the girls
One Nice Bug Per Day
dirt enthusiast
I'd rather be in outer space 🛸

Love Begins
2025 on Tumblr: Trends That Defined the Year
PUT YOUR BEARD IN MY MOUTH

todays bird
noise dept.
Stranger Things

JVL

祝日 / Permanent Vacation
he wasn't even looking at me and he found me
i don't do bad sauce passes

@theartofmadeline
h
ojovivo
YOU ARE THE REASON

Origami Around

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@celesvoldos
the girls

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the shitstains at youtube memoryhole’d propane genesis evangelion but I had already downloaded it because I know youtube is full of absolute cunts so here it is
Boggle
i'm still losing my mind over this, that is EXACTLY what the weed store in Splatoon would sound like.
classic scifi novels by men r always like. page 1 here’s a cool scifi idea i had. page 2 i hate women so much it’s unreal
ALT
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guys if one more person leaves a tag like this on my post im gonna lose my mind. There Are Science Fiction Authors Who Are Not Misogynistic Men
ok i’ve gotten one too many ‘this is why i don’t read sci-fi’ comments so here’s a rec list for the people convinced all science fiction is bad and misogynistic (with something for everyone, hopefully!):
(also, btw, the book links are to the Storygraph, which includes content warnings for each one!)
smth funny and lighthearted about a security robot who’d rather watch TV then do its job? all systems red by martha wells (first novella in the The Murderbot Diaries series, 6 books, ongoing)
a complex, intricate political space opera following a warship AI who’s lost (almost) everything? ancillary justice by ann leckie (first in the Imperial Radch trilogy) (fun fact! bc of space linguistics reasons, all characters in this series are referred to with she/her pronouns, making gender a non-factor - it’s really cool!)
a dark story about travelling between parallel universes and a woman who is dead in almost every single one? the space between worlds by micaiah johnson (standalone) (SO good, i don’t get to recommend it often enough!!!)
a story about grief and letting go, and a unique take on alien invasion? the seep by chana porter (standalone novella)
hey, how abt some dystopian YA, for old times sake? specifically, one with sapphics and sick mechas? try gearbreakers by zoe hana mikuta (first in duology)
or, if you’d prefer something a bit less angsty, YA about a ragtag group of teens and a space heist? the disasters by m. k. england (standalone)
alternate history steampunk that blurs the line btwn science fiction and fantasy? the black god’s drums by p. djeli clark (standalone, novella)
a dark gone girl-esque thriller about clones? the echo wife by sarah gailey (standalone)
poetic sapphic romance and time travel? this is how you lose the time war by max gladstone and amal el-mohtar (standalone)
a hopeful utopian future and a human-robot friendship? a psalm for the wild-built by becky chambers (novella, first out of two) (this author’s got a whole bunch of hopepunk sci-fi novels in general, if that’s smth you’re looking for!)
africanfuturism, coming-of-age, and cool jellyfish aliens? binti by nnedi okorafor (novella, first in trilogy)
spicy lesbian cyborgs? and shall machines surrender my benjanun sriduangkaew (novella, first in the Machine Mandate series, 6 books)
cosmic horror with an autistic scientist, cyborg angels and AI gods? the outside by ada hoffmann (first in trilogy, 2 books are out)
also, if you’re a fan of Janelle Monáe, may i draw your attention to the fact that they’ve recently come out with a Dirty Computer short story collection, each story co-written with a diff writer?
this list is long enough, but have some more authors (who are not cis men) also worth checking out: rivers solomon, yoon ha lee, charlie jane anders, aliette de bodard, xiran jay zhao, mary robinette kowal, corinne duyvis
and finally, not all older/classic scifi is written by crusty old white guys who hate women!!! some iconic authors i’d particularly recommend looking into are ursula k. le guin, octavia e. butler, samuel r. delany and vonda n. mcintyre 🥰
I’ll add C.J. Cherryh and her Foreigner series to this! Alien politics, linguistics, adventure and intrigue… Sometimes the aliens aren’t just like us, after all, and that’s ok!
And Nicola Griffith. And Lois McMaster Bujold.
I’d also suggest The Long Way To a Small, Angry Planet by Becky Chambers. It’s got some interesting stuff, but is more based in the found family troupe than the sci-fi that’s happening all around it so it’s a good starting point to see if you like the genre.

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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 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
Sailor Mercury
Having fun with some Dialog Box designs. Which ones should I actually make into stickers?
Lina Inverse (comm for IronGarden)

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Gengar Official Sprites 1996 - 2014
Pouring flowers - Mar.2024 for the @ffladieszine
2017/01/28
“but what if you abort the baby who’ll cure cancer?!” sir the baby who will cure cancer is an organic chemistry major who works at a Home Depot because you use AI to go through your resumes
"I am, somehow, less interested in the weight and convolutions of Einstein’s brain than in the near certainty that people of equal talent have lived and died in cotton fields and sweatshops." - Stephen Jay Gould, The Panda's Thumb: More Reflections in Natural History

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