who is the Toronto baseball warlock
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@musingsofaraven
who is the Toronto baseball warlock
Description: [A video of a woman riding a galloping horse bareback while holding a large rainbow flag.]
i felt like these tags really added to the experience, thanks @cynderxdustypaws for your knowledge
This is one of the most powerful images I have ever seen, and I will reblog it every single time because every single time it brings tears to my eyes.
my hottest take
Counter point, those machines can make me a peach sprite.
guys did you know the tech in that nefangled machine revolutionized preemie healthcare
yeah the guy who invented them made incredibly precise infusion pumps (as opposed to gravity fed ivs) which not only meant they could give medications to teeny tiny babies safely, it's also used for insulin pumps and portable dialysis machines. the key element is that it's a peristaltic pump so the liquid stays in sterile tubing for safety
(unholy drink cloaca uses it to dispense precise amounts of flavored sugar syrup)
Then how the haters loved him,
As they shouted out with glee,
"Unholy Drink Cloaca
You'll go down in history!"
You DON'T get this on any other site in quite this format.
@ perfectunion
Official Post of Massachusetts
Babe wake up, new all time great image just dropped
Happy Pride 🌈 | The Golden Girls (1985-1992)
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.
She was admitted to the Rock & Roll Hall of Fame in 2025 but refused, fuck yeah, Carol. Her official website is incredible.
This interview with Ncuti Gatwa crossed my dash again, and I was reminded of how much I like it. Because it makes the rare Third Argument for representation in fiction, the argument I think is the best, and I'm always happy to see it. I quote:
At times, Gatwa’s casting in those projects has been dismissed as an exercise in ‘box-ticking’. Gatwa scoffs. ‘First of all, you don’t know anything about me. Secondly, tick fcking boxes! People need to be fcking seen. What are you going to do, tell the same stories? Have the same people fronting things for all of eternity? Representation and inclusivity and branching out… it enriches us all. How embarrassing. You people with your tiny mindsets – open a book, look out the window and then f*ck off.’ (source)
What do I mean by the Third Argument? Well, I'm not sure I've ever made a post about this directly, but as far as I can see it, there are three main arguments for greater diversity in popular media. The first two are the most common, and they go like this:
It is good for media to be diverse because it is good for people to see people like them on screen. That is, the beneficiaries are marginalized people.
It is good for media to be diverse because it is good for people to see and learn about people who are not like them through art. That is, the beneficiaries are non-marginalized people, who then (hopefully) pass on the benefit by treating marginalized people better.
These two arguments are the source of a lot of debate here on ye olde tumblr. Despite both being arguments for representation, they pull in different directions. What counts as 'good' representation for the purposes of Argument 1 often would not be good for the purposes of Argument 2, and vice versa. Authentic versus sympathetic. Ugly or over-sanitized. You see this debate play out constantly. It's really hard for a piece of - say - queer media to do both at once.
But these debates tend to leave out Argument 3, the one that Gatwa is making above. And that argument cuts through a lot of this debate.
3. It is good for media to be diverse because art needs variety. The beneficiary of representation is art itself, absent any social effects that may or may not be present.
For this argument, diverse stories are intrinsically good. It is good to make art that's not just the same thing you've seen a hundred times before. Putting the kinds of people who don't often make it into mainstream media into your art is an extremely efficient way to make that happen. It's not the only method, but it's a really good method.
For representation to be 'good representation' according to Argument 3, all it needs to be is interesting. A story you haven't heard before, at least not in that medium. That which counts as 'bad representation' by the lights of this argument are stock characters, like the Eternally Patient Mother, the Gay Best Friend, the Wise Black Advisor. Perhaps there was a time in which these characters were new, but that time has long passed. There's no art in pulling a bog-standard character trope off the shelf. Show us a new kind of guy. The world is infinitely diverse. You're not going to run out. Telling the same stories with the same voices for all eternity, as Gatwa says, is boring. Even if there was nothing else wrong with it, this would be. Art isn't supposed to be boring.
And that's why Argument 3 is my favourite. I do want the world to be a better place, of course, and I think art is a part of that. But the main job of art is to be good as art. And diversity in all aspects of the production of art makes art better.
"It's not about adding diversity for the sake of diversity, it's about subtracting homogeneity for the sake of realism." --Mary Robinette Kowal
Good news! It gets worse!
I think it's the galactic orbit thing that really did me in
WHAT DO YOU MEAN SHARKS HAVE BEEN AROUND THE GALAXY TWICE
it’s funny cuz it’s true
there is a love in which i will always know you, just incase you forget.
love elizabeth s.
"adults should never be friends with children" im going to put you into a Box and shake you. Are we stupid.
the only reason i have never been groomed online is because when i was 10 i befriended 17 year olds who taught me how to interact with older people online safely.
yall have got to stop being scared of children online and start actually teaching them the ropes. because if you are not up there with them then they're going to be completely alone with the creeps and have 0 metric for what is and is not an appropriate relationship. this also applies offline.
Muppet Fact #1810
During the 1981 Macy's Thanksgiving Day Parade, Beauregard's name was spelt "Beauregarde," with an added E on the end, when written on the side of his taxi.
Source:
Macy's Thanksgiving Day Parade. 1981.
I am a huge fan of retiring to my quarters
In this economy you'll be lucky to retire to your nickels