"Hope for the Best,Thirst for the Worst"

This sounds like a shitpost, but as I understand it, DC started charging people under 16 very leniently (good!) but then various criminal organizations responded to incentives (predictable!) and started specifically recruiting 14-year-olds to do carjackings because they would basically never get in serious trouble for it.

I think that specific problem has abated somewhat, but it did require a certain amount of targeted enforcement in response. I haven't looked into details but I assume the same thing is going on with the teen curfew—there's a specific uptick in violence and vandalism that they're trying to get under control.

Multiple countries are making it a matter of LEGALITY now to 'prove' you are an adult to access 'adult content' or places that may have/host 'adult content'. Being mad at Discord is not the solution. Discord is the result of GOVERNMENT OVERREACH and deciding that they only way to 'protect the children' is for said government to have proof you are a 'legal adult'

Put up a stink about Discord if you want, but also this is more than just getting mad at the websites or the apps who are trying to enforce age verification via ID share

And before anyone says im defending it, Im very much against giving your ID to anyone or any third party group. The companies being USED to check your IDs have been breached time and time again and I cannot FATHOM why they insist on using these third party companies when they are not secure whatsoever. THIS IS AN ISSUE THAT IS NOT JUST ABOUT DISCORD (or Bluesky or Tumblr)

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.

When you're in school, the cognitive tasks are there for the explicit purpose of being brain exercises. It's weightlifting. It is FOR building your mental muscles and making you a stronger thinker and planner. "Offloading the cognitive tasks", then, is just Not Doing The Weightlifting. What happens when you pay for your gym membership and just stand around messing around on your phone? Nothing. Nothing happens. Just money leaving your wallet. Nothing else.

Using AI is a short term pleasure that is going to fuck you over in the long term, and by the time you realize that you didn't build the necessary muscles you need for the cognitive tasks required of your ACTUAL JOB (or, like, adult life in general), it's going to be too late to do anything about it... except going back and doing the real work all over again to get you up to speed.

A "book" is (a slightly outdated beyond this specific topic) term for your union card, which states that you're a member in good standing of your local/union and ostensibly means that you have the coinciding skills that go with the title of journeyworker or apprentice or whatever. Typically, to become a journeyman, you serve an apprenticeship (usually 5 years) and then have to take a test of some sort to prove you've acquired all the necessary skills to earn the qualification. The card/book is the proof that you have a basic level of competency.

Sometimes though certain locals, usually in the South or other places where right-to-work or similar attitudes are stronger, will "sell books," which is to say they will allow people who either haven't served an apprenticeship or passed a skills test to buy their card so that they may work on union jobs.

There's a myriad of reasons and reasonings on why a local might do this, but on the ground, it means that if I'm on a big job, anyone from areas or locals that have a reputation for selling books is automatically assumed to be under-qualified. This sucks, because I've known plenty of badass hands from Southern Locals, but because they come from book-selling locals, they had to overcome that stigma. To an extent, this whole thing is self-regulating because if you bought a book and can't hack it, you only come to a travel job once before they will never invite you back, but it is a constant source of sand in the gears for the whole labour management process.

If you don't like plain water, and a lot of people don't and that is FINE, then it is a million times better to find beverages that you will actually drink than to be dehydrated because you keep trying to force yourself to drink something you don't like.

Check this out.

this concept of 'being a fangirl' as something to strive towards is incredibly new in the marketplace. like, it has to be since 2020 that it became such a public and widespread conversation topic that is actively being talked about in the news as some new lucrative market that has yet to be tapped into. it did not used to be like this!!!!! being a fangirl was actively looked down upon and sequestered away into their designated corners of the world. when fangirls were talked about in the press it was usually deragatory or talked about as some kind of baffling enigma. we had JUST gotten to the point in 2014 where it was considered 'cool' to be a geek or a nerd.

THISSSSSSS!!!!!!! curate your own internet experience. block them because they’re allergic to peanut butter, block them because they have what you don’t, block them because they dislike your favorite food, block them because you don’t like their layout, block them because you can.

blocking is NOT a personal attack against someone. it’s you curating your own internet experience and catering for your comfort, and you have every right to do that.

you, yes, you!!! you CANNOT tell other people to censor themselves for your own comfort and personal likings. you CANNOT tell them what they can or can’t post. you CANNOT tell them what they can or can’t write. you CANNOT tell them what they can or can’t draw. BUT you CAN block them for whatever reason.

libido: body says NOW

Please know this sites hashtagging system is categorical and NOT clout based

Aka if I look up the “Wendell and Wild” tag, I should find clips, media, art and posts related to Wendell and wild ONLY. Same with any other random tag searched

If I spy a selfie, a random neighborhood, or any other kind of “insta” post trying to take likes for a popular hashtag, I’m reporting you for spam. Most other long term users will too and your acct will be fast tracked as a spam blogger and blocked.