Product Placement
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Kaledo Art
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Sweet Seals For You, Always
Today's Document
Discoholic 🪩
❣ Chile in a Photography ❣
NASA
Claire Keane
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almost home
Monterey Bay Aquarium
Mike Driver
DEAR READER
Xuebing Du
izzy's playlists!
Keni
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let's talk about Bridgerton tea, my ask is open
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@chiaroscuroverse
It's terribly simple. The good guys are always stalwart and true. The bad guys are easily distinguished by their pointy horns or black hats. And we always defeat them and save the day. No one ever dies and everybody lives happily ever after.
ANTHONY STEWART HEAD as Rupert Giles
DOCTOR WHO | 2.10
Was driving with my grandmother and in broken English she says “no eyes… no nose… no face. Don’t trust.” To which I looked around wildly in search of this omen of ill portend.
Cybertruck. It was a cybertruck.
NEW GIRL 2.15, "Cooler"
AI writing proliferating on here makes one long for the Beau Fucking Brummell type rants
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.
His and herstory!!!!!!
I made my choice a long time ago and I’m never gonna leave you. I’m burning up a sun just to say goodbye.
This can't be fucking real oh my god.
Actor Anthony Head, known for his roles in “Buffy the Vampire Slayer” and “Ted Lasso,” has died at 72
To the Buffy crew, he was Giles.
To the Merlin crew, he was Uther.
To the Whovians, he was the worst headmaster.
To the Galavant crew, he was the one true father of Gary, no matter the recasting.
To the Lasso crew, he was Rupert.
He was so many brilliant and awful bastards in his career. He was a gentlemen and chaotic good in real life.
some hyper famous artists like Van Gogh transcend overratedness and become underrated because they're so normalized. Like I'll look at a van Gogh and I'm like wait this really is amazing you guys don't get it
Shakespeare is like this
month starting on a monday we have no excuse guys lets get to work and lock the fuck in
yk its actually very chic and avant garde to start on tuesday the second
many claim theres nothing more subversive and revolutionary than starting on wednesday the third
there are simply no words in the english language that can describe starting on thursday the fourth. thats how iconic it is
so bECAUSE OF THE UPDATE I WENT OUTSIDE AND STARTED SCREAMING AT 12AM SO NATURALLY SOMEONE THOUGHT I WAS BEING MURDERED AND CALLED THE POLICE AND WHEN THEY GOT HERE I HAD TO GIVE THEM MY EXPLANATION FOR SCREAMING AT 12AM SO I JUST SAID HOMESTUCK AND ONE OF THE COPS EYES SUDDENLY GOT REALLY BIG AND THEN HE SAID “IT UPDATED??!?” AND THEN HE READ THE UPDATE ON HIS PHONE I HAVE A GROWN POLICE MAN SITTING IN MY DRIVEWAY CRYING AND CURSING AT HUSSIE UNDER HIS BREATH HIS PARTER GAVE HIM A SHOCK BLANKET OH MY GOD
I think on some level this isn’t even exactly a lie it’s sort of like when a 4 year old tells you that they can talk to dogs or they can fly when no one’s looking or whatever it’s like undeveloped brains not even knowing how to conceive of what a truthful statement is
@hellsite-hall-of-fame (sorry if you’ve been tagged already!)
Do you think Naomi Novik ever looks at AO3
sees some incest mpreg
and whispers to herself “I never wanted this.”
No. :)
My favorite quirk of American English is that since we're constantly exaggerating, sometimes it's more intense to say something slightly less intense. Because like, it means you actually thought about it.
"you look great!" - normal. Anyone could say this. Could be true or could just be lying to be nice. Very normal expected thing to say to someone
"you look good." - gay as hell thing to say to someone.
i hate the word spicy can we bring back calling things erotic
