Lorbanery

Rewatched Captain America for the hell of it

That scene where he downs the plane still hits real fuckin hard, even after all this time

Oh damn

Link to the pdf of the tool kit

….But at the same time, she doesn’t tolerate being objectified against her wishes:

but then there’s also the time she just….built a functional AI?

Like. I remember back in my grocery store cashier days I did so much crazy shit.

When WIC (Women, infants, and children voucher program to help low income mothers/families with children) people were in my line I would pretty much know who they were. Before the cards they had to tell us upfront they were WIC and show us their vouchers for what they were allowed to get (it was awful some times. Like. 2 gallons of milk. $4 worth of vegetables etc etc). They’d always have items hanging back, waiting to see what the total was and if they would have to take it off the belt.

I began to place the fruits/vegetables a certain way on the register scale so that like 1/2lbs of grapes read as like .28lbs or something. Then act shocked when I said that they still had X amount of lbs left. They got all their fruit and vegetables.

I think it started to kinda? Catch on to the women? Because I would have the same moms in my line month after month. And even after they switched to the cards (they worked like food stamp cards?) I’d still do the same thing. They were able to get more produce for whatever shitty max amount Indiana gave them.

the city of los angeles

the city of new york

sex

how drinking alcohol works

how getting high works

how a child of any age speaks

how nuclear physics work

how [my job] works

how debilitating being shot in the shoulder is

how hypothermia works

things I have never before seen someone fake their way through writing about, until today:

SHRIMP COCKTAIL:

banahbanah: #flashback to that one fic where Peter Parker frets about drinking shrimp cocktail because of the alcohol

generaldeliciousness: adding: what a prawn/shrimp cocktail is

#why is your character turning it down because they're under 21 #do you think prawn cocktail is a cocktail #this lives in my brain rent-free constantly #the rest of the fic was so normal #and good enough that i'll still re-read it #but bro

And then many, MANY, people wondering if this was actually authour mistake, since Peter really would do this!

POMEGRANATES:

zhajhassa: #haha where's that post that was like someone describing someone eating a pomegranate but they ate it like an apple

thornhands: #once someone wrote persephone biting into a whole Pomegranate #had to stop and stare at a wall for a minute

sungsingsanguine: I once saw someone very confidently write about a character eating slices of pomegranate.

FRUIT TREES:

zagreuses-toast: #given a very endearing glimpse into a writers blindspots by seeing them describe someone sitting under a ''pineapple tree''

salatrash: I remember something about picking watermelons... OF A FUCKING TREE

baander: #cranberry trees

DOUGH/BATTER:

maycelium: #I'm a chef so I'm really used to people not accurately describing how to cook food #But I was surprisingly flabbergasted when someone was writing making a cake and was kneading it. Which uh #Not necessary for cake. It was interesting for sure but just bizarre

livebloggingmydescentintomadness: #the one that drove me nuts was when a character set aside a batch of PASTA DOUGH 'to rise' #pasta doesn't have yeast!! #it does need to REST but it will never RISE #you do not want an airy crumb on your noodles

lovesodeepandwideandwell: #THE ONE WHERE THEY MADE COOKIES BY LADLING BATTER INTO A TRAY

Some other topics:

Lmao flashback to that time I flew from NJ to CA (yes I know Seattle is in WA, but it's the same coast) and I was so discombobulated because the flight took like 5 hours, and the last time I'd taken a 5 hour flight from NJ it landed not just in a whole different country, but a whole different continent (France).

there’s a campout that starts tomorrow, june 4th, and an online study group that starts this weekend, june 6th, and some events and shows this summer that look really fun. there’s also a newsletter for any future events!

looks like i can’t put the link to the website, but it’s just the name of the project dot org

I have always loved a good banjo. It's crazy bc it's from Africa, but it always gets a bad rap as a Southern White Hick stereotype. Which, interestingly enough, is probably why they gave it to Remmick. A sort of sign that even in this, he's trying to use Our Music to get Inside to Us. But anyway, somebody shredding on a banjo is 🤌🏾🔥

I'd actually love to participate in something like that, because I gave up on this guitar 😭 I don't have the memory and focus anymore to teach myself music.

They formed at a Black Banjo Gathering in North Carolina in 2005 and have been a big influence in the revival of Black traditional/string band/old-time/folk music in general but also from the Piedmont region of the Carolinas.

The gist of it was that light and sound are designed for the newest movie theater projectors.

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.