noise dept.
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Keni
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Aqua Utopia｜海の底で記憶を紡ぐ
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@diffidentdilligaf
being a kid and hearing adults say stuff like "woah 2011 was 4 years ago haha" didn't really convey the fucking horror of a youtube video crossing my recommended labelled "9 years ago" and it's from 2017. that's not true. 9 years ago is 2010 or something. don't lie.
roald dahl was antisemitic and misogynistic. george orwell was openly homophobic. edgar allan poe married his 13 year old cousin. dr seuss cheated on his wife (and was racist as well as antisemitic!). hp lovecraft was racist as fuck. anyways they’re fucking dead it’s not like you’re enabling their behaviors in the afterlife or something. then again I think they bleed into the books so uh keep an eye out for that
the difference between these old white guys and jk rowling is that the former group is all dead. jk rowling is alive and using your money to oppress trans people
The Dragon is pretty sure this is the most optimal gaming position! They also think it's comfy!
“The top-line outrage here is clear but it’s so astounding that it bears repeating: The president is using the powers of his office to settle not just political but private scores against someone adjudged by juries to be a victim of his sexual abuse and defamatory attacks. Carroll, 82, has been awarded nearly $90 million by juries in the two Trump cases, whose verdicts he is still appealing. It is abuse heaped on top of abuse.”
— Trump Uses DOJ to Target Famed Victim of His Sexual Abuse
Puppy likes it when she's made stupid
whhhiiiinnneneee pleasepleasepleaspeleaspelwsepalse
... as a bunny, I would also appreciate being clicker trained.
*heavy sigh*
I'm really getting the hang of it
wonderful gif my mutual made
🐱🤖🦖🐬
Ahh, it’s back
i have disproportionately strong feelings about this.
It's gotta get hot in that thing, right?
feels like im always recovering. when do i get to live
"it's okay to rest for as long as you need from burnout" how long is it actually going to take though. there's stuff i wanna do.
Lmao we have to fucking destroy this company are you fucking kidding me with this shit
Google is transforming Search from a list of links into an AI-powered experience filled with conversational answers, autonomous agents, and
Remember that xkcd about how Google searches are shit now? What if we made them even worse for no reason?
I will vote for any candidate who promises to go scorched fucking earth on every tech company. Break every single one of them up into companies based around a single product and then split those in thirds. Weaponize existing antitrust laws to the hilt and pass the most draconian versions of them ever seen on this planet. Nationalize google search specifically. Pass consumer privacy protections strict enough to kill the data harvesting industry for good. Make all of these fuckers go bankrupt for this rent-seeking shit
I don't think people understand the danger of over reliance on ai. ai is trained on biased data. no matter how hard they try it will always be skewed. if ai is dictating what sources you find it's going to be much harder to find neutral information. media literacy and critical thinking is already at an all time low and this'll only make it worse
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.
adding the important things to the kitchen whiteboard
all my faves get hit with the transgender beam. even the hedgehogs
