float like a butterfly (nervously forgets end of quote) green like a pea
ojovivo
Mike Driver
Claire Keane
Today's Document
Jules of Nature
trying on a metaphor
art blog(derogatory)

blake kathryn

Andulka
almost home

pixel skylines
$LAYYYTER
wallacepolsom
Lint Roller? I Barely Know Her
cherry valley forever
Peter Solarz
Stranger Things
đŞź

romaâ
macklin celebrini has autism
seen from United States
seen from TĂźrkiye

seen from United States
seen from United States
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seen from United States
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seen from United States
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seen from United States
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seen from United States

seen from Singapore

seen from United States
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seen from Saudi Arabia
seen from Malaysia
seen from United States
@kayross
float like a butterfly (nervously forgets end of quote) green like a pea

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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In elementary school, my best friend and I had this game we would play where we were school supplies living inside a child's desk and going on slice-of-life adventures inside it. And I remember that a key component of our school supply society was a sort of religious schism that existed around the purpose and nature of the giant hand that occasionally reached in to grab different citizens, use them, and then return them, because most school supplies considered this an auspicious and enviable moment of being selected for a greater purpose and allowed a glimpse of a vast truth, but pencils considered it a horrible portent of doom because they always got sharpened during it and came back smaller and closer to death. We were third graders btw.
one of the guys in the kitchen at work got called irritating and replied âI am not irritating. You just find me irritating. There are many people who love me.â I think we should all adopt his attitude
Just had a steak. Love cows but theyâre so yummy
Preview of Basilisk, my personal favorite of my risograph comics, and the project all my other recent medieval-inspired art descends from.
Styled after medieval illuminated manuscripts and printed using a custom color palette requiring 5 risograph inks (including metallic gold), Basilisk asks the question: what would drive a teenage girl to create a monster?
Physical copies available here. To brag for a moment--this is my masterwork of riso printing and is even more impressive in person.
this is beautiful, just beautiful

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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I think instrumence should be free for those who are pure of heart
u should be able to put ur hand down and let the instrument sniff u and if it smells a beautiful quality in ur heart and spirit that's ur instrument now. stray tumpet follow you home.. bwaa
Sniff my hand, sweet bwa bwaa.... You will be safe with me
this almost makes me want to go back to law school
ellingson.tv on instagram
those food cat memes always make me think of a kitten wearing a costume that his mommy made him

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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My era rn is uncategorizable. The the way I am living is unheard of
yes friends let us blaze the marijuana! four hundred and twenty haha
Bear in the Big Blue House (1997-2006)
awww the like button turns into a rainbow when you press it! that's so cute...hey staff what's with all the trans women you keep nuking?
i think we should be ridiculing them more for this. you don't get to try and go all "queer website" when your staff likes to go on nuking sprees targeting the trans fem users
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.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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#a friendship between an old(er) str8 white dude and a tiny hot WoC#AND NEVER ONCE DOES FUSCO SAY SOMETHING SEXIST OR RACIST#Shaw is never once expected to just âput upâ with Fusco being offensive to her#and they go from him thinking sheâs kind of nuts (i mean not without reason) and scary#to being someone Fusco would 100% take a bullet for#i just love this show gdi (via @racethewind10)
I DIDNâT LEARN ABOUT THIS IN DRIVING SCHOOL
Stop says the red light, go says the green
Wait says the yellow light, twinkling in between.Â
KNEEL, SAYS THE DEMON LIGHT WITH ITS EYE OF COALÂ SAURON KNOWS YOUR LICENSE PLATEÂ AND STARES INTO YOUR SOUL
THIS IS ALWAYS FUNNY
@irritatedlifeguard I agree with your tags.