Header is from Tumblr but idk who im so sorry. Will update when I find it again.
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Today's Document
2025 on Tumblr: Trends That Defined the Year
Game of Thrones Daily
d e v o n

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Peter Solarz
Xuebing Du

izzy's playlists!
occasionally subtle

★

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"I'm Dorothy Gale from Kansas"
sheepfilms
he wasn't even looking at me and he found me
taylor price

titsay

shark vs the universe
cherry valley forever
art blog(derogatory)
trying on a metaphor

seen from United States

seen from United States
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seen from United Kingdom

seen from Romania
seen from Moldova
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@bb-strawbebe
Header is from Tumblr but idk who im so sorry. Will update when I find it again.
Icon is from clionadraws!
It’s a tony soprano summer
What this means
(nods sagely) (nods basily) (nods rosemarily) (nods saltly) (nods star anisely)
i feel so seen!!
(twitter thread)
Examining 'gender detachment' in the asexual community
Saving @derinthescarletpescatarian 's tags because I just like the way they are worded.
This is so cool
This is so validating because the respondents in this paper are saying some of the same things I've been feeling and thinking for years.
I'm asexual. I figured that out not long after I first came across the term in high school. But figuring out my gender took a lot longer. I didn't really think about my gender identity for years, it wasn't until I was in college that I started trying to figure out what my gender was. That process took years.
I didn't really feel attached to my assigned gender, but I also didn't feel the gender dysphoria that trans people described. I didn't particularly feel like I was neither of those either. For a long time, I honestly didn't feel like any of the gender descriptions and identities I was coming across really fit. I just didn't care that much about what my actual gender was. Eventually I decided upon the agender label as that seemed the most apt. As the paper says, it's really hard to be truly without gender in this highly gendered world. Agender is a way of defining myself in a way that people who experience gender might be able to understand when "I'm just me." isn't really an acceptable answer to the "what's your gender?" question.
I don't mind being perceived as a gender, none of them are offensive to me. While I do like when I am perceived as male or at least not female, I think that more has to do with growing up female and not wanting to be pushed into traditional female roles and values than a connection or repulsion to any gender. I'm impossible to misgender because I frankly don't care.
Honestly, the biggest problem I have with my gender, is trying to define it to people. There's been a large push in recent years for asking people for their pronouns, or including pronouns in things like email signatures and surveys. And don't get me wrong, I'm not saying this is a bad thing! This is very affirming for a lot of people. But it feels like I need to pick something that doesn't quite fit. At pride, for instance, there's always pronoun buttons. But they're all she/her, he/him, they/them, she/they, he/they, it/it, xe/xir, etc etc. And that's great. I'm always glad that there are a lot of options for people. But there's never any pins for any/all pronouns. I've never picked up a free pronoun pin at pride, despite always looking, because they all feel like picking what pronouns I don't want poeple to use and the answer is that I don't care. I fround an any/all pronoun pin once at a queer museum and I cried.
I really suggest you read the paper if you haven't. Not just the article, the whole paper. This is probably the most seen I've felt in a long time.
My friend said they went to a Zizek talk and eventually the moderator interrupted him saying “I think it’s time for questions” and Zizek was like “Ok. I will ask the first one. ‘Professor Zizek what would you say if you had more time?’ and then he proceeded to continue the talk as if nothing happened
[looking at people younger than me] you have your whole life ahead of you [looking at people older than me] you have your whole life ahead of you [looking at myself] its over
maybe orpheus always looks back because his very effort to reverse death means that he can't look forward. if he could look forward, he could accept eurydice's death, grieve, and keep moving in life. his refusal to accept her death is looking back. his going down to the underworld, asking hades and persephone for her life, trying to lead her out... it's all 'looking back'. he does nothing for the entire story except look back. orpheus! looks! back! it's his entire thing! the story ends the same way it begins: orpheus looked back.
okay so here's the thing about 50,000 people vs 1 ceo of a utility company
tumblr recommending communities to you is an awesome way to discover a constant stream of new and exciting groups of 30 to 200 people you Dont want to meet ever
Strange racists and homophobes on the internet seem to have access to an alternate way cooler version of TV than me. "every white character on TV is in an interracial relationship" "every show has a gay couple in it" "main characters keep having to secretly be bisexual and nonbinary" "every show has gratuitous full frontal nudity" like damn promise?? What channel???
She played bass on 10,000 songs, including the most-played track of the twentieth century. She was paid $55 per session. Her name never appeared on the albums.
Gold Star Studios, Los Angeles, 1964. A woman in a cardigan walks past the receptionist, a Fender Precision bass in her hand like a briefcase. She doesn’t sign autographs. She signs a timesheet.
Her name is Carol Kaye. In three hours, she will record what will become the most-played track of the twentieth century. She’ll pocket fifty-five dollars and head to another studio, on the other side of town, for the next session.
The record label will never put her name on the album.
Between 1957 and 1973, Carol Kaye took part in roughly 10,000 recording sessions. Not as the featured artist, not as a guest, but as a hired hand. She was part of an anonymous collective nicknamed The Wrecking Crew—elite studio musicians who actually played the instruments on your favorite records while the famous bands posed for promotional photos.
The work was relentless. Three albums before the day was over. Stale coffee in paper cups. No rehearsal. The charts arrived minutes before the tape rolled. If you couldn’t read a chart and nail the take in two tries, you didn’t get called for the next session.
Carol could do it on the first try.
She started playing guitar in grimy bars at fourteen because her family couldn’t pay the electric bill. Music wasn’t a romantic dream for her. It was survival. It was a job—factory work with better acoustics and lower pay.
But she was faster and sharper than almost everyone else. She corrected charts in pencil while the producer was still explaining what he wanted. In one session in 1968, she told a famous producer his arrangement sounded like a dying dog. She chose her own line. They kept her version.
That descending bass line that drives the Beach Boys’ “Wouldn’t It Be Nice”? Carol Kaye. The propulsive groove of “These Boots Are Made for Walkin’”? Carol Kaye. The acoustic-guitar intro to “La Bamba”? Carol Kaye. The iconic theme from Mission: Impossible? Carol Kaye.
She invented techniques on the spot, out of sheer necessity. When the bass sound was too muddy for AM radio, she stuck felt under the strings and used a hard pick instead of her fingers. The tone cut through the static like a blade. It became the sonic signature that defined 1960s pop.
Bassists spent years—decades—trying to crack the secret of the Beach Boys’ gear to get that sound. They were studying the wrong people. They should have been studying Carol.
She received no royalties. No residuals. No gold-record ceremony. No credit on the album sleeves. When “You’ve Lost That Lovin’ Feelin’” hit number one, Carol was already back in a studio cutting a soap jingle.
The biggest bands mimed her bass lines on TV variety shows. New York marketing departments decided a mom in classic clothes didn’t fit the rebellious-youth image they were selling. So they simply left her name off the album credits.
For thirty years, almost no one cared. The truth only began to surface in the late 1990s, when music researchers found the same union contract numbers on thousands of hit records. The very documents meant to preserve studio musicians’ anonymity betrayed them.
Think about it. Every time you heard “Good Vibrations,” “River Deep – Mountain High,” the Righteous Brothers, Nancy Sinatra, or Sonny and Cher, you were hearing Carol Kaye. She composed the soundtrack of an entire generation’s youth.
And yet the records still say nothing. She’s now over eighty. She wrote instructional books. She trained countless bassists. She is finally starting to be recognized by music historians who uncovered the truth about The Wrecking Crew.
But she never got what she deserved: her name on those albums. Credit for the music that defined an era. Recognition that those bass lines everyone associates with the “Beach Boys” were, in fact, Carol Kaye’s.
Fifty-five dollars a session. Ten thousand sessions. The most-played track of the twentieth century.
And the world didn’t know her name.
I know that “fwiw” means “for what it’s worth.” I know that. But every time I read it, my brain translates it to “fwom what I wemembew”
hello this is your google account. did you know that you are trying to log in. to. your google account. would you like five emails about how you logged in to your google account.
a little moon illustration