Meet Me In The Matinee @meetmeinthematinee - Tumblr Blog

Oh Hey, remember I used to write John Wick stuff?

Check out my Masterlist!

Guaranteed no spoilers for Wick 4 since....I haven't written anything in quite a while but I've been eyeballing my WIPS again my friends and maybe just maybe......

#John Wick Fanfic #John Wick Fanfiction #John Wick x Helen #John Wick Fic #john wick smut

theweirdwideweb

freebroccoli

REGRET TO INFORM YOU YOUR SON HAS DIED FROM TRENCH FOOT LOL HE SERVED WITH COURAGE AND HONOR LOL PLEASE ACCEPT OUR DEEPEST CONDOLENCES LOL

odyver

alright I've got to do some quick math to explain attitudes towards AI to my boss.

we're looking to create an AI policy, and when we were talking about this, my boss (older millennial) was genuinely shocked to hear that younger people do not (seem) to view AI positively (a la the recent commencement speakers being booed)

please rb for larger sample size!

Question 1/3

What is your age, and do you feel AI is a net positive or net negative in our lives today?

under 18, AI is a net positive

under 18, AI is a net negative

18-29, AI is a net positive

18-29, AI is a net negative

30-45, AI is a net positive

30-45, AI is a net negative

46-60, AI is a net positive

46-60, AI is a net negative

over 60, AI is a net postive

over 60, AI is a net negative

Voting ended on19h

odyver

Question 2/3

How often do you visit or interact with museums/archives (whether in person or online)?

Frequently (multiple times per month)

Often (multiple times per year)

Occasionally (a couple times per year)

Rarely (once every couple of years)

Never :(

Voting ended on19h

odyver

Question 3/3

If you saw a museum was using AI in exhibits, marketing, research, etc., would you be more or less inclined to visit that museum?

under 18, more inclined

under 18, less inclined

18-29, more inclined

18-29, less inclined

30-45, more inclined

30-45, less inclined

46-60, more inclined

46-60, less inclined

over 60, more inclined

over 60, less inclined

Voting ended on18h

Thank you for helping with this data collection. Please rb for as big a sample as possible!

🫶

questcequecestqueca

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.