (namely the shift to 100% AI Art, a fear which was largely a reaction to the yahoo article), the lack of transparency around the art direction (given that Sdorica and Cytus II have both been using AI Art to promote for a while now) is still something the broader fanbase is worried about. The reception from KR & EN audiences has been largely negative, JP is mixed but less intense. This still begs the question of whether AI-generated content will mean less collaboration with artists in the in-game content.

People have speculated that the press statement is written by ChatGPT, but text AI-gen detection is far less sophisticated than reading Stable Diffusion outputs (which has come a long way in terms of certainty).

#rayark #deemo #voez #cytus #anti ai art #ai discourse #ai art discourse #rhythm game communities are super grass roots so naturally they hate shit like this #and its especially egregious bc a lot of the content for cytus for ex. is paid so youre paying for AI Art instead of funding the contractor #Youtube

99 notes · View notes

mybeingthere · 8 months

Text

In 1953, when artist Nicolas de Stael (1914 - 1955) set up his atelier in Ménerbes, inside a stone house at the edge of a bluff, the fortified village was still an unknown sleepy hamlet. Fueled by a new amorous passion and deeply inspired by the verdant landscape of Provence, de Staël produced 254 paintings in only fifteen months.

During this same period, De Staël also embarked on a voyage to Sicily with Jeanne Polge, his mistress, with whom he had passionate ill-fated 6-month love affair. Italy’s sweeping sunlit views infused the artist’s palette with a new luminosity, inspiring a relentless output of new works.

Then, fifteen months later, the artist took his own life throwing himself headfirst off the roof of his rented apartment on the ramparts of Antibes at age 41.

*** Born in St Petersburg, Nicolas de Staël fled to Poland with his family in 1919. After his parents’ death, he lived in Brussels before leaving for Paris to study painting. He admired Braque and Kandinsky and befriended the poet René Char, who was a neighbor in Ménerbes, as was another of his friends, Dora Maar. Although de Staël belonged to no particular school of painters and his relatively short career only lasted 19 years, he is widely recognized today– which was not the case during his lifetime.

https://francetoday.com/.../nicolas-de-stael-in-provence/

28 notes · View notes

carsthatnevermadeitetc · 3 months

Text

BMW 730d Overland, 2023 (2006). An E65 7-series that has been adapted for overland travel. Having spent the first 2 years of it life in the diplomatic service, the second owner took the milage up to 540,000 km (335,540 miles) and broke the transmission. Presumably the current owner, who did the conversion, got the car for a bargain price. In addition to the historic Rothmans livery and roof-tent the suspension has been lifted by 2 inches. The engine and transmission have been rebuilt doing away with emission controls and adding an ECU remap to boost output to 282hp (from the original 228). You can follow the car's adventures on instagram @E65Overland

#BMW #BMW 730d #BMW 7-series #BMW E65 #lifted #restomod #overland vehicle #straight 6 #E65Overland #custom car

170 notes · View notes

athingofvikings · 2 months

Text

A Thing Of Vikings Chapter 76: A Grand Tour

Chapter 76: A Grand Tour

The early Dragon Mail stations were an earnest and generally successful effort in standardization; Haddock and Ingerman explicitly acknowledged the degree to which their designs were inspired by the Imperial Roman Castrum system of standardized layouts. Having experimented with the design in the earliest mail stations in the Alban Isles and Norway, Haddock and his initial construction expedition were able to build the mainland continental stations extremely quickly, typically completing each within a matter of days. Once the physical stations were built, the local merchant partnerships would take over with maintenance, staffing, and other logistical needs.

These early stations, while they had their problems, were generally well-designed, featuring a landing platform on the roof, housing for the staff, temporary quarters for dragons and riders, resting and feeding stations for the dragons, and mail intake and output offices. Due to space requirements, they were initially built outside of the local city walls or municipal limits, but quickly accrued settlement in their immediate vicinity, as additional shops and services found the traffic going to and from the mail station to be a natural draw.

—Corpus Historiae Berkiae, 1396

AO3 Chapter Link

~~~

My Original Fiction | Original Fiction Patreon

#a thing of vikings #httyd #how to train your dragon #alternate history #historical fiction

12 notes · View notes

warabidakihime · 1 year

Text

Intimate Ink

Characters: Nanami Kento x Reader

Synopsis: Y/N, a struggling writer, finds herself in the clutches of a frustrating writer's block. In search of inspiration, she seeks the help of her boyfriend, Nanami. Hence his debut as the author's Muse.

Content warning: smut and profanities. Minors DNI.

A/N: this is just me giving myself a pep talk by indulging into my deepest desires loljk ha enjoy.

"Fuck."

You grumbled as you turned away from your laptop, which you had been looking at for the last five minutes, hoping that an idea would finally come to you so you could begin writing the next sequence in the new chapter of your novel.

Everything was in place, but you couldn't manage to translate the scenarios in your imagination into actual words.

Just like your current mental state, the storm outside continued to wreak havoc. You swore you saw a chunk of someone's roof fly by. For a brief while, your heartbeat rate increased as you worried that the piece of metal would crash through your window and then slit your throat.

Crossing your arms as you leaned back on your chair, all the while closing your eyes to ground yourself, if there was one thing you had learned throughout your whole career as an author, it was that you shouldn't write when your head was clouded; otherwise, it would affect your output.

As you sat in silence in your office, you heard the front door open, indicating that your boyfriend, Nanami, was finally home from his errand run to the mall. He went shopping today for a new laptop charger after their golden retriever, Pepper, chewed on his old one. He couldn't bring himself to yell at the poor puppy since the relief he felt when Pepper didn't get electrocuted outweighed his displeasure.

Even though it was still early in the morning, your sleep-deprived boyfriend willed himself to go out and buy a replacement for his broken charger. His own deadline was nearing, so he didn't really have the time to procrastinate.

"I'm home," Nanami called out.

Deciding to take a break from writing, you finally stood up from your office chair and made your way downstairs to greet Nanami.

As soon as your eyes landed on him, a big smile appeared on your face. You had been dating for five years, but the feelings he gave you were very much the same as when you first started seeing each other.

"Were you able to buy what you need?" you asked.

Nanami nodded as he showed you the shopping bag in his hand as well as the milk tea you had requested him to buy on his way home. Maybe the sweet drink could help you get back on track.

You skipped over to him and gave him a kiss on the cheek, saying, "You're the best. Thank you, Nanamin."

Your ever stoic boyfriend gave you a boyish smile and said, "You're welcome. Have you eaten? I also bought food. You looked like you've been cooped up in your office all day."

"Yeah, I've been having a hard time with my novel. I can't seem to move forward."

"Your deadlines are not until next month, right?"

"Well, yeah, but... I don't like it when I'm in a stump." You chuckled humorlessly, clearly bummed about not being able to write at will.

"What part are you stuck at? Maybe I can help," Nanami said after settling down on the sofa.

"Huh? We-" Nanami immediately looked your way when you stopped abruptly, but before he could ask you what's wrong, you beat him to it and spoke first, "Yes, you can."

"I'm glad. So, which part of the chapter did you need help with?" Nanami asked again while tapping the space beside him, implying that you sit down with him.

So you did walk towards him, but instead of sitting beside him, you settled yourself on his lap. That caught him off guard, but he quickly adjusted and welcomed you quite eagerly; his eyes focused on you while he waited for your next move.

"Actually, I do know what to write next; I just don't know how to word it correctly. More specifically, I can't quite picture the scene in my head as accurately as I could."

"What do you mean?"

"I suck at describing positions, you see. But I might nail it down if I try to act them myself," you explained as you straddled your boyfriend, who was completely chill about everything so far.

"Hmm... is that so?" Nanami said coyly as he wrapped one arm around your waist to prevent you from falling backward, but apparently there was no need for that because as he was leaning backward to make himself more comfortable, you were already leaning forward towards him until you were chest to chest.

It was such a completely harmless gesture, but the tension in the room grew significantly stronger. It was so potent that they both felt their skin tingle with excitement. Nanami's intent stares and slightly wet hair caused by the rain weren't helping either. In all honesty, you felt your insides churn when you saw him by the foyer when he just got back from his errands. He looked so sexy and enticing, you almost jumped on him.

You cupped one side of his face, your thumb caressing his chiseled, gorgeous face. "Will you help me?"

After what seemed like forever, your heart started to race as you felt Nanami's arm wrap around your waist, keeping you steady on his lap. Your closeness started a spark of anticipation between you, and you exchanged a meaningful gaze. You could see the desire flickering in his eyes, mirroring your own.

Nanami's voice dropped to a low, husky tone as he played along with your unconventional request. "Alright, let's bring your imagination to life," he said, his voice laced with a mix of confidence and seduction.

You felt a shiver run down your spine as Nanami took the lead, his hands gently guiding your movements. With each gesture, he narrated the scenes from your novel, his voice resonating with a blend of authority and desire.

"The horny couple finds themselves in a secluded room," Nanami began, his voice captivating and commanding. Though his narrations were captivating, you were unable to refrain from laughing at the way he colored the characters in your story. But he was right on the money.

"Then the ever-needy bastard gently undresses her, savoring the sight of her exposed skin, inch by inch."

A soft moan slipped through your lips when you felt it brush against your crotch.

Nanami's hands moved with purpose, caressing your sides, his touch igniting a fire within you. Your breath hitched as you felt the brush of his fingertips against your skin, fueling your imagination and heightening your senses. Even more so when you felt his arousal grow firmer from the confines of his khaki shorts.

"Once she's bare before him, he explores every contour of her body," Nanami continued, his voice a sensual melody. He trailed his fingers along your arms, leaving a trail of tantalizing sensations in their wake. "His touch is electric, awakening every nerve and every hidden desire within her."

Your heart pounded in your chest as Nanami's hands moved further, tracing delicate patterns along your back and then the curves of your ass. You could feel the heat building between you two; the room continued to be filled with an undeniable magnetism.

You were so entranced that you didn't notice how quickly both of your clothes were coming undone.

"Their lips meet, hungry and eager, as your bodies intertwine," Nanami whispered, his voice a breathy caress against your ear. He leaned in closer, his lips brushing against your skin, igniting a cascade of tingles down your spine.

Your mind swirled with a whirlwind of emotions, lost in the sensations Nanami created. You surrendered yourself to the experience, allowing your imagination to meld with reality.

"They lose themselves in the rhythm of their desires, their bodies entwined in a dance of passion," Nanami narrated, his voice filled with raw emotion. His hands explored your curves, leaving no inch untouched, matching the intensity of his words.

You and Nanami were enveloped in a world where your shared fantasies became tangible. The boundaries between fiction and reality blurred as Nanami brought your novel to life, painting a vivid picture with his touch and voice.

Your breath hitched, your heart pounding in sync with Nanami's steady rhythm. A surge of inspiration washed over you, breaking through the walls of your writer's block, but at this very moment, curing your inability to write was the least of your worries.

You wanted Nanami, and you wanted him now.

After your productive brainstorming session, you and Nanami found yourselves breathless. The air crackled with a mix of desire and satisfaction, and a mischievous glint danced in your eyes as you looked into Nanami's gaze.

Your lips curled into a seductive smile. "Well, well, Kento. I must say, you have quite the creative way to help me overcome my writer's block," you purred, your voice dripping with playful innuendo.

Nanami smirked, his fingertips tracing light patterns on your thigh. "I'm a man of many talents," he replied, his voice filled with a mixture of confidence and desire. "But I must admit, it's not every day I get to bring a story to life in such a hands-on manner."

You leaned closer, your breath tickling his earlobe. "Oh, but you're so good with your hands, Kento. It's as if they have a mind of their own," you teased, your voice laced with undeniable allure.

Nanami's fingers trailed higher, causing you to shiver with anticipation. "Is that so?" he murmured, his voice a low rumble. "Tell me, Y/N, what else do you enjoy about my hands?"

Your eyes sparkled with mischief as you leaned back slightly, your gaze meeting his. "I enjoy how they explore every inch of my body," you whispered, your voice dripping with desire. "How they leave trails of fire in their wake, igniting a hunger that only you can satisfy."

A flicker of challenge danced in Nanami's eyes as he grasped your chin, his touch gentle yet commanding. "Is that a challenge, Y/N?" he asked, a hint of playful arrogance in his voice. "Because I assure you, I'm more than capable."

Your lips curled into a wicked grin as you leaned in, your voice a sultry whisper. "Prove it," you challenged, your eyes smoldering with desire. "Show me just how skilled those hands of yours can be."

The room was filled with a tantalizing mix of laughter and moans as Nanami and you surrendered to your desires. Your banter continued, punctuated by passionate kisses and gasps of pleasure. The two of you explored each other with eager anticipation.

Your fingers traced the contours of Nanami's chiseled chest, reveling in the power that radiated from his body. "You feel so good," you whispered, your voice laced with a mix of breathless awe and desire.

Nanami's lips found their way to your neck, peppering it with gentle kisses and igniting a trail of shivers along your spine. "You taste even better," he murmured, his voice husky with need.

The needy bastard’s lips curled into a wicked smile as he complied, intensifying his advances. "You make the most beautiful sounds," he growled, the raw desire evident in his voice. "I love how you react to me."

Your hands explored with purpose, mapping out every curve and crevice of your intertwined forms. You arched your back, giving Nanami better access to your sensitive spots. "Right there," you gasped, your voice thick with need. "Don't stop."

Your bodies became a playground of sensations, with each touch and stroke driving you closer to the edge.

Your fingertips traced the contours of Nanami's sculpted chest, particularly his perky nipples, eliciting delicious sounds from his sinister lips.

Nanami's hands caressed your curves, his touch firm yet gentle. He reveled in the softness of your skin, savoring the sensation as his fingers glided along your body.

Your mouths met once again, tongues entwining in a fervent dance. It was a language of pining, expressing what words couldn't convey. As you kissed, your bodies moved in perfect harmony.

Your hands traced the lines of Nanami's muscled back, her touch both gentle and demanding. "You make me feel so fucking good," you whimpered.

Nanami's lips curled into a wicked smile as he locked eyes with you, his movements steady and deliberate. "And you, my love, are a vision of pure ecstasy," he replied, his voice husky with desire.

Your nails dug into Nanami's skin, the room filled with the sounds of your union—moans, gasps, and the rhythmic slap of skin against skin. It was driving you both incredibly insane.

As your pleasure intensified, your words grew more audacious.

"Fuck me harder," You moaned, your voice laced with a desperate need, to which Nanami happily obliged.

What his Queen wants, his Queen gets.

"Holy shit–you feel, so! so good!" You gasped, your voice filled with raw desire. "I need more of you, Kento."

Nanami returned your stare with a boyish smirk, his own yearning reflecting in his eyes. "You're insatiable, Y/N. But I'm more than happy to give you what you crave."

"Oh, fuck yes," You cried out, your voice filled with unbridled pleasure. "I'm so close, Nanami. Make me come; make me lose control."

Nanami's voice was a low, seductive growl as he replied, "Hold on a little longer, Y/N. I want to savor every second of this intoxicating pleasure."

Your bodies moved with a desperate urgency, their movements fueled by the primal need to find release.

Your voice trembled with a mix of anticipation and longing. "Nanami... I can't hold back anymore. I need to come. Please..."

Nanami's eyes smoldered with desire and a hint of adoration as he adhered to your request. "Let go, Y/N. Give in to the pleasure. Come for me."

At that very moment your bodies convulsed with bliss, their shared climax washing over you like a tidal wave.

As your breathing slowed and your bodies basked in the afterglow, feeling absolutely well-spent. After what seemed like a total bang fest, the two of them remained silent as you tried to come down from their high with Nanami leaned all the way back on the sofa and you were plastered on his chest wearing a smile that practically spells, "Just had the best fuck of my life."

The two of you spent the next several minutes catching your breath, the room enveloped in a comfortable silence as you basked in the afterglow of your shared ecstasy. Eventually, Nanami broke the quietude with his sultry voice, "Well, I hope I was able to help you gather enough inspiration and references for your novel."

In response, you released a weary chuckle, your voice carrying a hint of contentment, "You have no idea; in all honesty, I could write a whole trilogy at this point."

"Don't forget to mention me in your 'thank you' message, and I'd like to receive a portion of the revenue should your novel become a box office hit."

You rested an elbow on Nanami's chest, your eyes sparkling with playful mischief as you beamed at him, "Am I not enough? My readers only get an autograph and maybe a picture from me, but you get the whole package."

"Well, if that's the case, how about a bonus?"

"I'll think about it. Till then, keep your lines open," you replied with a teasing smile, and right after that, a yawn slipped through your lips, eliciting a fond chuckle from your boyfriend.

Your conversation seamlessly transitioned into a cozy stillness. As you drifted off to sleep, your bodies remained intertwined, creating a cocoon of warmth and intimacy. When you awoke well past midday, the rest of the day was dedicated to unwinding and enjoying each other's company.

And as if Nanami possesses the voice of an angel, figuratively and literally, your novel did indeed reach box office success. True to your playful agreement, he received his well-deserved bonus.

#jujutsu kaisen nanami #jjk nanami #nanami x you #nanami x reader #nanami fluff #nanami kento x y/n #nanami x y/n #nanami kento x you #nanami kento x reader #nanami kento fluff #anime imagines #jujutsu nanami #jjk x reader #jjk x you #SURPRISEEEE

127 notes · View notes