I made a pilgrimage to my own personal Mecca on Saturday - The Twelfth Fret, a great vintage and used (as well as new) guitar shop on the east side of Toronto:

  1. This kind of thing blows my mind.  It’s a Martin 0-21 (at least I think it’s a style 21 - it’s too fancy to be a style 18.  It could be a style 28 I guess…) and it was built in Nazareth, Pennsylvania - as are all Martins (except the ukes…they’re made in Mexico.  But I digress).  Anyhoo:  this was made in Nazareth PA, in the 1890s.  Yep:  THE EIGHTEEN NINETIES!  this guitar is roughly ONE HUNDRED AND TWENTY YEARS OLD!  These were the days before the scourge of dreadnoughts, when the “0” was considered a BIG guitar, because they made 1s, 2, and even 5s!  5s look like a toy…but an incredible cool toy!  These were the days when Orville Gibson was just starting out in Kalamazoo…but CF Martin had already been in business FOR SIXTY YEARS!  Note the slotted headstock, 12th fret neck join, and no headstock logo.
  2. 1974 Telecaster.  Just a baby compared to the guitar in photo #1!
  3. Queen street & Yonge street in downtown Toronto.
  4. It’s partially covered by that pesky Guild, but this is a 1928 Gibson L-0.  If not the exact model (and nearly the same year) as Robert Johnson’s, then pretty darn close.
  5. Dig it!  2 more ancient Martins.  But these would be the sons/daughters of the one in the photo #1 as they were made in the 1920s and 30s (I believe…).
  6. I believe this vintage BMW bike is owned by the man who owns the guitar shop.  And here I though BMW only used opposed engines!  I stand corrected!  Well I am sitting right now, so I “sit” corrected!
  7. A whole whack of vintage Gibson J models.  I only recently learned that “Jumbo” was/is Gibson’s word for “dreadnought”, with dreadnought being Martin’s term for their big guitars.  I always thought that a Gibson “Jumbo” was the shape of the J200.  And the J200 is certainly a jumbo.  However, I now know that “Jumbo” ALSO applies to these “slope-shoulder” style Gibsons.
  8. 1978 Fender Thinline Telecaster (dig the Zemaitis behind it!)
  9. Wow…I was in a used record shop and found this album from the early 70s.  I LOVE this band so much.  Probably because they were form my hometown, and also because the first big arena rock concert I ever went to was them and the experienced blew my juvenile mind so thoroughly that I am still picking up the pieces several decades later!

 Here’s an April Wine cover of King Crimson’s 21 Century Schizoid Man.  Brian Greenway is singing on this one…he’s not the main lead singer in the band. After idolizing this band through my youth, I actually ended up playing the same club circuit as Brian in the early 90s.  April Wine had broken up in the mid 80s and then reunited in 92 or 93.  But in the mean time Brian was paying his bills on the Montreal club scene and it was such awesome thing to meet him, get to know him and then actually get to play with him live a few times.  Great player.


As we enter the fall/winter season, many naturals decide to use protective styles to withstand the cold, harsh air. While the versatility, ease and convenience of protective styles make them a must do at some point between September and March (or May depending on what part of the country you live in), there are a few hidden dangers associated with the ways we commonly protect…

Protective Styles Can Weigh Down Your Hair

How many packs of marley hair did you use on your last protective style — 10… 15? I know when I did jumbo box braids last year it took nearly 8 packs of kanekalon hair, and my neck definitely felt much lighter after they were taken down. Loc extensions are another style that can become heavy because of the amount of hair involved. Pay special attention if you have finer hair, and if you notice a protective style is weighing your neck or some of your hair strands down, consider pinning your hair into an updo to cheat gravity.

Protective Styles Can Mess Up Your Routine

The most dangerous thing about protective styles is that they make us lazy with our hair. Granted, many times we turn to braids, twists, weaves, and other long term protective styles because we’re either frustrated with our hair, too busy, or just giving it a break. However….

agentsex replied to your post:I’m basically holding everything I learned in…

it’s literally impossible though!

Pretty much every mutant in X-Men is literally impossible, but they spout enough mumbo-jumbo that the suspension of disbelief allows the audience to not give a damn.

That’s what I’m trying to accomplish with this system I’m trying to create. Base this magical system on the workings of things that already exist in reality—in nature—and it sounds more, well, realistic. Doable. The suspension of disbelief is not as easily broken.

I mean, even though Neil deGrasse Tyson ripped into Gravity for being incorrect in many places, he still said he enjoyed the film. [x] That’s all I need accomplish with this little system and my readers.

more things that I have learned about spandex: 

  • - why would you ever work with see-through spandex when you could work with this jumbo shit 
  • - preparation is roughly 95 percent of being successful in this endeavor
  • - i have 5 percent less skin on my fingertips because pins
  • - sometimes needles break and then you’re glad that you were wearing your glasses when the tip bounces off the lens
  • - i feel very strongly that given the choice, commander rogers would find this material suitable for fighting conditions. it is a.) insulatory, b.) breathable, c.) blue, d.) allows for ample movement
  • - butt pouches are real 
  • - pinning side seams (of which there are 8) takes a year
  • - everything goes faster the second time
  • - raglan sleeves are the way to go in every conceivable scenario. if they were good enough for james tiberius kirk, they’re fucking good enough for me. except his were only kinda raglan. whatever. raglan sleeves ftw. 

The Senshi Take Orlando, Part 1

For Jet Wolf’s “gargantuan amounts of friendship world tour” tag

Good news for the girls: they somehow manage to get a direct flight, which means they won’t have to try to find their connection in a strange airport while dragging around a Makoto off floating somewhere in Valium-land. Bad news: said direct flight is 15 hours long, and once you factor in the time zones, they’re basically going to be shot forward 22 hours. And unless you’re in first class, they do not feed you. Fortunately, Minako is aware of this ahead of time and warns everyone to buy all the food they possibly can at the airport. Usagi loads up on TONS of candy, Ami gets some of those energy bars in different flavors, Rei gets some potato chips and a pack of cinnamon gum, and Minako buys five jumbo-size travel bags of Cheez-Its.

The only ones who really remember the plane ride are Ami and Rei. Minako feel asleep about halfway through, and for Usagi, it’s just one big sugary blur that was occasionally interrupted by Rei telling her to stop bouncing in her seat and covering the window with handprints and residual sugar. After finally landing, the girls think all they need to do now is find their hotel, which will be easy since it’s only a few minutes away from the airport.


You see, nothing Ami had read about Orlando could have prepared them for International Drive. As the airport shuttle speeds through the city, Makoto begins to regain consciousness, only to be greeted by Usagi’s squeals of excitement as they pass Wet N’ Wild, countless mini golf courses, and billboards for just about every theme park Orlando has to offer. Oh yeah, and Minako’s not-so-subtle suggestions that they check out the huge adult entertainment store/fancy restaurant that’s basically a well-lit strip club with food that she found on a travel brochure at the airport.

They decide it would be safest to spend their first night in the hotel - of course, there’s plenty to do just there. The girls are staying at the Gaylord Palms, the lobby of which is basically a small city contained under a glass dome with a huge artificial river running through it. Usagi insists they stop at the Haagen-Dazs before going up to their hotel rooms, so they do. Then, the next morning, it’s showtime.

Not wanting to go to all the big-ticket locations in the first couple of days, Ami has left their first day open for whatever they can agree on. Usagi is still being haunted by her brief glimpse of Wet N’ Wild, so after breakfast, the girls decide waterpark it is. The second they arrive, Minako sees the signs for a waterslide called the Disco H2O, and that’s it, that’s the first one they’re riding like it or not. Then it’s the Brain Wash, then The Black Hole. Before Minako can drag them onto another slide, Ami suggests going for a spin in the Lazy River, which quickly turns into two, then three before it starts to get cloudy. Wanting to get one more slide in before they get rained out, the girls agree on The Surge, which is 600 feet of sharp turns on a slippery raft and water flying in your face from every direction. They all love it.

As predicted, almost immediately after they get off the last slide, rain begins to fall in sheets. So they hit the locker room, head back to the hotel to shower and change into nicer clothes, and head to dinner at the restaurant Ami got reservations at: The Melting Pot. None of them have ever been to one before, but Usagi is sold the second she hears the words “fondue restaurant”. 

Makoto watches in awe as the cheese fondue is prepared right in front of them, while mentally noting which ingredients she could probably buy for cheap or substitute once she gets home. Minako has fun sifting her fondue sticks through in the cooking broth and stealing the other fours’ food because she keeps either undercooking or losing her shrimp in the pot. They wind up going through three plates of food to dip into the chocolate fondue because Usagi eats through one all on her own. Rei discovers the heaven that is chocolate-covered strawberries and wonders how she has gone eighteen years without ever trying them. They retire for the night with full stomachs.

This is getting a bit long, so I’ll save their two-day adventure at Universal for the next post.

anonymous said:

You still don't get why she cheated even when Arizona explained it to April and then to Callie in 10x15. Why does everything have to be spelled out...? Just curious....

Oh no I get the reasons why Az did it. Atleast whateva mumbo jumbo the writers put together as her reasons. Don’t get me wrong. I don’t think it’s a strong enough explanation but that’s my opinion.
I wanna know why Arizona’s story was changed. How I know her story was changed.
1. Shonda’s tweet saying they changed everything in the S9 finale
2. Betsy Beers and Shonda talking about PTSD (I have not seen any….have you?)
3. JCap saying thr is a rabbit hole that Az would go down, then saying ‘I thought’ but no dice
4. My personal favourite! JCaps interview where she says we need to think of the Backstory that Az has done everything in her power and apologised to Callie.

So yeah I wanna know the inside story. I wanna know why they changed the story.
This is cause I am curious. ;-)



behold, my beautiful jumbo spandex cut from my revised pattern. now with 30 percent more ass-accentuation and flattering hipline. (the panels look different because some of them got cut wrong side together. sue me, it’s spandex. 


From Coloring Book to Final Film: Hans’s Downfall

In this analysis, I had discussed a scene that appeared in the novelization and jumbo coloring book, but was deleted from the theatrical version of Frozen, where Hans does not get knocked out by the impact of his sword hitting against Anna’s frozen body. He tries to attack Elsa as she mourns for Anna, but Kristoff manages to step in in time and hit Hans, which then puts him into an unconscious state.

I had previously explained that the moment of Kristoff stopping Hans was removed because it took away the dramatic moment of Elsa mourning for Anna, which was considered far more important. That makes a lot of sense to me, since the heart of the film is their relationship, and now Elsa is in deep grief over losing the person she loves most in the world. Not to mention that when Elsa starts crying over Anna, everything around her falls silent, so it seems that it would be wrong to interrupt that, especially with a brief moment of fighting action.

And since I first made the original post, I have done some further thinking and can make sense of another reason on why it is better that Hans was knocked out by hitting Anna’s body rather than it not happening and having Kristoff intervene and fight Hans.

Remember that Anna saving Elsa was an act of true love. And it wasn’t just an act that saved her own life, but Elsa as well. The way I see it, Hans getting knocked out after hitting Anna’s frozen body showed that she symbolically defeated him because of the love she has for her sister. Once he was out cold, the danger was over and Elsa was safe.

So if Hans didn’t get knocked out like it was originally planned, that seems to imply that Anna’s act only partially worked. When Elsa begins to mourn for Anna, she is not completely safe from Hans. And this meant that help was needed, which is why Kristoff interferes and knocks down Hans once and for all.

Make any sense?

And on a minor note, the fact that Kristoff was originally was supposed to knock Hans down suggests that this film was another fairy tale in which a man faced off the villain and saved the princess (or queen, in this case). But by removing it from the final film, it shows that Elsa and Anna didn’t need a man at all to stop the villain from killing them.

So I have here the two coloring book pages that show the original scene in contrast with two gifs from the same moment in the final film. Given all that I have said, which version of this scene makes more sense to you? ;)

We’re playing a quick game wherein all the players in the group decided the powers of the other players while they’re out of the room. There’s a wizard who’s only ability is to cast spells using two word combinations, and he can never use the same combination twice. The players wind up at house together, waiting for someone to tell them why they were gathered there.

DM: After hours you finally crack the code of the basement computer. There is an email waiting. It reads: I’ll be there soon. My flight in is running late, but in an hour I’ll be there to explain.

[the party moves upstairs.]

Wizard: This is taking too long. I wanna know right now. “Summon Plane.”

DM: W-what? It was only an hour, I… okay. You hear a loud rumbling. You step outside the house and see that a rapidly moving jumbo jet is beginning it’s descent down the road. It’s wings smash into house along the road destroying them and the plane itself lights on fire as it barrels down the street towards you.

Warrior: I jump on the plane and push it’s nose down to stop it.

DM: Well you’ve killed the pilots. But the plane is stopped. However, it’s still on fire and there are still people inside.

[The party rescues as many as possible and the woman they’re waiting for, as she beings to lecture them on stupid decisions the wizard speaks up.]

Wizard: You know what screw that. “Begin Armageddon.”

[Everyone including the DM stares slack-jawed for a moment.]

DM: Sigh.

DM: In the other room the tv snaps on, Armageddon begins to play.

Wizard: Whaaat? I’m outta here. “Escape House.”

DM: Fine. You snap into existence somewhere else. It is pitch black and you are in a confined area. You hear glubbing noises. When you try to move you hear chains rattle. You are in a coffin chained shut sinking into the ocean. Now shut up.