Can you please stop naming your album collections of demos/outtakes/alternate takes /etc with any version of "The __________Sessions", please?
I remain,
One curious thing about Trump is he seems incapable of pronouncing the word “industry” correctly.If any reporters wanna see Trump's head pop right off his neck they should ask him on live tv why it's June 5, 2026 and he still doesn't appear to know how to pronounce "industry" correctly.
A. You walked in on me banging your mom
B. You told me you invented anilingus?
C. Cheers it’s me, Prince Andrew!
I will keep you posted - thank you, Earth!
ONE THING I'VE LEARNED AFTER TWO TRIPS TO THE DC IMPROV OVER THE COURSE OF A MONTH:
Whether a lower-tiered comic is 25, 35 or 105 the odds of them starting a sentence with "I'll tell you something about getting old..." are exactly 100%.
I usually find myself screaming at these kind of things like a fucking lunatic but found this to be worthy of my time - I like 41 of these songs, and if you can guess the exact 41 then you win "41 SECONDS IN THE CLOSET WITH XMASTIME"!!!!
Good luck! Win or lose, you'll need it!
Each human female has about 300,000 eggs during the fertile period of her life. Each male ejaculation has about 300 million sperm. Thus each conception contains about a hundred thousand billion different possible combinations of DNA. In other words, there are a hundred thousand billion unique and different human beings that could result from each procreation event. Only one of those possible combinations led to each of you reading this article at this moment. Here’s a way to visualize that extremely tiny fraction. If you took a very long ruler that stretched from here to the planet Pluto, one inch of that distance would be you. The rest of the distance would be other possible human beings that could have been, but never were. Each of us has won a lottery with a hundred thousand billion different players.
From the distant past, billions of years ago, to the distant future, billions of years ahead, the universe will never see another one of you.
Usually I’m comforted by the vastness of the Universe rendering my very being literally meaningless, but then sometimes I can’t help but wonder if maybe I really am the center of the Universe; why else would I even be here?
Fortunately, as Paul and John turned to George Harrison and began showing him the chords to "Paperback Writer," inspiration struck. It occurred to me that since microphones are in fact simply loudspeakers wired in reverse (in technical terms, both are transducers that convert sound waves to electrical signals, and vice versa), why not try using a loudspeaker as a microphone? Logically, it seemed that whatever can push bass signal out can also take it in—and that a large loudspeaker should be able to respond to low frequencies better than a small microphone.
The more I thought about it, the more it made sense. I broached my plan, gingerly, to Phil McDonald. His response was somewhat predictable: "You're daft; you've completely gone around the twist." Ignoring him, I took a walk down the hall and talked it over with Ken Townsend, our maintenance engineer. He thought my idea had some merit. "Sounds plausible," he said. "Let's wire a speaker up that way and try it."
Over the next few hours, while the boys rehearsed with George Martin, Ken and I conducted a few experiments. To my delight, the idea of using a speaker as a microphone seemed to work pretty well. Even though it didn't deliver a lot of signal and was kind of muffled, I was able to achieve a good bass sound by placing it up against the grille of a bass amplifier, speaker to speaker, and then routing the signal through a complicated setup of compressors and filters—including one huge experimental unit that I secretly borrowed from the office of Mr. Cook, the manager of the maintenance department.
With renewed confidence, I returned to the studio to try it out for real. Paul wasn't as nontechnical as John, but this was pretty way out, even by Beatles standards. He looked at me in a funny way as I set up the big, bulky loudspeaker in front of his amp instead of the usual microphone, but he didn't say anything, and neither did George Martin, who by now was getting used to my Rube Goldberg approach to recording. They returned their attention to the rehearsals, giving me the opportunity to cautiously raise the fader carrying the bass signal. Paul's distinctively fluid bass line in "Paperback Writer" consisted mostly of notes played high up on the lowest string, which helped round out the tone further still. His playing was also more melodic and busy than on previous tracks. It sounded absolutely huge, so much so that I became somewhat concerned that it might actually make the needle jump out of the groove when it was finally cut to vinyl. But Paul loved the sound, and it was eventually left to my mate Tony Clark to cut the master lacquer. I was glad Tony had gotten the assignment, and he did a brilliant job. If it had been one of the older guys, they would have either slashed all the bass out of it, or sent it back and told us to mix it again.