First Webisode of Tales of Alethrion is out!

Mikkel Mainz will do a YouTube LIVE Q&A in half an hour, Watch the webisode and come and join the LIVE event! 

High Fives!

[Original courtesy of Josh Keaton’s spacedad wall] Tried to brighten the pic/apply some filters to see details better and thought I’d share! 

UPDATE: [Artist Credit], guys! This poster was done by Cteez, AnthonyGoes,and ChristineBean33 over at Twitter- VLD art staff for season 1! With special mention to Kwang Kim and Jin Sun Kim (Studio Mir) in the thread.

You can also get it in MUCH better resolution from the artist credit/post link above for wallpapery stuff. :) Go like/retweet it!

  • Coran has pizza! Where has he been hiding that??
  • Check out the enthusiastic shoulder-lean Hance! 
  • What IS scaring Hunk, anyway? 
  • Allura’s so prim. Also, leaning towards Pidge a little there.
  • Pidge… has the Aang pose/face. xD
  • Keith is master of poker face– or he doesn’t understand what’s going on again. 
  • I live for the casually together Sheith. 9/10 times if they’re both in a scene they’re together in a panel. ♥ Can we talk about how SHIROS KNEE IS UNDER KEITHS THIGH?
  • This and the shower/ playfight makes me think Shiro REALLY misses the simple things in life and hanging out. :’) 
  • I like how all the Galra are casually chilling watching them watch… I think? Maybe ‘like’ is a strong word.
Going Home

Another fluffy fanfic of 2D Au of Bendy by @shinyzango and it is based on this and this by @the-vampire-inside-me post. It made me all teary eye just thinking about it and I need to write it (I’m so sorry!!!) But here we go! If Henry worked the machine just right, he brings Bendy to the real world, but as he did, there are things that Bendy couldn’t let go of.

Keep reading


Johnny Cash: With His Hot and Blue Guitar (1957)

Yes, I moved to Nashville recently, but I bought this LP in New York City; it’s Johnny’s very first long-player, recorded just down the road from here at Memphis’ famed Sun Studios and released almost 60 years ago!

Cash had failed to impress Sun boss Sam Phillips at his first audition, in which he sang some gospel songs, but he tried again with the spunkier, rockabilly country of “Hey Porter” and “Cry! Cry! Cry!,” and earned himself a record deal.

Touring stints with the Louisiana Hayride and label mate Elvis Presley followed in short order, as did Johnny’s first signature numbers, “Folsom Prison Blues” and “I Walk the Line” – all of it faithfully backed by guitarist Luther Perkins and upright bassist Marshall Grant, a.k.a. the Tennessee Two.

So the wily Sam Phillips eventually moved to capitalize on his budding star’s momentum by compiling all available studio sides onto what was then a premium, high-priced format: the 33 1/3 RPM 12” record.

Among the chosen cuts were other minor early classics (“Country Boy,” “So Doggone Lonesome”), train ballads (“The Rock Island Line,” “I Heard that Lonesome Whistle,” “The Wreck of Old ‘97”), and, yeah, some maudlin gospel too (“If the Good Lord’s Willing,” “I Was There When it Happened”).

In other words, this LP collected some of the very bedrock upon which much of Cash’s unrivaled country music career was built, with help from Johnny’s hot and blue geetar.

More Johnny Cash: At San QuentinMan in Black.