I must let myself get better slowly.

This is why so many parents think "gentle parenting" doesn't work.

To them, "gentle parenting" means abusing them constantly then stopping for a week.

Abuse, especially from someone who they're required to live with, fully dependent on, and prohibited from defending themselves against, causes lifelong trauma. The trauma doesn't vanish when it stops being convenient. Your goal from the beginning was to traumatize them and hope the trauma would make them obedient. Now that you realize that their trauma isn't manifesting in a way that benefits you, you want it to disappear on your command.

And sometimes, you have a string of fandoms that are Actually Pretty Good. And the danger of this—the very great danger—is that when you have a string of Actually Pretty Good and even Actually Amazing obsessions, you start to believe that maybe you have taste. Perhaps you are now immune to the indignities of losing it over something mostly bad.

And frankly, it’s starting to really get on my nerves when people read “I think this thing is good. I wouldn’t change a thing about it and frankly I don’t even think there should be more canon added to it, but I am still going to write thousands of words of fic, make a cosplay, and draw fanart” and then completely misunderstand and respond with “yes I agree—I like things that are good too. But I never feel the transformative/creative fandom instinct for them because they are too good.”

compelling worldbuilding (invites interaction with the setting)

interesting gimmick (see: daemons, drift compatibility. subcategory of compelling worldbuilding)

shipping bait (duh)

original character bait (in-universe categories/factions and design elements that make it fun for people to create their own characters)

compelling narrative (invites interaction and tweaks to the storyline: AUs and fixits and so on)

basically anything that invites interaction and recombination. but fandom also has a sort of multiplying effect: the larger the interactive audience of fandom is, the more likely it is to generate ideas and works that draw in more participants. so:

How it’s going:

This piece is titled "The Secondary Eclipse Occurs When The Cooler Star Is Occulted By The Hotter Star", and it was created for Poetic Tiger's Invisible Threads show. The snake is 43" from end-to-end, and 39 of those inches are covered in sequins stitched on one-by-one. He's a big boy.

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.

Showing off the Arapaima I made! (Pattern also made by me)

You KNOW classic SF used the limited displays of CRT television and the static of transmitted signals the way theaters use stage makeup and lighting to make inexpensive props look great fine— take advantage of the medium! But it's hard to imagine how it looked if you've only seen Blu-ray HD restorations.

For example on a post I made about leaving the way clear for people exiting elevators or public transportation instead of standing right in front of the door blocking it I got a few notes from people saying "haha yeah I always give someone a good body check if they do this and I love seeing the shocked and offended look on their face"

or on a post about leaving room for the flow of traffic I had people in the notes bragging about giving "body checks" to people in their way on a sidewalk or in a hallway.

Do. Not. Ever. Ever. EVER intentionally bump into people aka give them a "body check". Anyone who brags about this kind of behavior in my notes is getting blocked. You are literally physically assaulting someone and then bragging about it. Physically assaulting another person is actually a lot worse than accidentally being in someone's way, and I have no tolerance for it.

The times in my life where someone has intentionally "body checked" me have been when I was disassociating and/or about to pass out from low blood sugar, or quite literally was as far off to the side as possible (literally up against a wall or packed up against other people in a crowded area) and every time this has happened it has ended in me having a full blown panic attack that I need to take emergency meds to come down from due to my PTSD.

You never know why someone could be in your way. They could be visually impaired. They could be disassociating. They could be about to pass out from low blood sugar. They maybe just experienced a disturbing or traumatic event that's shut down their pre-frontal cortext. All sorts of things. So congrats I guess on physically assaulting someone who might be disabled or disassociating or about to faint from low blood sugar. You sure are showing them.

Not only that, but it's unsafe for you too. There are violent and unstable people in this world, and you might "body check" the wrong person one day. I had a friend in secondary school who would brag about this kind of behavior, and when I was talking to my aunt about it one day she said to me "one day your friend is going to do that to the wrong person and find herself cleaning herself up off the floor."

weight of rollator will depend on several factors , but 7 to 9 kg seem like fairly average guess . rollator users , naturally , can weigh 10 or ( many ) more times that . if balance of rollator user is thrown off , that rollator can easily glide ahead . given purpose as mobility aid , very likely for user to have at least one hand on rollator - which means that person will follow , and fall , and possibly get very hurt . this is true even with brakes on - brakes mean very little against full weight of person .

And yes, you are 100% correct, in the second or two you have to decide between those options, you might not notice a mobility aid, and if you go for option c for a mobility aid user you can seriously hurt them.

Also, not everyone who is physically disabled and at serious risk of being hurt from a "body check" uses a mobility aid. My mom really should be using a mobility aid, she has vertigo so badly she sometimes has to old onto my arm if we go anywhere together in public, and she has really bad arthritis in her feet that make it harder for her to walk at quicker than a shuffling pace. And yet because of her not wanting to look "too old" she refuses to use mobility aids, and insists on running errands by herself on days her vertigo isn't "too bad". But if someone were to get annoyed with my mother, who moves extremely slowly and often wobbles from side to side, and they decide to give her a "body check" due to their impatience, they could seriously hurt her.