not even funny how true this is for me

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@nymphaea-nerd
not even funny how true this is for me

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Scientists invented a fake disease. AI told people it was real: Nature.com
I'm a bit frightened for the time when someone less ethical than the person that did this decides to repeat the experiment but leave out the part where they come in later and announce that it was fake and people wind up diagnosed with the fake condition and all kinds of wacky hi jinks ensues.
some hyper famous artists like Van Gogh transcend overratedness and become underrated because they're so normalized. Like I'll look at a van Gogh and I'm like wait this really is amazing you guys don't get it
Shakespeare is like this
Prev please I beg of you why should we all have a burning appreciation for Vivaldi
AHHAHA well I also got another message asking for the Vivaldi freakout so. y'all brought this on yourselves <3 <3
FIRST THING TO UNDERSTAND: Baroque music is really really fucking cool. You could see it as a reaction to more constrained medieval/renaissance music, which was often obsessive about certain musical rules. Baroque comes from the Portuguese barroco, "an irregularly-shaped pearl", and was actually used as a criticism meaning something very weird, dissonant, overly extravagant, etc. It's seen as very structured but is in fact a collection of big ol' "fuck yous" to the previous era of musical structure. SECOND THING TO UNDERSTAND: Vivaldi was really really fucking cool. He was nicknamed "The Red Priest" as a young spicey ginger, and for many years he was the violin maestro at a combo orphanage/music school for girls. He wrote a zillion works specifically for the girls to perform, coached them in music theory and instruments, and helped many of them launch esteemed careers abroad. Also the board of directors hated him and kept firing him and then realizing they needed him and bringing him back, for reasons completely lost to history, but probably related to his spiciness. THIRD THING TO UNDERSTAND: "The Four Seasons" is really really fucking cool. It's written to accompany four sonnets with super vivid imagery including sudden spring/summer storms ("Thunderstorms, those heralds of Spring, roar, casting their dark mantle over heaven!"), mad drunken revelry, the chase of hunting dogs, slipping on ice and eating shit, etc. When you hear it played properly it's very much not "this pretty song kinda reminds me of spring" but "oh wow I can hear dogs barking in the viola section, chirping birds in the violins, a summer storm wrecking the fuck out of my grain, and dangerously crackling ice!" FOURTH THING TO UNDERSTAND: "The Four Seasons" is rarely played in the spirit of its time. This is Mozart's fault. Well, not really, he didn't tell anyone to play it wrong. But he did give rise to a cult of strings players who play in a very "Mozartian" style - light, pretty, clean, effortless. And for some reason (ahem. some reason i won't go into as this is long enough), this playing style has become the predominant mode for The Four Seasons. Which makes it sound like light, pretty, clean, fancy music.
As we covered above, it is baroque music, so it is not any those things! It's weird and crunchy and extravagant, with musical affectations that would have been considered revolutionary at the time. If you're playing it in the baroque tradition you're also going to be adding your own ornamentations and expressions. Bringing your own weirdness is encouraged in baroque music.
Basically, it's a crime that everyone sees Four Seasons as "fancy music that plays in movies when rich people are onscreen" when it was written by The Red Priest Who Ran A Girls School For Orphans When That Was Very Much Not The Done Thing And Pissed Off the Board At Every Opportunity, and written during a musical period that history has classified specifically as a fuck-you to "pretty and clean and fancy."
For some real crunchy Four Seasons, I will always recommend Adrian Chandler & the Serenissima. BUCKLE UP TO GET YOUR SHIT WRECKED AND YOUR WHEAT CROPS MURDERED BY A SUMMER STORM!!
The original flag, by Gilbert Baker, June 25, 1978.

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top 3 hobbies for young adults:
1. borrowing misery from future
2. carrying grief of the past
3. agonizing over the present
a little compilation
Official silly sign(s)
a little compilation
Official silly sign(s)
this is the first time in my life i thought oh i hope thereâs music

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they killed him for this
Im glad they made up romance for stories and music but can you imagine how scary it would be to deal with all that for real
this is how sam girls view the world i think

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You listen to music regularly? Why? Have you even tried quitting? Could you quit? You get music stuck in your head? Wow. You're so ruined and music brained. I bet you make your partners listen to music with you when you have sex. Music addiction has really ruined a whole generation. You know it's not realistic to expect reverb in real life, right? You're probably so desensitized that you don't even feel anything anymore when you hear a bird singing that it wants some fuck.
I don't have a problem with people listening to music per se, but I do have a problem with the music industry exploiting & mistreating artists.
Personally, I abstain from all music in order to keep my hands clean but really music should just be illegal outright to protect musicians from abuse.
holy shit this person in the notes
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.