shawty's like a malady in my head
"I'm Dorothy Gale from Kansas"
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he wasn't even looking at me and he found me
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shawty's like a malady in my head

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walky pink shark
I draw the walky pink shark experiencing whimsical joy at seeing a butterfly
!!!!!!!!!!!!!!
we noticed the position its actual limbs were in and spent a few minutes aggressively squatting at each other with our arms out
that's goddess pose
holy shit it sure is
567.918 and 613.7046
pterosaurs and yoga
great pyrenees are so fucking awesome theyre just big. if i didnt think that owning one was a supremely bad idea for me in particular id get one. i just think itd become my boss or something. im too lazy for a working breed truly
go white boy
sarcastic dog. dog that has contempt for you
"on god's green earth" is way too fun to say even when you don't believe in god and know most of it is blue, actually
Tag via @bluehairedspidey and vocabulary updated

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the lesbian computer from portal was right. given the circumstances ive been shockingly nice
insane like/reblog parity on this post btw
I cried watching Project Hail Mary btw
Original post by @morallygrayautisticscientist here, this post was so funny I decided to draw it lol.
For those of you who joked about Stratt projecting her period cramps on Grace, I drew that too here.
Panel by panel below:
WHY HAVE I SEEN NO ONE TALK ABOUT HOW THE GRACE SCULPTURE LOOKS LIKE THE LITTLE DUDE FROM THIS MEME
THAT WAS LITERALLY MY FIRST THOUGHT UPON SEEING IT IN THE MOVIE
I had to xD
Was driving with my grandmother and in broken English she says âno eyes⌠no nose⌠no face. Donât trust.â To which I looked around wildly in search of this omen of ill portend.
Cybertruck. It was a cybertruck.

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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.
âBeforeâ
Christine before her father died, Erik before he could hold a pen properly (wait, what do you mean he never learned to do that? This ruins the jokeâŚ)
The clothes were based off of children in the early 1870s. Christine was about 20 in the 1880s, ergo...
Erik was an angry scribble that I didnât use to cover a failed attempt at drawing young Erik. Not at all.
often i am scared for no reason or several reasons
have you guys heard about the greenland shark. some crazy shit happening there.
they are sexually mature at ONE HUNDRED AND FIFTY YEARS OLD.
their (live!) young gestate for. wait for it. eight to eighteen (??) YEARS. can have up to 10 at a time. good grief.
longest lifespan of any vertebrate, up to five hundred years
toxic flesh
has giant eyes but is usually blind because of a weird little crustacean that's evolved to live on and eat their eyes. this doesn't seem to bother them much.
lives in deep cold water and has the lowest swim speed and tail-beat frequency for its size across all fish species. just generally lives life in extreme slow motion
largest genome of any shark
eats everything including moose and polar bears
ma'am you are delightfully strange and I'm privileged to share a planet with you
this post prompted me to refresh my memory on Greenland Shark Facts and this detail about how they feed goes so hard
just vacuuming up their unsuspecting prey. whole !
Good news good news good news! Recent research suggests the eye parasites do NOT blind them!
Dorota Skowronska-Krawczyk sits in her office, eyes fixed on the computer monitor in front of her. "You see it move its eye," says the UC Ir
I <3 you a normal amount Greenland sharks
"My first language has a perfect saying for this, but it doesn't make sense in english :("
Say it anyway! You don't owe them perfect clarity. Be profoundly cryptic, speak in riddles, make them ponder what the fuck you meant by that. The anglos, like porridge, must sometimes be stirred, so they don't burn stuck on the bottom of the pot.
Ihmisiä pitää hämmentää, muuten ne palavat pohjaan
@elfspectations close, but no cigar! It's my favourite expression, which in finnish is a cooking pun. The word "stir", as in stirring a soup/porridge/etc is also the word for "confuse", and "to burn to the bottom of the pan" is also used for a person experiencing burnout.
So "people must be stirred, or they'll burn to the bottom of the pot" can also be understood as "one must confuse people sometimes, so that they won't burn out (in life)."
official linguistics post

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i can't get over this. this is fucking killing me