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@okspacekid
sob emoji is up there with the period and the comma

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online numbers can really fuck you up when it comes to your creative work because you're sharing something you worked on with all your heart but it's very important to remember there's actual people behind those numbers. even if it's 1. that's one whole actual person. that's a human being who said "haha nice". that's a connection with a REAL person with a REAL life and REAL thoughts and feelings and experiences. like. damn. that should mean something
I love Big Dino so much she makes me feel like the main character in a horsegirl movie every time I look at her. yes the mysterious horse Living Character in the very back of the old barn Disney Vault hasn't been ridden by anyone used for years because the last time she had a rider there was a tragic accident SHE COULD KILL PEOPLE, but that's just because her riders the Disney Corporation didn't understand her and tried to suppress her wild spirit...with my beautiful horse death robot I could save the farm in the big horse show have a Living Character in the parks that doesn't flirt with people...
idk i just feel like "it is more acceptable and in fact encouraged to mock anything enjoyed primarily by women" and "being enjoyed primarily by women does not make thing feminist and righteous" are thoughts that can and should coexist
oh and also "even if the thing is bad your criticism of it can come from a place of patronising misogyny"
Came across this art installation, Liza Lou's Kitchen, at the Whitney Museum of American Art, NYC. It's a kitchen made of tiny glass beads, that artist Liza Lou did, taking 5 yrs. to complete, from 1991 - 1996.
My favorite part is the sink.

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auto immune disorders happen when the immune system ignores regulatory factors and begins attacking healthy bodily tissues, due to what scientists refer to as "sheer love of the game"
you have to make your spaceship controls tactile. it needs to kachunk and thud and be sexy about it
under my draconian government it will be illegal to make a spaceship have any technology later than cassette futurism. that was as hot as it ever got
I must sleep. Sleep is the mind-healer. Sleep is the big-life that brings total ability to fucking do anything. I will face my bed. I will permit the blankie to pass over me and snores to pass through me. And when sleep has gone past I will turn the outer eye to greet the new morning. When the sleep has gone there will be everything. Energy and will to live will remain.
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.
And the world didn’t 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.
yknow its interesting how something can impact one demographic in a completely different way than everyone else. in the exorcist when the demon starts speaking in greek, to most people its creepy. but if youre greek and you suddenly start hearing the demon speak perfect fucking greek its genuinely the biggest scare of the movie. you just do not expect to ever hear your language in american movies so it catches you so badly off guard, it feels like the movie is talking directly to you
the first time my dad saw it, it was with his american friends. and when she started speaking greek he turned to one of them and was like "re malaka did you hear that in english?"

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This but make it domestic Spirk:
Maaan, this Ernest Chiriacka illustration has been in my K/S inspiration folder for over a year now!! Thank you for making this post—this was the push I needed to finally make it happen xD
✨ Full size on AO3 ✨
im so sorry that you're doomed by the narrative but i really need you to answer my message on Microsoft Teams
this might be kind of a reach but is there a way for printers to connect to devices so that documents can be printed from them
So I just simultaneously did, and possibly didn't lose my job today :)
Very much did in the sense that I literally do not know where my job is at the moment. But, for the time being I haven't been let go because nobody else including the store owner knows where it is either.
So, I don't wanna risk doxxing myself by posting pictures but goddamn am I tempted because this is not a believable event. This is a cartoon problem. For looneytoons.
But yeah, so, I work(ed?) at a kiosk selling boba tea, right? Freestanding kiosk in the mall with full water and electrical hookups and multiple fridges and sinks and a mini kitchen and the works. Fully functional tea shop. Very important to note that it was there last night, The work chat was discussing another issue last night at closing time. I'll get back to this.
It's been showing signs of being on the way out with how business is being handled lately and I've been considering other options, which is probably why I'm not as torn up about this as I should be, but maybe it just hasn't set in yet, but that's not the point. The point is there's been a lot of shit breaking and not being replaced and nobody mentioning anything about it until I walk into work in the morning and have to figure out why shit like the fucking cash register isn't there today. So I'm kinda used to having to ask questions about big things that nobody bothered to update me on. I was out for two weeks recovering from a surgery, so I came to work this morning assuming there'd be some kind of bullshit, yeah?
So, the question I had to ask the chat this morning was:
Not a text I ever thought I'd have to send in sincerity, but there it is. Because what I found instead was a fenced off patch of discolored tiles and a few holes in the floor where my entire place of employment used to be.
And the answer? Nobody knows! It was there last night when the mall closed, and every single trace of the structure and all its contents including drink making supplies and our safe and cashbox was gone when it opened again. And when I say nobody knows, I mean everyone from last night's closers to the actual (former?) owner of the store jad no fucking clue about this until getting that text from me this morning. For once I am actually the first to know. 🎉.
So. I guess I didn't so much lose my job as had it stolen. Not by AI, but good old fashioned hands-on human beings picking it up and carrying it away somehow. All mall security would tell me was that they were instructed not to tell me anything and have us contact our management. Who also don't know anything. And later on I came across some construction workers around the gravesite of the kiosk discussing filling in the holes, asked them about it, and was told that they "weren't at liberty to say".
So, not only is my job gone in the most literal physical sense of the word, but it was taken in some kind of super secret kiosk extraction in the dead of night without any warning or witnesses and nobody is allowed to speak of it. The store owner said she was gonna figure it out 10 hours ago and still no word back.
I don't know what else to say aside from I've been laughing all day and I'm gonna have a hell of a time explaining Schrodinger's Unemployment to the benefits office.
Update that is not an update because I'm basically certain this isn't what actually happened:
My mother in law thinks the FBI took it.
Not any of the other stores around the state. Just the one little kiosk.
Why? Because she loves a conspiracy and is just a little bit extra.
Also because she was around for the massive crackdown on Yakuza-owned businesses in Waikiki (in her homestate) that did actually involve the FBI seizing stores (no confirmation of making kiosks cleanly disappear in the middle of the night though).
Still no word from my job on what's actually going on, but the most likely theory so far is that maybe the kiosk was on lease and got repossessed? The mystery continues
(also shout out to the person who proposed Carmen Sandiego)
ACTUAL (partial) UPDATE:
According to the owner, based on what she's been able to find out, the kiosk was not removed legally and they're starting a potentially long process of legal action. I hope she gets to sue the shit out of whoever did it but for now at least I know for sure I'm unemployed.
Really hoping for more details in terms of who/why/how, so I'll keep updating if I learn anything.
For now the summary is: An unnamed entity that is most likely mall management (on account of mall security cooperating with them) stole an entire kiosk and all the contents including money and machinery with barely a trace in the middle of the night grinch-style, with zero warning or explanation, and ensured the silence of both security and the construction crew, in an action that was definitely preplanned and illegal, and as far as I know nobody knows its whereabouts.
So now I'm officially out of a job. Because my workplace was literally stolen in the night.
Actually fuck it let's share some photos cause I wouldn't be inclined to believe this myself. It's not like anyone can stalk me at my job now and I'm not gonna have to see any coworkers that might find my tumblr.
Enjoy the unintentionally funniest text I've ever sent in my life
Aaand a close-up:
The last remains of a once Very Much Solid And Immobile Workplace
HEY HI HELLO THIS ONE'S MY FAVORITE
via @kagaminilen
[cut to a kiosk on legs, sipping a boba, while wandering into the nearest forest on chicken legs]
Here you go @a-bit-too-dyscrasic
There's construction (well, mostly destruction) going on next door and I have turned into menwatchingworkers.jpg for highs like these.
Apparently I should've tagged this 'rapture' or something

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one time I went over to a friend's house and their housemate was making paper in the living room, and we saw this big tub full of water they were using to dissolve old scrap paper into a slurry, and everyone was immediately like "oh, you need scrap paper?" and started turning out their jacket pockets and producing expired coupons and bus tickets and crumpled receipts and old shopping lists and whatever else they'd been carrying round with them for no good reason, and passing it all to the paper-making housemate to make sure it was suitable before it got torn up and dropped into the tub, while people took turns stirring the slurry with a big wooden stick. it was strangely ritualistic, like presenting an offering to some kind of temple elder for inspection before placing it in a watery shrine to be devoured and reformed. pulp for the pulp god.
Truncated text of tweet from MrPitBull, Mar 11, 2026:
She kept finding women in laboratory photographs from the 1800s. Then she read the published papers—and every single woman had vanished. Someone had erased them from history.
Yale University, 1969.
Margaret Rossiter was a graduate student studying the history of science. She was one of very few women in her program.
Every Friday afternoon, students and faculty gathered for beers and informal conversation. One week, Margaret asked a simple question: "Were there ever any women scientists?"
The faculty answered firmly: No.
Someone mentioned Marie Curie. The group dismissed it—her husband Pierre really deserved the credit.
Margaret didn't argue. But she also didn't believe them.
So she started looking.
She found a reference book called "American Men of Science"—essentially a Who's Who of scientific achievement. Despite the title, she was shocked to discover it contained entries about women. Botanists trained at Wellesley. Geologists from Vermont.
There were names. There were credentials. There were careers.
The professors had been wrong.
But Margaret's discovery was just the beginning. Because as she dug deeper into archives across the country, she found something far more disturbing.
Photograph after photograph showed women standing at laboratory benches, working with equipment, listed on research teams.
But when she read the published papers, the award citations, the official histories—those same women had disappeared. Their names were missing. Their contributions erased.
It wasn't random. It was systematic.
Women who designed experiments watched male colleagues publish results without giving them credit. Women whose discoveries were assigned to supervisors. Women listed in acknowledgments instead of as authors. Women passed over for awards that went to male collaborators who contributed far less.
Margaret realized she was witnessing a pattern that stretched across centuries.
Women had always been present in science. The record had simply pushed them aside.
She needed a name for what she was documenting.
In the early 1990s, she found it in the work of Matilda Joslyn Gage—a 19th-century suffragist who had written about this exact phenomenon in 1870.
In 1993, Margaret published a paper formally naming it: The Matilda Effect.
The term captured something that had been hidden in plain sight for generations. Once you knew the term, you saw it everywhere.
Her dissertation became a lifelong mission.
For more than 30 years, Margaret researched and wrote her landmark three-volume series: Women Scientists in America. She examined letters, institutional policies, individual careers. She gathered undeniable evidence that women in science had been consistently under-credited and structurally excluded.
Her work faced resistance. Many dismissed women's history as political rather than academic. Others insisted she was exaggerating.
Margaret didn't argue emotionally. She presented data. Documented cases. Patterns repeated across decades and institutions.
Eventually, the evidence became undeniable.
Her research helped restore recognition to scientists who had been erased:
Rosalind Franklin, whose X-ray work revealed DNA's structure—credit went to Watson and Crick.
Lise Meitner, who explained nuclear fission—omitted from the Nobel Prize.
Nettie Stevens, who discovered sex chromosomes—received little credit.
Cecilia Payne-Gaposchkin, who discovered stars are made of hydrogen—initially dismissed.
And countless others whose names had nearly vanished.
Margaret changed the narrative. Science was no longer just the story of solitary male geniuses. It became a story of collaboration that included women who had been written out.
The Matilda Effect became standard terminology. Scholars used it to examine how credit is assigned, how authors are listed, who receives awards, who gets left out.