#the 1975 headers

[staincastle]

⠀⠀⠀⊹ ˚⋆𐙚ㅤ﹒ㅤminimalistㅤㅤ✶ㅤㅤheaders

[userstuf]

★ THE 1975 (SONGS) USERS ★

• rwbbeirs

• abtyous

• ifwmade

• tootmes

• chclatie

fav/reblog if u save or use ♥︎ dont repost it

[hesmorphine]

hi!! do you have a taylor icon x the 1975 header?? thank you

Done. :)

[wingallery]

ㅤㅤㅤㅤㅤㅤㅤ ㅤ 𓂂 ˚ ◌ ✴︎ 𓂂 ˚ ◌ㅤ

ㅤㅤㅤㅤㅤㅤㅤ ★ SPOTIFY HEADERS

cr. psd by coloursource

[ssturday]

[cherriesforstyles]

🫠the 1975 headers !

like/ reblog is u save- use

[oh-bonerline]

His room smelled stale, unlived in, and it looked exactly how it had when Matty left it. The same clothes piled up on the bed. The same book laid face down on his bedside table. The same overflowing ashtray on the window sill. He’d half expected George to have relished the opportunity to organize and clean everything while he was away. But it looked as though George had simply closed the door and walked away, as if Matty had died and needed to be memorialized.  He opened up the window, letting in frigid but fresh air. He pushed the clothes off the bed and onto the floor. He stretched himself out on the bed, lying flat on his back, feeling as if he were in a sort of limbo. The room fit him oddly, like an old suit, somehow both too small and too big. He didn’t feel like himself but he didn’t feel like someone else. He felt like no one. 

we'll knock around and see - chapter nine on AO3

[violqtes]

billie eilish + the 1975 layouts

like/reblog if you save

[an0bra1nn]

the 1975 twitter headers

made by me :)

[garlic-sauc3]

women. in cars 👍

[frootielooties]

lurking in the 1975 tag we are so back

[staincastle]

⠀⠀⠀ ★ rina's message is here! minimalist headers

[sidekickclubhouse]

The JLA Mail Room header 1960- 1975

[fruitcoops]

Flight of the Con-Gourds

Day 4! Characters belong to @lumosinlove, fest header credit to @noots-fic-fests <3 Today's movie is easier to guess--pop into my inbox or the notes to try your hand!

Day 3 Halloween movie: The Rocky Horror Picture Show (1975). Did you find the line?

He hardly had to roll over at all—his nose smushed against a warm chest, apple pie and lingering Irish Spring and something savory-soft he had never known anywhere else. Sirius hummed, his hoarse throat giving way to something more wakeful with all the enthusiasm of a cat getting ready for a bath.

“Good morning.”

Sirius smiled to himself.

“I was gonna put coffee on.”

Coffee meant movement. It meant awake. “Non,” Sirius mumbled, pushing his face flat to the heartbeat in front of him. “Tu restes.”

Remus’ fingers carded through his hair in long, languid pulls. Bones? What were bones? Sirius didn’t know. Blunt nails found the back of his head and Sirius practically purred. “We have to go out. Pumpkins and cider, baby.”

“Smell like cider.” It coated the back of Sirius’ tongue when he breathed deep. Hot apples, wool scarves, a cloudy day. It hid just in the crook of Remus’ collarbones. “Nous restons.”

“You’re so snuggly today.” Remus sounded amused. “Good dreams?”

Probably. He felt relaxed enough for it, though he couldn’t remember any of them. The whole world was floaty and loose, except for their bed and the weight of Remus near. “‘Chais pas. Ici, restes.”

“We have to go,” Remus insisted. “All the good ones will be gone otherwise.”

Sirius frowned. “You’re not supposed to know about that.”

“About what?”

“Les citrouilles.”

“Why wouldn’t I?”

“Un secret.” Sirius let out a breath and pushed his head back into Remus’ hand. He quickly took the hint and resumed petting him. “Un grand secret, a surprise.”

“Surprising me with pumpkins?”

“Mhm.” Remus liked them so much. They made him happy every step of the way, from wandering vast fields of mud for one with a perfect face to carefully etching his printed stencils into the hollow body. Roasted pumpkin seeds as a snack, of course, and ducking into the little shops at the patch just for a second, baby, I just want to look.

Sirius’ eyelashes fluttered at the thought—maybe it was worth it to get up for that, after all—but he regained himself and kept them firmly shut. It would be perfect. He knew it. And this could be perfect for a while longer, too. Remus’ chest was moving like he was asleep. Rise and fall, steady and slow, no rabbit-heart or lightning-feet.

Pumpkins stretched out in every direction as far as Sirius could see. Patchwork trees blurred the horizon if he squinted, but there was such brilliance surrounding them that the far reaches hardly mattered. Small and orange and green and lumpy and even some the height of his hip, waxy to the touch where thick stems fell in curlicues down their sides.

Remus would feel bad for the slouchy, mottled one across the way; best to keep him where he was, tucked under Sirius’ other arm with steam ghosting over the bits of caramel hair that escaped his cap. His laugh was muffled by the lid of something warm. Familiar and snickering, like he was up to some unnamed mischief. Sirius must have said something funny. Or, were they here with James? He’d like that, bringing James and Lily and the baby along.

“My legs are tired,” Remus sighed, even as he pulled them down a new avenue.

Sirius bit the inside of his cheek to keep his smile sweet. “I could put you in a wheelbarrow.”

A flash of golden-brown in the light, hot like fire but honeyed like a kiss when it found him. “I dare you.”

“I’d get in with you.”

“Put Lily in, you and Pots can push us around.” Remus blinked at something over his shoulder in mild surprise. “Oh, that’s interesting.”

Sirius looked back. The pumpkins they had passed…oh, hours ago now, were hovering gently above the straw-strewn field. Not far—a few inches, maybe, at most a foot. The heavy moon backlit them into strange shapes. “Huh.”

“I haven’t seen that before,” Remus said, supremely unbothered. “Is that new this year?”

He supposed it was. “I think so?”

“I like it.”

Well, Sirius thought, that was all that mattered. He had been dying to tell Remus about the trip for more than a week. They were supposed to have a light show here in the evenings, but the flying pumpkins were a nice touch for day visitors. A light show. Oh, god, he wasn’t supposed to tell Remus about that part. He’d have to remember to keep it under wraps. He’d been reminding himself all week.

[mastermindmp3]

imgonnagetyouback

no header we die like men

So, a fun fact about me: I have a physical, burnt CD that I keep songs that play on the idea of "get them back." It is maybe my favorite, favorite double entendre to make.

First of all, I love the stylization of the title? Someone said something about it being a reference to a 1975 song? I actually don't care, I think the all lower case, no spaces presentation of imgonnagetyouback so perfectly encapsulates how she sings it. There's a distinct speed to it, a mischievous side smile to it as well.

Also, god, the vibe of the song is just a little sexy, just a little messy, it's everything I love. The narrator, seeking an ex-flame who ghosted her ( I'm an Aston Martin that you steered straight into a ditch / then ran and hid ) debates his fate.

There's something very... gloat-ish, in it. I can imagine the narrator, two shots deep, grabbing her lover by the jaw, to say, "I could leave you, like a dumb house party, or I might just love you 'till the end."

(Get Him Back - Fiona Apple)

This song tells, I think, a very tight story. The narrator describes a lover who "Knew the price goin' in." who she sees across the bar, after their split. Over the course of her night, she has decided. Even if I'm handcuffed, I'm leaving here with you.

My favorite part, and the most revealing, is the bridge. It's always the bridge! ( I think Swift's songwriting prioritizes the bridge as a moment of revelation, a moment where the "why?" of the song is answered. ) The narrator, in no uncertain terms, sees her lover still wanting her, and sees him as the turn around, the new future. Bygones will be bygone eras, fading into grey.

The narrator thinks that, by getting back with this lover (or by getting back at them) she can "push the reset button, we're becoming something new."

(I'm Gonna Get You Back - Florie)

The bridge's final line also reveals a little bit about how the Narrator sees herself.

Pick your poison babe, I'm poison either way.

The narrator tells her ghosted ex that both options will end badly for him. On one hand, she teases revenge throughout the whole song. Smash your bike / flip you off / curse you out. Or, as a much younger Swift might put it: I wrote a song about you.

On the other hand... There's a tell, there. That she thinks loving her ( pull you into the closet / take you back to my house / be your wife ) is just as poisonous. In a way, maybe the narrator is right. The song's placement directly before The Albatross could be the answer. The narrator sees that trouble will come if he gets back with her, too.

(get him back! - Olivia Rodrigo)

Back on the idea of gloating, though. The song has a bit of Mastermind to it too:

You'll find that you were never not mine.

The narrator feels so totally in control that she will get to decide the fate of this romance. I could take the upper hand. I can tell when someone still wants me. Once you fix your face, I'm goin' in. For a song with such a tight, perfect beat, it works so, so well. I love when the instrumental supports the lyrics.

[frakyeahbattlestargalactica]

Monty Jaggers McGraw:

I am writing new BASIC programs to demo at my VCF Southwest 2025 exhibit of my 1979 Tektronix 4054A color vector graphics computer.

One of the programs I am writing is a 1978-1979 Battlestar Galactica TV demo. That TV show had $500,000 of Tektronix vector graphics computers and test equipment and many screenshots of their green vector storage CRT displays - some stills - some animated. These computer graphics were generated on both 1975 4051 and 1976 4081 vector graphics computers - predecessors to my 4052 and 4054A computers (see first photo attached).

Miami Herald TV 1978 magazine interview with the Battlestar Galactica set designer indicated extras on the set stationed in front of the 4051 computers were playing games during filming to increase realism and were so absorbed they kept playing after the cut! (article page attached).

The 4051 and second generation 4052 were the same physical size and used the same CRT and same Display board, but the 4052 and 4054 computers replaced the 800KHz Motorola 6800 CPU with a custom four AMD2901 bit-slice CPU to create a 16-bit address and data bus ALU which emulated the 6800 opcodes and added hardware floating point opcodes to speed up these computers 10x over the Motorola 6800, doubled the BASIC ROM space to 64KB and doubled the RAM space to 64KB!

I created these vector bitmap graphics using a "3D CAD" picture I found on the web of the Battlestar Galactica (last attachment).

As far as I know - there was never any 4050 BASIC program to view bitmap pictures on any of the 4050 computers. The 1979 4014 vector graphics terminal had a grayscale bitmap mode in the Extended Graphics option board, but I have only found a couple of bitmap 4014 images on a single Tektronix demo tape cartridge.

My 4050 BASIC program to display bitmaps works on all 4050 series computers - with an optional Tektronix 4050R12 Fast Graphics/Graphics Enhancement ROM Pack. This ROM Pack speeds up displaying vector images (including vector dot images) 10x over using BASIC MOVE and DRAW commands.

The Battlestar Galactica bitmap image in R12 binary format is 332234 bytes - slightly larger than would fit on a DC300 quarter-inch tape cartridge in the internal tape drive of all three 4050 computers, but would have fit on a 3M DC600 tape cartridge with a capacity of 600KB - it would have been very slow to load.

I designed an Arduino board to emulate the Tektronix 4924 GPIB tape drive - with the help of my software developer. My GPIB Flash Drive board contains a MicroSD card with gigabytes of storage and the Flash Drive emulates a GPIB tape changer, storing all the files of a "tape" in a single directory. I have also attached to this post a photo of my GPIB Flash Drive.

I have recovered almost 100 Tektronix 4050 Tapes and posted the ones I think are the most interesting at this time on my github repository for Tektronix 4051/4052/4054 computers: https://github.com/mmcgraw74/Tektronix-4051-4052-4054-Program-Files I included Tektronix published MATH volumes 1, 2, and 3 and Electrical Engineering, but I don't think they have a lot of use today. I have in my collection but not recovered tapes on Project Management, Statistics, and over 100 more tapes from the very active user group, which Tektronix made collections and published abstracts in their newsletter and the newletter customer got the tape for free. Commercial software like CAD programs were likely encrypted to eliminate copying - since Tektronix 4050 BASIC included a SECRET command which would then encrypt the program file as it was recorded to tape and add a SECRET flag in the tape header that would signal to BASIC ROM when that file was accessed to decrypt the program when it was loaded into memory. One big limiter to the size of the program was RAM in the 4051 was limited to 32KB and the 4052 and 4054 were limited to 64KB of RAM, although Tek BASIC did include commands to allow program "chunks" to be overlayed as necessary. Tektronix used those commands in their 4050 System Tape which was shipped with every system and included a tutorial on many of their BASIC commands. The tutorial ran on the original 4051 with 8KB of memory, and if the program detected 16KB of memory it would APPEND larger program files to speed up the tutorial.