you should be addicted to shutting the fuck up
You wanna fuck me so bad it makes you look stupid
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@b0rnt0bemild
you should be addicted to shutting the fuck up
You wanna fuck me so bad it makes you look stupid

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If a trans girl tells you that she wants to start dressing more femme and your response is "but you're conforming to gender stereotypes" then she is entitled to punch you in the face as hard as she wants
Also, if a trans girl says she wants to go on hormones and your response is "but you're still valid if you don't get hrt" then she is also entitled to punch your face as hard as she wants
reblog this version you fucking cowards
I love the shit that the cast says about Cerrit out-of-game because all together it's completely insane.
Marisha described him as "very debonair in his own gruff way". Travis said he'd snack on a rabbit he saw on his morning walk. Sam named him a moral center of the party. Aabria was convinced he would kill Laerryn, but her PvP plan was mostly "run away" and "cry" because he's too good at killing mages. Brennan and Travis highlighted that he is untouched by the corruptions of the age—but still failed to stop the end of days through inaction. Sam said he was perfect and flawless; Lou responded he was a bad dad (Travis agreed), but Sam and Aabria protested. Travis said he barely noticed his marriage was slowly falling apart before the campaign. Aabria hoped he lived in Niirdal-Poc after it all. Brennan said that the decisions to make him interested in Vespin, a genuinely good person who failed to act, and a father with children in the city were important for narrative structure. Sam felt that his small dog would chase him most. Travis pitched him as Jor-El, specifically the part where he gets his kid to safety before dying in the collapse of their home. The entire table is extremely proud they worked together to make sure he escaped and survived. Brennan and Marisha called him a final girl. Travis implied that he can cook well. Brennan said if he was a cheese, he'd be sharp cheddar.
jokes are fine but like...I do find the dismissal of the soldiers to feel like a poor understanding of the campaign as a whole and last episode specifically. Like, yeah, Teor and Kattigan don't have a ton to add to a conversation specifically about whether Thjazi would have done some elaborate arcane machinations in the theater, because they're not primary spellcasters or experts in afterlife cosmology nor had they recently been close to Thjazi or intimately familiar with the intriciacies of post-Rebellion Sundered House politics. Teor doesn't particularly wish to deal with demons and Kattigan isn't particularly familiar with the Candescent Creed, so their primary role in the episode is to serve as backup should things go south. Sometimes, the smartest thing to do is watch and listen if you are not an expert in the topic, rather than run your mouth in ignorance. I think Kattigan said as much this past episode, and I think he had it in one.
was asked to elaborate on my tags so: #also the fandom has ALWAYS embraced explicit ableism directed towards Travis so it's sadly typical if frustrating to see it resurface. I talked a bit in the replies as well but:
Travis first mentioned he had ADHD quite early in Campaign 1 when there were two conversations going on at once (in terms of saying he had trouble processing it). This is a very common ADHD symptom. I mentioned it on this post because I think it's very reasonable to assume that in addition to Travis not talking much as Teor because Teor legitimately, as a character, had little to add to that specific conversation (as discussed above), I would not be surprised if Travis is not really a "let's jump into the 13-person table talk that is already not very much a thing my character would add to" kind of guy because, as we saw, a lot of people were talking, frequently simultaneously. I do not think everyone joking about this is being shitty (and I know newer fans might not be aware Travis has ADHD) but to dismiss Teor outright as a joke character instead of saying "hm. I wonder why someone might not talk during the giant 13 person conversation for legitimate reasons" is not leaving a good taste in my mouth.
For some reason, and I was very much at the frontlines of this during Campaign 2 and in the leadup to Campaign 3, people in the CR fandom, which in my experience has been generally pretty neurodivergent-friendly (and indeed itself pretty neurodivergent) have consistently been completely comfortable saying shit like "Travis's head will explode if he tries to play a druid" or treating all of his characters except Fjord as stupid joke characters he can use to fuck around. In particularly unpleasant cases, they will even treat Fjord as a character he only made to make Laura happy and not like, an extremely thoughtfully and deliberately crafted character that is both a means to play more seriously and with more emotional depth after Grog - who, I should note, was created for a one-shot for the first time he played D&D and just happened to end up, through a series of events, as his character in what became Critical Role - and in conversation with his own feelings about fatherhood at a time when he was expecting a child having lost his own father in his teens.
It was not just common to see people calling Travis or Fjord stupid during Campaign 2 for things they would never call out other cast members for (eg, forgetting character abilities during the first ten episodes of a new campaign; not knowing everything about boats). It was considered weird and even hostile of you to push back on this. If you said "I think Travis should play a wizard at some point," someone literally would just come on your post and be like "I don't think he could. I don't think he's smart enough."
Now I think the root cause for this behavior during Campaign 2 and 3 was partly people equating players with their Vox Machina characters and partly backlash against the misogynist Reddit/YouTube comment types who decided Travis and Sam (and Taliesin with Percy but no one else) were the only valid players, even though said chuds have long been pretty irrelevant to the fandom conversation. I think since mid-Campaign 3 it's more commonly come from people who specifically hate that a lot of Campaign 3's sharpest and most persistent critics, myself included, are fans of Travis, who is in fact an incredibly strong and versatile actual player who happens to have ADHD. As discussed here, that sort of fan only cares about bigotry to win fandom arguments. But regardless of the cause, it's always been wild to me how immediately an unconscionably large proportion of the CR fandom will jump to "haha Travis and his characters are all so stupid and impulsive! no it's ok! It's because he has ADHD." and then turn around and be like "oooh! I have some neurodivergent headcanons about my most special guy, and if you don't agree with them then do you hate neurodivergent people? do you hate me? Are you bad and evil?"
pride month!!!
Is that a miette?
Pride for you! Pride for a thousand years!!
you COME OUT to miette? you come out to her as queer? oh! oh! pride for mother! pride for mother for One Thousand Years!!!!
pride for mother on 964 days left

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Really hate that most people don’t understand the difference between “self-expression” and “artistic-expression.”
I say this as someone who sells pottery, and many people who see my art assume I am using art as an outlet to “express myself.”
I am not.
I use art to challenge myself. A lot of what I do is the equivalent of doing a hard sudoko or a half marathon, answering the question of “can I do this?”
I use art to question things and explore ideas. Finding physical synthesis between concepts and working out a design to its end state.
I use art to make money. I make some things just because I suspect they’ll sell well, and I keep making them when they do.
This idea that an artist is “putting themselves out there” every time they create is not only stupid, but harmful, and it kills critique and analysis.
Yes every creative work is influenced by its creator, but the most preliminary step of analysis is to define the purpose of a work of art (functional, narrative, entertainment, persuasive, decorative, ceremonial, etc.) and a vanishingly small percentage of that is self-expression. Even then, it’s generally tied to the self’s relationship with something else—perception, society, etc.
It’s very tiresome to have people assume they know you because they like (or dislike) your art, to make assumptions about who you are and how you approach the world. It’s nothing new— people called the Impressionists insane and the Fauvists degenerate. And now people are expected to hand out their identities and traumas to prove they have the right to explore certain subjects.
But to actually understand art, you have to contextualize it beyond assuming it’s just what the artist felt like making at the moment and it’s somehow coming from their deepest soul, or you’ll badly misinterpret most art you come across.
No one follows this page anymore. But the world needs to hear about Harley. This dog saved my life when he chose me to be his owner. He reshaped my life and taught me how to live again. Taught me love and how to overcome my fears and traumas. He has been there for me through every major change in my life. He was there for my first job, me getting my drivers license, several major surgeries and a a 215lb weight loss journey. He has been my rock, my partner in crime and my best friend.
Harley was diagnosed with an extremely aggressive spleen cancer that has made us make the hardest decision of our lives. They drained a massive amount of fluid from his chest cavity so he can have a few more comfortable happy days with us. Tomorrow, June 2, 2026, 21 days before his 8th birthday. Harley will cross the rainbow bridge.
This dog has done more for me in his short 8 years alive than most people have done for me in my 32. I will never forget what he has done for me, what he means to me and my husband.
Harley, you were the best damn service dog a woman could ask for. RIP Bubba, breathe easy and run free in the fields of green, chasing rabbits, until we meet again on the other side
I feel like a lot of people get "All Art is Political" confused with "All Art is made with Political Intentions" which is not the same.
[Video description: Gritty is turning the crank on a flagpole to raise the Progress Pride Flag. He gesticulates angrily that the flag is not blowing in the wind, then gestures offscreen. The flag begins blowing. As Gritty begins raising the flag more, the camera pans out to show a man in a suit and sunglasses, looking like a stern Secret Service agent, is holding a leafblower that points at the flag. End description.]
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

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Your fave is problematic: Pyaari Edition
The thing about Lord/Knight gay romance is that there’s no way you can cut it that doesn’t make the sex hotter. At a baseline, the Lord is allowing his subject to be his equal partner behind closed doors in a society defined by hierarchy their physical love a blaspheme against the laws of feudalism, but if the knight is dominant, they’re literally upending the fabric of society by having the Lord follow his Knight’s orders and that’s hot and if the Lord is dominant than it’s just another expression of his Knight’s sworn devotion to be at his lord’s service at all times and that’s hot and if it’s historically accurate Christianity then they’re not only desecrating and perverting the Knight’s vow, they’re making sinners of each other in the process and that’s HOT
Authors, agents, publishers: every part of the industry is seeing the strain of five years of escalating anti-LGBTQ censorship.
if you'd like to show support, here are some upcoming queer books:
When Life Gives You Corpses is a brilliant YA about a cursed praying mantis who falls for a young witch. Yield Under Great Persuasion is a raunchy, but surprisingly sweet story about two men repairing their relationship. Fabulous Bodies is a horror story about a queer rockstar rising from the dead.
This is Where the Future Bleeds is a fantasy set in a vividly imagined land, where two women (who happen to kiss) are the key to healing the broken sky. You're No Better is a story about a teen struggling in the shadow of his murderous parent. Oil on Canvas is about a woman who finds disturbing paintings in the home of her dead mother.
and then here's a list of 26 queer books by Black authors set to publish this year, and a 10 upcoming books by trans authors. if you want to fight back against queer censorship, use your wallet! or (if that's not an option) you can contact your local library and ask them to stock a copy.
like people are just going to keep saying “theyre only queer because they want to be/because it gets them off/because they think it’s fun/because they saw a queer person and thought it sounded like a good idea/etc. theyre gonna keep saying it
and we are going to have to stop desperately scrambling to say noooo, they have to be like that, they have no choice, they wouldn’t be like this if they didnt have to. we HAVE to stop falling all over ourselves assuring straight people and transphobes that we hate being us as much as they hate us being us, that we are suffering and that’s why we deserve this decadence and deviancy. we HAVE to start saying “yeah ok and?”
being queer is a delight. deviant sex makes people really happy. being genderfucky is joyful. queerness CAN actually be an option you can choose, and that doesn’t make it worth less than if you only picked it with a gun to your head, because it is a good option and there are good reasons to pick it.
“They’re only queer because they want to be” nice! My identity is also self-constructed because I’m a human
frankly i hope straight people are straight because they think it’s fun and it makes them happy! the implication that one should not pursue happiness is so frustrating!
Regina George voice: So you admit it! You admit that your homophobic ideology directly opposes the right to liberty, and the pursuit of happiness.
In all seriousness tho as a cis woman, I am only a woman because I love being one.
Hey, hey, look me in the eyes when I tell you this okay? The whole "do trans women or trans men have it worse?" debate going on right now is the most obvious CIA bullshit on earth cause honestly we've both got it pretty shitty and fighting each other isn't helping anyone

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i appear to have made mortal nemeses with a pigeon
tumblr stop rooting for the pigeon
If you've ever told a person who's had to be bedbound for a period of time that you wish you could "just stay in bed", DO IT.
Stay in bed. For days. But don't get up if someone needs you to, or you get bored, or you get antsy. Don't do anything other than rest. Just lie in your bed, whether you need to get stuff done around the house or socialize or anything else "productive". You'll have to cancel on people, you'll disappoint them, they won't understand.
And if you're thinking, "well, i CAN'T just be in bed. There's stuff that has to be done - I have plans", maybe ask yourself why you assumed a disabled person doesn't have plans or things to do or desires.