ellievsbear
One Nice Bug Per Day
YOU ARE THE REASON
titsay
pixel skylines
tumblr dot com
izzy's playlists!
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blake kathryn
oozey mess
styofa doing anything
Discoholic đȘ©
No title available
noise dept.
â
TVSTRANGERTHINGS
hello vonnie
art blog(derogatory)
Sweet Seals For You, Always
i don't do bad sauce passes
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@neptocath
i thought this was a hospital drama why does he have a shotgun?!??!?
Iâm so glad I turned on the Audio bc it turns out this is set to Boney Mâs Rasputin and is basically perfectly synced
Iâm glad to see the ancient art of vidding is alive and well.
@magicmarkerz
Gameboy peripheral PediSedate was designed for dentists and dosed kids with nitrous oxide as they played games.
Time to enter the ïŒ§ïŒĄïŒïŒ„ïŒČ ïŒșïŒŻïŒźïŒ„
Camera, printer, sewing machine, now a fucking anaesthetic adminstratorâŠwas there anything the Game Boy didnât have an accessory for?
Do you know about the fish finding sonar?
gameboy sprinted so smart phones could lag and be ugly
you're laughing. charles dickens had a son named plorn and you're laughing
HE HAD A SON NAMED
WHAT
NICK I LOOKED IT UP AND SAW NOTHING OF THE SORT IS THIS A PRANK
technically his name was edward but everyone called him plorn
Edward âPlornâ Dickens. my god.
I have something worse
imagine getting stuck with the nickname Plorn
imagine getting sent to live in the Australian outback when you were sixteen
WHY WERE THEY SO CRUEL TO MY BOY PLORN
I have an answer to that one too
The face of a man whose father nicknamed him Plorn.
Born without a groove đ
With each addition to this, I find myself nodding and murmuring, "Mm hm. The Plorn Dickens."
â
Grace makes a shocking discovery
using violence to liberate people from sweatshops, unsafe mines, and grinding poverty isn't the same as using violence to impose those things on people. the idea that violence is morally repugnant regardless of context is a belief that every oppressor throughout history would love for the oppressed to hold
One pitfall when trying to analyze fantasy settings based on real world history is ignoring all of the worldbuilding implications the magic has, and I notice some posts here are maybe a bit over-eager about sharing such information to the point where they fall into it.
For example, posts saying that fantasy settings where gender equality and queer people are normalized are unrealistic because in real life the child mortality rate was very high and etc.
Except they're talking about a story is not set in Real Life Medieval Europe but in a world with versatile healing magic made accessible even to the poor to some degree through church charity or government public health institutions, and even spells or magical items that can instantly and completely transition someone.
Or that one post that was going around about how expecting the demon army to surrender after the defeat of the demon king is "great man theory" but in pretty much all fantasy settings that have such a thing as a demon king he's usually a demigod who can legitimately solo armies, is physically near-invulnerable, and obliterate entire cities.
Killing the demon king in such a setting would be less like assassinating the president and more like erasing the enemy's nuclear weapons. It's actually credible that the balance of power might start to shift from there even ignoring the effects on morale.
If you ignore stuff like that you might actually be engaging with the setting less than the rationalist fanfic writers.
I find rationalists are a trap to write for. It becomes a game of who is the most clever. Your rationalist readers read not for the joy of the story but to see if they can poke holes in it. To see if they can figure out the plot before you get to it because it has to be rationally sound and coherent and correct. It removes much of the joy from both reading and writing, turning it into a strange competition between reader and writer. Ironically it also misses the point of writing or many works of creativity, which is an expression of some idea, message, or experience, rather than simply a logic puzzle contest.
Creature:
Credit to @sealsandlacenet
*meeeting a friend for coffee* friend: how's work been?
me: oh you know *mimes putting a gun in my mouth but i moan a little and start sucking the barrel and pushing it deeper
I read the Tara Knight puppygirl article and thought it was well-written and dealt with its subjects humanely. I recommend it.
Weaponized incompetence wears a collar.
âbe gay do crime! but sex is yucky and crime is wrong!â ass website
literally đđđ
awababwbabwbabwa
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 doesnât 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. Sheâll 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 Crewâelite 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 couldnât read a chart and nail the take in two tries, you didnât 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 couldnât pay the electric bill. Music wasnât a romantic dream for her. It was survival. It was a jobâfactory 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 Boysâ âWouldnât It Be Niceâ? Carol Kaye. The propulsive groove of âThese Boots Are Made for Walkinââ? Carol Kaye. The acoustic-guitar intro to âLa Bambaâ? 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 yearsâdecadesâtrying to crack the secret of the Beach Boysâ 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 âYouâve Lost That Lovinâ Feelinââ 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 didnât 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 musiciansâ anonymity betrayed them.
Think about it. Every time you heard âGood Vibrations,â âRiver Deep â Mountain High,â the Righteous Brothers, Nancy Sinatra, or Sonny and Cher, you were hearing Carol Kaye. She composed the soundtrack of an entire generationâs youth.
And yet the records still say nothing. Sheâs 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 âBeach Boysâ were, in fact, Carol Kayeâs.
Fifty-five dollars a session. Ten thousand sessions. The most-played track of the twentieth century.
And the world didnât 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.
@demilypyro
Apparently my stepdad and I are fucking psychically linked because ?? every single time he makes chili for dinner I get a migraine. Without fail. And it became like a ha ha running joke because it happened so many times but now Iâm living 3 hours away from my parents and I just texted my mom and
WHAT IS HAPPENING TO ME
Happy disability pride month
via @ninjahijabimuseâ
this is so much better i love it
never kill yourself. you have to fill your mutuals dash with shit they don't care about forever, okay?
