I have to make mistakes in order to learn & grow

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Today's Document
One Nice Bug Per Day
Cosimo Galluzzi
d e v o n
KIROKAZE
sheepfilms
DEAR READER
dirt enthusiast
Peter Solarz
art blog(derogatory)
PUT YOUR BEARD IN MY MOUTH

tannertan36
2025 on Tumblr: Trends That Defined the Year

izzy's playlists!

Love Begins
Show & Tell
almost home
I'd rather be in outer space 🛸

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@peachios
I have to make mistakes in order to learn & grow
the people yearn for nonplastic fabrics
https://glaad.org/fcc/
to go straight to the comments report page, it's here:
https://www.fcc.gov/ecfs/filings/express?proceeding%5Bname%5D=19-41
Hm. Your interpretation of this character displeases me. Guards! Take them away! Make them read the source material once more, and if that fails, the stocks.
i need to come up with a way to say “i mean like, movies for grownups” that doesn’t make me feel like a villain
*peeks in the replies* *gets really nervous and locks my house up and leaves*
well, i mean more like La Piscine or Mulholland Drive,
Emil is my "yup this is real wool" detector. It's only real wool that he goes this nuts over
divert all power to the funk engine
a single, solitary, earth-shattering note thunders across the battlefield like a tsunami.
You can see the power of music shining in his eyes.
the MOST iconic 20 seconds of any anime dub i’ve ever experienced
EVEN THE FUCKING MUSIC OH MY LORD
i looked through the notes to see what this was (it’s cyber city oedo 808) and ended up crying laughing at the wikipedia article for it
every so often people start liking and reblogging this post from me, and every time i forget how funny it is until i watch it again. hey bentn. don’t crap ya paants if ya see a vampire out deeah. get lost. you wouldn’t recognize a gaddam vampire if one jumped up and bit you on the end of your fucken dick. So just get off my back.
[the most violently 1980s synthesizer sting i have ever heard]
once you recognise the ubiquitous and inevitable fandom life cycle it becomes much easier to free yourself from it and just keep enjoying things in a more healthy way while still thinking critically about them
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.
Tree Swallows by Linda H. Dulak - Audubon Photography Awards
barn swallows depicted in the “spring fresco”, akrotiri, thera, greece. c. 16th century BC
thing i am getting blackpilled on is “so many people are against ai!” is in fact not true. like at all.
many people will acknowledge that it’s bad in one way or another but 95% of them have their own pet use case and end up becoming regular users anyway
“is summarizing my meeting notes really that bad for the environment?” i don’t fucking know. dude the surveillance and control. dude the military partnerships. dude the decay of your human spirit
Can we stop with the character development. Where's my beach episode.
DRAGON AGE: INQUISITION (2014)
Here's what I've realized from the Artemis II mission:
You cannot study STEM without the arts, and you cannot study humanities without the sciences. In that tiny capsule we sent to the moon, we sent physicists who are also photographers. We sent poets who are pilots.
We sent experts on exact scientific maneuvers who also express precise emotion and experience that will be quoted for decades. They play with a stuffed moon in the background of a broadcast and have Chappell Roan as their wakeup music. They drove around the far side of the moon.
We sent parents, partners...We sent humans, who are unabashedly showing their humanity and brilliance and vulnerability. They are smart and kind and generous and ambitious and silly and thoughtful and so damn good at what they do. And they want to share it all with us.