i can't do this anymore! i mean i can, and i will, obviously. but i can't fucking do this anymore!
DEAR READER
he wasn't even looking at me and he found me
trying on a metaphor
Alisa U Zemlji Chuda

titsay

@theartofmadeline
Show & Tell
Three Goblin Art

JBB: An Artblog!
cherry valley forever
hello vonnie
Stranger Things
Cosimo Galluzzi
we're not kids anymore.
h
RMH
"I'm Dorothy Gale from Kansas"

⣠Chile in a Photography âŁ

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@dupetitrenard
i can't do this anymore! i mean i can, and i will, obviously. but i can't fucking do this anymore!

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Link to the gay porn library of Alexandria.
Happy pride.
This is actually super cool from a media preservation stand point!!
@makingqueerhistory is this anything..?
From the Heated Rivalry Soundtrack Vinyl

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Chuck Jones is the best counterexample to âthe curtains are just blueâ because you would not believe the amount of thought and art theory he put into his silly little cartoons
I need to dig out my Chuck Jones books but one time he was talking about the Wile E Coyote gag where he runs off a cliff and continues running for a little bit before noticing thereâs no ground underneath him and then turns to the camera and holds up a sign saying âHelp!â before plummeting and Jones said the reason Coyote does that instead of immediately trying to get back to the cliff edge is bc Coyote embodies anxiety and in that particular moment represents the fear and worry about the judgement of others over and above the desire for self-preservation.
Like, if someone was told that interpretation without knowing any better theyâd think it came from some pretentious academic or whatever but nope! Itâs literally the creator like those are the thoughts he had in his head when he was creating the cartoons
the Nine Rules of the Roadrunner cartoons always sticks with me. Rule 3 especially
single funniest entry in Star Trek predicting the future
Protect him
HE PUT IT INTO WORDSđđđđđ
how measurements work in canada (ie/ badly)
Volleyball player Yuji Nishida accidentally hit a line judge. This is how he apologized.

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Rebecca Dautremer, 'La Lectrice et les Monstres' (The Reader and the Monsters), 2020
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.
every time i remember that photo of the little inuk girl with her puppy i engage in inconsolable hysterics
this is it. this is the photo of all time
Comfy even

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In medieval culture, an event like a royal christening is not a private party; itâs the public social event of the year. To not invite any person of rank to such an event is a deadly insult.
Maleficent is certainly someone you wouldnât want at a party, but sheâs also someone powerful enough that only a fool would ever dare treat her with such blatant disrespect. The only way the King and Queen could possibly have gotten away with not inviting Maleficent was to not invite any of the fairies at all; inviting the other fairies and excluding her is explicitly taking sides in the conflict between the fairy factions.
Which means they made themselves her sworn enemies, and she responded by treating them as such from then on. If you actually get into analyzing the social dynamics of the scene, itâs very clear that Maleficent was willing to show mercy at first by giving the King and Queen a chance to apologize for their disrespect to her. She doesnât curse Aurora until after she gives them that chance and they throw it back in her face with further disrespect.
And yeah, if the King and Queen had done the properly respectful thing and invited her, Maleficent would have given Aurora a scary awesome present. Moreover so would the other fairies, because at that point both sides would be using it as an opportunity to show off and one-up each other. What they gave her before Maleficent showed up was basically just trivial party favors by fairy standards.
How do you know so much about the social dynamics of medieval fairies
That is none of your business is it sir
If you ever spot a Tricolored heron and have a little free time, I highly recommend stopping to watch them fish for a while. The speed, focus, and grace they display during the hunt is captivating.