mimicry
Alisa U Zemlji Chuda
almost home
KIROKAZE
trying on a metaphor

blake kathryn

祝日 / Permanent Vacation

JBB: An Artblog!
we're not kids anymore.
AnasAbdin
Cosmic Funnies
One Nice Bug Per Day
h
dirt enthusiast
Jules of Nature
TVSTRANGERTHINGS

No title available

Janaina Medeiros
NASA

⁂

Discoholic 🪩

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@yarnrocks
mimicry
Teleporting does kill you but it also launches your soul through samsara in a sort of geostationary orbit velocity, so you reincarnate instantly.
Beam me up, Scotty!.... Awh, what the hell, man
1920s gangster voice: when you stare into the boid the boid stares back
your hobbies will save you. pass it on
Data was an artist on a level organics cannot achieve and I appreciate him.
“you may experience the emptiness with me if you wish” is all at once 1) a very cool thing to say and 2) unbearably romantic
Quarentine be like
hey guys. this is my invention. check it out
listen no matter how depressed I am whenever this post shows up on my dash I fucking lose it I just laugh so hard, it’s such a good post. The way it’s presented? Soap on a sink nozzle, okay clearly this is some sort of handwashing appliance. Then there’s just water going everywhere no further explanation it’s so good I’m so happy
I’ve been laughing at “fuck this lemon you take it” for several minutes
take this papaya from my cold dead hands is sending me again oh my god
badminton is dont hit the fucking ground you stupid disgusting baby bird
every day this post has more responses that make me lunge back in my chair with the most unnecessarily loud cackle
Hockey is I’m gonna launch this peppermint patty at you and the only way to stop me is violence
curling is my two friends and i really want to put a watermelon in that exact spot, but the floor disagrees
Bowling is That's too many bottles, let's solve it with melons.
danjmt on ig, 2025
this pride month will be special because of giant ice snake will appear
"but physical media is worse quality and will break with time" I DON'T CARE! I WANT TO OWN THINGS I LIKE! I WANT SHELVES FULL OF DVDS, CDS, AND A LIBRARY!
At least it feels real! I can hold it in my hands! It's there! Unlike the nebulous cloud.
realizing a headcanon of yours happens to make an element of canon even more heartbreaking when you hadn't even considered it from that angle previously
[ID from alt: emoji rubbing their hands together and grinning evilly. End ID.]
When ur a fly:
Showing off the Arapaima I made! (Pattern also made by me)
This was the test of the new pattern and I love her. 🎏💕
Oh my goodness, this is so beautiful. Everything about this is perfect.
hey don't worry? completely unrelated giant dump of heartwarming PHM doodles ok??
once again these are all from like the same two canvas files in procreate judging from the same color background. also straight up had a dream where grace and rocky figured out how to make gnocchi out of taumoeba hence the making gnocchi over a bunsen burner
So many fiber arts have difficulty levels that are less about your level of skill than your ability to tolerate extreme multi-step processes.
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
some hyper famous artists like Van Gogh transcend overratedness and become underrated because they're so normalized. Like I'll look at a van Gogh and I'm like wait this really is amazing you guys don't get it
Shakespeare is like this
Every time I see a Van Gogh that’s not one of his better known pieces it absolutely blows me away
Have you seen this shit my liege? smh unreal