heya!

this right here?

THIS IS ABSOLUTELY NOT REAL.

the "@staff" is just the bio text.

tumblr staff will not contact you through anything other than email or their official accounts, which will all have this badge:

DO NOT ENGAGE WITH THIS OR SIMILAR ACCOUNTS AND ABSOLUTELY DO NOT CLICK ANY LINKS FROM IT.

report and block. i'd also appreciate it if you shared this post, bc that blog was JUST created and was already tagging a LOT of people, and i know not everyone has the scam-sensing instinct, even if this might seem obvious to some.

to wit:

bottom's the raw capture, middle's just flat curve correction to make the footage visible, top is the final coloring with /counts seven adjustment layers to add back in Literally Anything But Yellow

Garth Brooks winning video of the year at the ACMs for a song about how none of us are free as long as there's racism and homophobia

Reba McEntire charting with a gothic horror song about an innocent man being executed by an incompetent judge and a corrupt sheriff

Willie Nelson being, well, his entire self tbh

Dolly Parton recording the hating capitalism banger of all time

listen. Alan Jackson, the archetypal mister big hat man sitting on a tractor singing about a pickup truck, wrote a shockingly normal song about 9/11 that was like "yeah I don't know jack shit about politics but my copy of the bible says we're supposed to love everyone" and then went on the radio and explained how he specifically wanted to write a song about that day that "wasn't vengeful". Miranda Lambert took the southern leftist slogan "y'all means all" and made it the title of a corny ass pop-country song for the Queer Eye soundtrack. Kenny Chesney stole a horse from a cop and Tim McGraw put the cop in a chokehold defending him, and I know that's not about their music but it is, and this is very important, fucking sick as hell

Luke Combs covering Fast Car and keeping the line "I work in the market as a checkout girl" and doing an interview about how he couldn't change a single word because it's not his story. king shit

Morgan Wallen doing I Had Some Help, literally the first song that spoke to me as a male survivor of domestic abuse. also shoutout to the guy for getting caught saying a racial slur and responding by specifically telling his fans not to defend him and raising a bunch of money for the Black Music Action Coalition. bro had an engraved invitation to the culture war and said "nah I'd rather be normal"

Shaboozey just absolutely obliterating the drunk roadhouse anthem glass ceiling

Maren Morris and Brothers Osborne with a song that okay, released in 2019 but I didn't hear until recently, about how good friends mind their own business and let you love whoever you want and also get high with you when you're broke

Kimberley Perry! If I Die Young Part 2!! "actually I'm glad I lived, bitch" ass song that I bet is gonna mean a LOT to kids fighting depression

earlier this week Twitter user ppuccin0 tweeted about a fashion article that advised against tops with large floral patterns, saying the wearer was in danger of looking like a "ロマンティックおばさん," or a "romantic auntie." the tweet went viral with many agreeing that a "romantic auntie" sounded like a very nice thing to aspire to be, and some even posted illustrations or photos tagged with the trend

illustration by Toyota Yuu (author of Cherry Magic)

illustration by 141shkw/Sora Midori (author of Beautiful Curse)

photos by Takinami Yukari (author of Motokare Mania and Watashi-tachi wa Mutsuu Ren'ai ga Shitai or "We Want A Painless Romance")

illustration by m:m (mangaka of Matataki no End Roll)

illustration by ooinuai (mangaka of Onikui Kitan)

illustration by ma2 (mangaka of The Reason We Fall In Love)

BONUS:

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.

no its one of my fancy pencils :)

a neophallus can get erect with an implant (this will either be a bendable rod or a device that inflates with saline at the press of a button, usually in the testicles)

both can feel sexual pleasure and experience orgasm

most neovaginas will be able to tolerate larger insertions with enough dilating/training

the nerves in neophalluses take a while to regrow but it is incredibly rare to experience no sexual nerve growth

both can look and feel "normal" if that's what you want, just take good care of your scars and look at your surgeons' results portfolio (and don't be afraid to be picky! its your genitals, you get to decide!)

in fact it's possible for many people to stealth and for their sexual partners to never know. even for phallo, some people with natal penises have erectile implants too, ED is common. neocaginas are often indistinguishable from natal vaginas

many surgeons are starting to offer preservation options for patients who want a more mixed look/don't want to lose what they have

you can have nothing and retain sexual function, even! it's called nerve-preserving nullification. similarly to other bottom surgeries, they use the most sensitive tissue (glans/clit) to create a subdermal pseudoclitoris

yes you can pee like normal. urethral reroute leaves a small hole at the perineum (taint)

all the advice about scars from OP applies here too!! take care of yourself well and it can heal well