bjork girlfriend era?!?
like i wasnt kidding đ

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@yellow--laces
bjork girlfriend era?!?
like i wasnt kidding đ

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i love horror movie bts photos of women just covered in blood
awesome every time
YAYYYYYYYY
i never did anything i just admitted to having an affair with this woman
So, Ovi used to decorate his own sticks with stylized 8â˛s in a⌠unique way.
âItâs Drinking Man, Fat Man, Man Who Have Legs, and this is Girl,â he said, pointing to the last stick on the right. He said that he does the artwork himself, and that the order is, in fact, significant: the Drinking Man is his first stick, the Fat Man is his second stick, and so on.
For all I know he was making this up, but he explained that each drawing had numerical significance. Drinking Manâs holding a stick in his left hand that looks like the number one. Fat Man has two eyes. Girl (i.e. No. 4) has two hands and two eyes. And Man Who Have LegsâŚwell, how exactly do you get the number three out of Man Who Have Legs?
âI donât know,â Ovie said. âMaybe third leg.â
(Source)
The Boys react to Roysie's end of season ig post đš

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Andrew Cristall using the diminutive form of Ilya in the comments of Ilya Protas' year end instagram post is making me feel something.
I am not an expert on Russian, but to my understanding (which is supported by these links) is that diminutives are personal and intimate* in a way that normal nicknames are not. https://www.russianlessons.net/vocabulary/russian_names.php
https://www.wikihow.com/Russian-Nicknames
*I don't mean intimate in a romantic/sexual sense, just very close.
âł TOM WILSON | VIA @/TAYLOR_PISCHKE | 5.18.26
Nothing says love quite like drunkenly hugging your teammates in a fountain (x)
Alex Ovechkin goofs around while eating a hot dog at the Giants vs. Nationals game. Makes Nicklas Backstrom cry of laughter.
Man, Xi Jinping knows more American culture and history than most Americans.

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Fairy tale illustrations by Nadezhda Illarionova
Vumbi Pride lionesses versus C-Boy. This was snapped right after C-Boy growled at one of the cubs.
Taken in the Serengeti, Tanzania Photographed by Michael Nichols
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.
thinking about all the times in life that i genuinely did create intricate rituals which allowed me to touch the skin of other womenÂ

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Fellas is it weird to borrow your teammate's baby to cuddle while cuddling with a different teammate.
âŚâŚâŚThis is my favorite Bruce SermonÂ