Fredric March in Merrily We Go to Hell (1932)
$LAYYYTER

Kiana Khansmith

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"I'm Dorothy Gale from Kansas"
almost home
YOU ARE THE REASON

★
he wasn't even looking at me and he found me
tumblr dot com

izzy's playlists!
Sade Olutola
DEAR READER

Andulka

blake kathryn

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2025 on Tumblr: Trends That Defined the Year
art blog(derogatory)
trying on a metaphor
Cosmic Funnies
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@old-man-ghost
Fredric March in Merrily We Go to Hell (1932)
林 宗一郎 - 松風 2014 - 17 (by Stéphane Barbery)
Master Noh performer Soichiro Hayashi acting in the play “Matsukaze”. Japan.
“Life after menopause is exceptionally rare in animals. It can evolve only in creatures where grannies help younger family members survive. Only human, killer whale, and short-finned pilot whale females routinely live for substantial periods after they stop breeding. Like humans, killer and pilot whales have roughly twenty-five to thirty childbearing years, then can live another thirty or so. And as Ken’s just explained, some live a lot longer. Up to a quarter of the females in a group are postreproductive. These whales are not waiting to die; they are helping their children survive. As human children often benefit from their grandmothers’ attention, killer whale grandmothers boost their grandkids’ survival. A rather bizarre twist of killer whale society is that killer whale mothers remain crucial to the survival of their adult children. When older killer whale females die, their adult children start dying at high rates, especially males. Male killer whales who are under thirty years old when their mothers die suffer a tripling of the annual mortality rate compared to males in their age group whose mothers are still alive. Male killer whales who are more than thirty years old when their mothers die face death rates more than eight times as high as males in their age group whose mothers are still living. Daughters under thirty show no mortality increase after their mothers’ death. But daughters older than thirty when their mothers die have more than two and a half times the death rate of same-age females whose mothers are alive. Males’ handicaps of the extra drag of their huge dorsal and pectoral fins and the extra food required for their immense size (at around 20,000 pounds, males can be one-third more massive than females) seem to make them reliant on their working mothers for food. Females don’t have the males’ impediments, but while raising young, females may rely on food shared by their no-longer-breeding mothers. Adult females share essentially all the fish they catch, and more than half goes to their children. Adult males share their catch only about 15 percent of the time—usually with their mothers. While no one fully understands their strange death pattern following the loss of a mother, extreme parental care is likely at the root. Toothed whales are the world’s champion nursers. Short-finned pilot whales continue to produce milk for up to fifteen years after the birth of their last calf, likely nursing other females’ young. In bottlenose and Atlantic spotted dolphins (further study might reveal others), some females never give birth. Denise Herzing dubbed them “career females,” because their role in society does not include motherhood. They might be infertile. They might be gay. But their contribution is crucial: they do a lot of babysitting. When Herzing entered the ocean with a visiting nine-year-old girl, “White Patches, the eternal babysitter herself, had never seen me babysitting a young human before. Her excitement vocalizations were audible and electric and she continued to swim around us, eyeing the human youngster attached to me.” (Researchers sometimes call babysitters “aunts.” That’s precisely who they often are.)”
— Beyond Words, by Carl Safina
me when I see a cat if I’m being honest
Cheri Cheri lady, like there's no tomorrow, take my heart don't lose it, listen to your heart
1930s male beauty at it's finest
Ive read almost 200 pages today of rand al'thor having a Terrible Time
least specific wheel of time post ever made
ugh i love them ermmm they are available as keychains in my online store or smth, you should maybe buy them idk
Went to a 2000 year old Roman temple in Nimes. I thought it had been reconstructed, but no, it’s been standing, pretty much unchanged since 5 ad.
I went to buy my 6€ ticket to go inside and read all their informational material and admire their scale model and the guy in the ticket book was like “you know it’s just this one room, right?”
Trust me when I say it would be cheap at twice the price.
Jean Cocteau
La Sang d’un Poète, 1930
Skull of St. Thomas Aquinas being transported to Fossanova Abbey. Photograph by Daniel Ibanez, 2024
Ice Storm ~ Montreal, Quebec, Canada 1998
Haruka Kawakami
かわかみはるか
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.
@demilypyro
When you see an adolescent saguaro 👍
“Night falls in Madagascar” by | Daniel Kordan
Avenue of the Baobabs - Madagascar, Africa
media: we have an anti-authoritarian story for you!
me: sweet hit me with the good stuff
media: so there's this marginalized underclass of people, right?
me: okay
media: and they're like, stigmatized for something that's mostly an aspect of how they are born, or where they're from, or they're badly misunderstood, right?
me: yup, got it, I'm with ya
media: so these people are rebelling against the current social order, because it's the instrument of their suffering
me: oh good great sure
media: but also they're violent and deranged and need to be stopped
me: ...what
media: yeah they're going too far, they're trying to overthrow the system and assassinate the nice cop trying to help them and also they burned down an orphanage
me: ...why? would they burn down an orphanage??
media: extremism is bad
me: still not seeing what this has to do with their fight though???
media: also now they've shot a dog. oops they shot another dog
me: what?! why? I though their motive was to overthrow oppression??
media: yes but their suffering has also made them evil
me: ...???
media: don't worry though, the good guys will defeat them and restore the status quo
me: the status quo that's been killing people?
media: well it turns out it was only killing the kinds of awful people who burn down orphanages and shoot dogs :)
me: oh. this is actually a pro-authoritarian story, isn't it?
media: nooo of course not don't be sillyyyyyy we're super progressive look one of the cops is a black lady don't be sillyyyyyy
Happy 30th of May 💚
Fallen Angels (1995) Director: Wong Kar-Wai