everyone be quiet. marsha with her snoopy.
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@wynberry
everyone be quiet. marsha with her snoopy.

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every shitpost has at least 85% chance to have been a plot of an episode of the hit television show the x files (1993 - 2002)
alright I've got to do some quick math to explain attitudes towards AI to my boss.
we're looking to create an AI policy, and when we were talking about this, my boss (older millennial) was genuinely shocked to hear that younger people do not (seem) to view AI positively (a la the recent commencement speakers being booed)
please rb for larger sample size!
Question 1/3
What is your age, and do you feel AI is a net positive or net negative in our lives today?
under 18, AI is a net positive
under 18, AI is a net negative
18-29, AI is a net positive
18-29, AI is a net negative
30-45, AI is a net positive
30-45, AI is a net negative
46-60, AI is a net positive
46-60, AI is a net negative
over 60, AI is a net postive
over 60, AI is a net negative
Question 2/3
How often do you visit or interact with museums/archives (whether in person or online)?
Frequently (multiple times per month)
Often (multiple times per year)
Occasionally (a couple times per year)
Rarely (once every couple of years)
Never :(
Question 3/3
If you saw a museum was using AI in exhibits, marketing, research, etc., would you be more or less inclined to visit that museum?
under 18, more inclined
under 18, less inclined
18-29, more inclined
18-29, less inclined
30-45, more inclined
30-45, less inclined
46-60, more inclined
46-60, less inclined
over 60, more inclined
over 60, less inclined
Thank you for helping with this data collection. Please rb for as big a sample as possible!
đŤś
This is the money Marge. Reblog for good fortune
RIP Marjane Satrapi, author of the amazing graphic novels Persepolis about living during the fundamentalist revolution in Iran in the 70âs and 80âs. She also created the animated movie based on the graphic novels, which is where these gifs come from.
Gifset source
Reblogging in honor of Marjane Satrapi, one of THE great graphic novelists. Her comic Persepolis was a crucial text for shaping my belief that comics can deeply explore identity, culture, politics, and history.

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We're in the fascist tradwife, stay-at-home girlfriend, revoked abortion access apocalypse, and people who otherwise are sensible still refuse to admit that most likely means an exacerbated violent hatred for women who just point blank will not voluntarily partner up with a man.
"I'm quickly realizing that society sees women partnering up with whatever man wants them as their social duty, and they'll be met with violence of one degree or another if they refuse."
"This in no way will affect the lesbian population, let alone violently. They're actually exempt from this pressure. Somehow."
have you ever suddenly + involuntarily lost consciousness
yes (fainted)
yes (head trauma)
yes (substance-induced)
yes (lack of oxygen)
yes (blood loss)
yes (multiple)
no
i'm wondering just how much of azune's breakdown was genuine and how much of it was engineered to evoke sympathy from murray and occtis.
oh, i do think that his emotions were genuine. he is scared. he doesn't like lying so much. he doesn't know what will happen to him in that meeting. but i find the timing of it so suspect. azune compartmentalizes. he avoids. he buries his emotions so that he can function as efficiently as possible. he saw the sister he thought forever gone dying on the floor in front of him and rallied enough to usher everyone around only minutes later. he broke down about thjazi's death only after everyone was safe, and he was alone with hal. azune does not break down in the middle of a job.
unless it's useful.
we know he likes to lie with half-truths. telling einfasen that thjazi made him fight or that he saw that one arcane marshal taking money. he says the technical truth in a way that makes it, for all practical purposes, a lie.
and all of those lies are for the cause. to save the city. to continue the rebellion. to make the sundered houses fight each other. and all of those causes are in jeopardy because he doesn't have a witness for what the tachonis did.
except occtis, who is conveniently there, and demodus, who is under murray's protection.
and it works! occtis is, i think, too pragmatic to risk himself just for azune, but murray isn't! murray has pragmatism, yes, but she also has so much care for the people around her, and so much guilt about azune specifically, and she knows that azune's right. someone needs to talk.
and so azune has a breakdown at a very convenient time and ensures demodus will be there to cast the tachonis in the worst possible light.
azune's cause endures.
sir julien davinos... the world's first ethical fuckboy

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CRITICAL ROLE 4.27 Complicated Questions
liam, as hal: describes wick as a 'nonce'
the british audience:
CRITICAL ROLE Episode 4.27 | Complicated Questions
@pscentral event 39: pride
"When youâre in a fight as bitter and as important as this one, against an enemy, so much bigger, so much stronger than you - well. To find out that you have a friend you never knew existed - Itâs the best thing in the world."
Pride (2014) dir. Matthew Warchus
the most valueable skill a white leftist can ever learn is how to take an L with grace.
You gotta be able to take an L if your moral and ethical belief systems are to be capable of guiding you. Otherwise you just have an idealized self where you get really mad and scared when anyone points out it isn't actually you. How the fuck are you gonna walk the walk if you can't handle being told when you are not, in fact, actually walking it
you cannot just socially transition into being a good person you are going to have to settle for being a messy human being who has to try and fail and keep trying to get better like everyone else. yeah even when it's embarassing and sucks for you a lot.
Ya gotta learn to earnestly and honestly say "Oh shit, my bad."
And to then end the sentence there, not launch into a paragraph of explanation or panicked super-apology.

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i think there is something to be said about this wave of white women made media that is so surface level with an underlying racist and/or insensitive bias and that refuses to engage with criticism. i'm talking taylor swift's the life of a showgirl, emerald fennell's wuthering heights, colleen hoover, the acotar series and booktok in general, etc. whenever you dare to raise concerns about the superficiality or the questionable writing or the treatment of poc in those pieces you get shut down with a "it's not that deep" or "let women have fun". this weaponisation of misogyny to justify slop made for mass consumption, especially considering how wide spread it is becoming, scares me quite a bit. to quote princess weekes, "the girlypopification of anti-intellectualism" is truly concerning, and i do believe it is linked to the rise of far right movements worldwide. if you refuse to engage with what you are being presented with, and exclusively consume brain smoothing content "for fun" then yeah you do become more susceptible to propaganda. it is that deep.
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.