Paul Ferney (American, b. UT, USA, based San Francisco, CA, USA) - Night Swimming, 2024, Paintings: Oil on stretched Canvas
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Paul Ferney (American, b. UT, USA, based San Francisco, CA, USA) - Night Swimming, 2024, Paintings: Oil on stretched Canvas

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it is impossible to watch a movie. every night i think i want to watch a movie. no movie gets watched. because it's not possible
and yet they keep making movies with the hopes that one day humanity will discover a way to watch them. it's so inspiring
HACKS (2021â2026) â S05E10 / S04E01
Put in the tags the completely finished (whether cancelled or wrapped up on its own terms) TV series that has YOUR perfect ending, however you define that
Please donât include huge spoilers for the specifics of the endings, and it would also make me happy if people donât use this to talk about the shows whose endings they hated
Just finished watching the Rafa Netflix documentary and now I need to lie down for 10-20 years đđđ

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Iâm 400 years old and still on tumblr
How it feels to be mutuals with someone for over a year
im trying to paint every episode of the sopranos. send thoughts and prayers
happy pride to the person who asked the question about bodyswap. oliver says iâd strip down and dance around in my underwear. everyone laughs and he says no genuinely, thatâs the first thing i would do. okay. sure. gets flustered and stands up. immediately kicks over a water bottle. gets flustered again and sits back down. ryan looks at him, says hmmmm what would i do with your body? oliver says youâd be so lucky. like; you wish. ryan laughs. oliver laughs. repeats what would I do with your body and ryan (bright red) reaches over and sticks a hand in his armpit and gives him a secret little pinch. ryan says hmmm i guess Iâd slut it up. like you used to, iâd be a slut. in your body. :) they say thank you very much for the question and move right along like that was the most normal theyâve ever been.

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183A Miller Street, O'Connor ACT 2602
Criss Canning (Australian, 1947), Gum Blossom, 1995. Oil on canvas, 76.5 x 71 cm.
Oliver talking in an English, British, Scottish, Scouse, Welsh, German, French, and South African accent.
"Steven Gerrrrrard" I'm dying đđ
#happy pride month đ
Queer as Folk â 2.03: Hypocrisy: Don't Do It
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.

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Can anyone name one (1) great European achievement from the past 50 years?
What A Feeling by One Direction
LIVERPOOL FC HAS CONFIRMED IT!!!