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kitten4sannie · 2 years

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𝒟𝑜𝓃'𝓉 𝐻𝑜𝓁𝒹 𝐵𝒶𝒸𝓀, 𝐵𝒶𝒷𝓎

Boyfriend! San x Fem! Reader

Genre: smut

Summary: You and your boyfriend go out to watch a scary movie. Too bad you wouldn’t end up remembering any of it.

W.C: 1.8k

Warnings: established relationship, kinda sub? San, kinda dom? reader, the employee in the booth is like 👁👄👁, semi public sex, exhibitionism, kissing, hand job, cum eating, oral (recieving)

Author's Note: I wrote this in little under an hour, so I apologize if it seems a bit rushed. Anyways, I hope you enjoy ♥

Song Rec: OHMAMI by Chase Atlantic (this song has nothing to do with this fic but its just so fucking hot!! The way he goes “ooh, mami” just awakens the inner dom in me)

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Sometimes you and San didn’t really know what to do when you went out for date night; it wasn’t unfamiliar for the both of you to just sit in his car, trying to come up with something that would entertain the both of you. Not that you had to be entertained; you both just appreciated being in each other’s company, but you had wanted to go somewhere, at least. Anywhere, really.

San sucked his teeth, scrolling through something on his phone. “Uh, how about we go see a movie? There’s this one that’s playing in about 20 minutes at some theater downtown. I guess they play older movies that have already been out for a while.”

You set your own phone down into your lap, turning your head to meet his gaze.

“What kind of movie?”

“Horror. Well, a slasher, to be exact.”

He reached up and poked your cheek in a playful manner. “I know how much you love those, Y/N. So how ‘bout it?”

You nodded, resisting the urge to bite your boyfriend’s hovering finger. “You know me so well,” you replied, holding a hand over your heart and pretending to wipe a tear from your eye.

San gave you a small smirk, chuckling softly to himself, as he turned his key into the ignition and put his car in drive, before pulling out of the driveway.

***

You both walked into the theater, realizing it was completely empty, despite the previews already playing on the screen.

“Looks like it’ll be just us,” you commented innocently, turning your head to look up at your boyfriend, who was holding popcorn and a soda in his hands.

“Looks like it,” he replied with a soft smile, despite there being a mischievous glint in his eyes.

You walked up the aisle, settling for the seats that were closer to the back, rather than the middle. Once you were settled in your seat, you noticed how cold it was inside the theater. You shivered slightly, rubbing your arms as a way to warm yourself up.

“Are you cold, baby?” San asked, pulling up the divider that was in between you and wrapping an arm around your shoulders, encouraging you to get closer to him.

“Y-yeah…” You snuggled up against him, leaning your head into the crook of his neck. You sighed, appreciating how your boyfriend was basically a walking heater. Despite his help, you were still feeling chilly.

San took notice of this and rubbed the side of your upper arm, hoping that would help you in some way. “My poor baby…” he murmured, before turning his head to look at you. You lifted your head up a bit, looking back at him.

You both didn’t even notice when the movie started to play on the screen; you were clearly too distracted by each other’s presence.

“Baby…can I kiss you?” San whispered under his breath, despite there being no one else in the room to hear him.

You swallowed nervously, your heart beating wildly in your chest. You couldn’t help it; San always had a way of making you feel like it was the first time you were being intimate with each other.

“Y-yes…please kiss me…” you replied breathlessly, your cheeks feeling warm.

San leaned in slightly, closing the distance between you, his soft lips encasing your own. He used his free hand to caress your cheek, his thumb gently brushing your jaw. You shared a few innocent kisses, before they started to become more and more intense. His tongue slid over your bottom lip, causing you to part your lips, allowing him inside your mouth.

“M-mmn…” you mumbled against him, gripping the edges of his jacket with your somewhat trembling hands. You let out a soft moan when he began to suck on your tongue in an almost lazy way, wanting to savor the taste of you as much as he could. You eventually broke the kiss when you were getting too worked up, unable to ignore the constant pulsing in between your legs.

“S-San…” You looked at him with half-closed eyes, some of his spit still left on your lips.

“What is it, baby?” he inquired, running his fingers through your soft hair. “Use your words. Tell me what you want.”

You swallowed hard, one of your hands sliding onto his upper thigh and squeezing it. Despite knowing you were in a public place, you couldn’t bring yourself to stop. You were already too worked up, as was San.

“I want to touch you…Can I?”

“Of course. You can do whatever you want to me,” he exhaled, feeling your fingers rub over the erection that was trapped inside his jeans. He let out a groan when you unzipped his pants and unbuttoned them, pulling his dick out and slowly sliding your hand up and down it.

“F-fuck, baby…” he mumbled, already starting to breath harder. He suddenly threw his head back against the seat when you let some spit drip down from your lips and onto his length, using the wetness to increase the speed of your hand movements.

“Does that feel good, Sannie?” you asked against your boyfriend’s ear, giving it a gentle lick, your hand refusing to slow down. He couldn’t even form words at this point; he was too consumed with pleasure. You suddenly slowed your hand down, using your thumb to rub against the sensitive area of his dick, just below the tip.

He jolted, letting out a soft moan, looking at you with pleading eyes. “Y-yes, baby, it feels really good…Please, don’t stop. I’m-aaah-already about to cum…”

Your teeth sunk into your bottom lip, while exhaling some air out of your nose. You loved seeing your boyfriend in such a unraveled state; nothing turned you on quite like this.

“Cum for me, Sannie…Cum all over my hand like the good boy you are…” you encouraged, tightening your grip on his cock and moving your hand at an unforgiving pace, earning more moans from San.

San gasped, his voice hitching, “Baby..! I’m..!” Cum shot out of his dick in spurts, his legs trembling as he did so.

“Good boy…” You caught most of it inside your hand and brought it up to your lips, drinking down most of it, appreciating how warm it was as it slid down your throat.

San let out a whiny moan as he watched you, his dick hardening almost instantly. “You’re so hot, baby...so fucking hot…”

You chuckled softly, licking your lips. “I know,” you agreed, as you held up your cum-covered fingers to San’s lips, moaning yourself when he took them into his mouth, eagerly cleaning them without a second thought.

Once you pulled your fingers out of his mouth, you quietly admired each other, unable to think about anything else, except for all the things you wanted to do to each other.

San suddenly put his dick back into his pants and got down onto his knees in front of your seat. He looked at you with a serious gaze, his hands sliding up your thighs and underneath your skirt, his fingers hooking into the hem of your panties and sliding them down.

“It’s my turn, baby…” he informed you, licking his lips.

***

“There’s no one in here, love. No need to hide your pretty moans. Please, I want to hear how good I’m making you feel,” he murmured against your inner thigh, his fingers working in and out of your squelching cunt, while his glistening lips formed a small pout.

“B-but…what if we get caught?”

“Then we’ll have to find another movie theater to go to. Simple as that. Now let me hear your voice, angel.” And just like that, his mouth was glued onto your pussy, his tongue flicking quickly against your swollen clit, while adding a third finger into your tight hole.

You gripped his hair desperately, breathing heavily, unable to hold your moans back any longer. It felt too good; San always knew just how to work your body in a way that drove you crazy. Your eyes rolled back into your head when you felt him begin to pound your g-spot with all three fingers, your wetness gushing out of you at an alarming rate, soaking into the seat cushion below you.

“S-Sannie..! Fuck, I can’t! I’m…!” you cried out, tears threatening to leave your eyes, simply from the sheer amount of pleasure you were feeling, as well as from the possibility of getting caught.

“Uh-huh…” San murmured against you, his eyes focusing on yours above him. He sped up his movements, catching most of your cum in his mouth when it eventually squirted out of you. “You did so well for me, baby.” He rubbed your slit in a gentle manner, giving it a few kisses, one on your folds, one on your clit, and a few more on your inner thighs.

You relaxed your body against the seat, trying to catch your breath. “That felt so good...fuck…” you breathed out, wiping some sweat from your forehead.

You smiled down at San when he put your panties back on for you and smoothed out your skirt in a loving way. You both gazed into each other’s eyes for a while, until a coughing sound broke you out of your haze.

“Fuck!” you gasped, eyes almost bulging out of your head.

San quickly craned his neck to see what you were so scared of. He instantly stood up when he saw the theater employee standing by the entrance, along with a security guard that had his arms crossed across his wide chest.

“It’s time to go, baby,” San whispered, grabbing your hand and pulling you down the opposite side of the stairs at lightning speed, before dragging you out through the emergency exit doors, not stopping until you both had gotten to his car.

You both got into the car, gasping for air, as San sped out of the parking lot and onto the street. You stayed quiet for a while, until San broke the silence.

“So, did you like the movie?”

You both looked at each other, San giving you a pleased smile and you giving him a bewildered one. After a few seconds passed by, you both started laughing, only stopping when it was starting to hurt your sides.

You smacked San’s arm in a playful way, shaking your head, before answering his question in a serious tone, “Actually, yeah. It was pretty good.”

Tags: @dazzlinglight @thefinerthingz3 @cloudysannie @aryraaaa @za-con @cosmiczen @choerryge @aikyubi @arusio @gueritaybonita @i-l0v3hands @ethicalz @jinsonaz @kitty4hwa @jexidamulti @as-she-pleases @just-a-simp @purplechannie @jazzymoore @kodzukein @asjkdk @cherryxsang @namsloverr @chanst1ddies @woo-stars @createyour0wnworld @roarmingi @simeonswhore@mingisgf @lilactiny @eclecticranchzonkcookie @vlrity

i’m so sorry i don’t know why these aren’t working 😭: @iheartkilla123 @Icyhyunie @ilovehyunjins

Apply for the taglists here ⇢ ♡

#ateez #ateez smut #san ateez #san x reader #san smut #ateez imagines #ateez scenarios #ateez x female reader #ateez x reader #ateez x y/n #kpop smut #ateez oneshot #ateez hard hours

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oh-great-authoress · 6 months

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Nadia. I need to know—have you seen Chitty Chitty Bang Bang?

And as a trained singer who is brilliantly skilled with the gift of music, I would like your thoughts. 🤟😘🫶❤️‍🔥

Yes, I have!

In all honesty, I haven’t seen it in many, many years, but this was a childhood favorite musical of mine, along with Phantom of the Opera and Evita!

I had to watch some clips from YouTube to refresh my memory of the singing, and I have to say that of the main cast, the one with the best voice was Sally Ann Howes, who played Truly Scrumptious.

She sang with an old-fashioned musical theater style, that lofted semi-classical music approach, and a Trans-Atlantic accent, without being heavy and overdone, and it was just beautiful.

The children, Jeremy and Jemima, played by Adrian Hall and Heather Ripley, respectively, sang with beautiful, clear, children’s voices.

It walked that fine line between vocally over-trained and trained enough.

You see, training children to sing, is a very, very delicate task.

Because children have many, many physiological limitations to what they can do safely.

Because, if you make the mistake of overly training a young voice, you run the risk of them never being able to sing again when they’re older.

However, there are some rare exceptions, the one percent you can take just that much further (full disclosure, I was part of that one percent, so I know), but this takes very detailed knowledge of the overall limitations of a child’s voice, and the limitations of your particular student.

The best thing you can do for a child student is to let their voice be that of a child’s; more technique can come later.

Now, as for Dick Van Dyke…

…yes, he can sing, but his voice is not the most melodic voice in the world.

His singing somewhat belongs to the, as I and my family call it, Rex Harrison school of singing—ergo, speaking on pitch.

The main example of this is in the song, “Hushabye Mountain”, which is one of my favorites in the whole movie.

Compare the way Dick Van Dyke sings it to the way one of my favorite Broadway performers, Raul Esparza, sings it.

youtube

If he looks familiar, it’s because he played Rafael Barba on Law and Order: Special Victims Unit.

(You have to listen to his rendition of Sondheim’s “Being Alive” from Company, it’s ART)

There is a vast and marked difference in the way it’s sung.

Yes, he sings it in a more contemporary musical theater style, but the melodic line is more fluid and musical.

There is absolutely no doubt that Dick Van Dyke can sing and dance, and he’s a darned Legend, capital L, but I am very sorry to say; I think that vocally, Raul Esparza did a better job.

I know it might be controversial, and a great deal of people may come at me, but my honest opinion was asked, and this is it.

I’m so sorry!!

*runs off to hide under a rock*

#ask nadia #ask #asks #chitty chitty bang bang #musical #musicals

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moocowmoocow · 1 month

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#shohreh aghdashloo #bd wong #rosalind chao #tony shalhoub #what became of us

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homomenhommes · 6 months

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more …

1766 – Christoffel Bosch van Leeuwarden, a seventy year old porter in the Netherlands, was convicted of seduction to sodomy and sentenced to three years of prison labour.

1880 – A medical journal publishes an article, "Notes upon Sodomy," which claims that men who engage in sodomy have a different type of penis from those who don't.

1918 – James Daly (d.1978) was an American theater, film, and television actor, who is perhaps best known for his role as Paul Lochner in the hospital drama series Medical Center, in which he played Chad Everett's superior.

Daly was born in Wisconsin Rapids in Wood County in central Wisconsin, to Dorothy Ethelbert (Hogan) Mullen, who later worked for the Central Intelligence Agency, and Percifer Charles Daly, a fuel merchant. During the 1930s, Daly studied drama and acted in shows before he worked for the armed services, and served with the United States Navy as World War II ended.

Daly was a music major at the University of Wisconsin, a drama major at Iowa State University, and attended Carroll College before receiving a degree from Cornell College in Mount Vernon, Iowa.[3] Cornell College later presented him with an honorary Doctor of Fine Arts degree.

Daly was an accomplished stage actor, starting out in 1946 as Gary Merrill's understudy in Born Yesterday. His starring roles on Broadway included Archibald MacLeish's Pulitzer Prize- winning J.B. and Tennessee Williams' Period of Adjustment.

Between 1953 and 1955, Daly appeared in the TV series Foreign Intrigue. He guest-starred on many television series, including Appointment with Adventure (two episodes), Breaking Point, Mission: Impossible, The Twilight Zone ("A Stop at Willoughby"), The Tenderfoot (1964) for Walt Disney's Wonderful World of Color, The Road West (1966 episode "The Gunfighter"), Custer, Gunsmoke, Combat!, The Fugitive, The Virginian, and Twelve O'Clock High. He portrayed Mr. Flint (an apparently immortal human) in the Star Trek episode "Requiem for Methuselah" (1969).

In 1958, Daly signed a contract with the R.J. Reynolds Tobacco Company to do television commercials for Camel cigarettes. He served as the Camel representative for seven years, being flown by Reynolds throughout the United States to be filmed smoking a Camel cigarette at various locations.

According to his son Tim Daly during an interview on CBS News Sunday Morning, James Daly came out to Tim as gay a decade after divorcing his wife Hope. His struggle to come to terms with his sexual orientation nearly put a rift between him and his family. As homosexuality was still considered a mental illness until the early 1970s, he and his wife tried and failed at "curing" him. After their divorce, Daly decided to limit his contact with his children out of fear that they would end up mentally ill themselves.

Two of Daly's children, Tyne Daly and Tim Daly, and his granddaughter, Kathryne Dora Brown, and grandson, Sam Daly, are actors. Tyne appeared on Daly's TV series, Foreign Intrigue, as a child. The elder Daly and his daughter both guest-starred separately in the original Mission: Impossible TV series. Tim appeared as a child with his father in Henrik Ibsen's play, An Enemy of the People. Daly had two other children: daughters, Mary Glynn and Pegeen Michael.

Daly died on July 3, 1978, of heart failure in Nyack, New York, two years after Medical Center ended, and while he was preparing to star in the play Equus in Tarrytown, New York. His ashes were sprinkled into the Atlantic Ocean.

1923 – The American composer Ned Rorem, American composer, was born today. He is most well-known and praised for his song settings. He was born in Richmond, Indiana and received his early education in Chicago. He later travelled in Europe and North Africa.

During the time he lived in Morocco and Paris (1949-57), his song texts came from several languages. An avid diarist, in 1969 he published his Paris Diary, which, with his later diaries, has brought him some degree of notoriety, as he is honest about his and others' sexuality, describing his relationships with Leonard Bernstein, Noël Coward, Samuel Barber, and Virgil Thomson, and outing at least a few people.

Rorem has written extensively about music as well. These essays are collected in anthologies such as "Setting the Tone", "Music From the Inside Out", and "Music and People". His music prose is much admired, not least for its barbed observations about prominent musicians such as Pierre Boulez.

1954 – Ang Lee, the Oscar-winning Taiwanese-born director was born today. Lee decided to take on a small-budget, low-profile independent film based on Annie Proulx's Pulitzer Prize-finalist short story originally published in The New Yorker, Brokeback Mountain. In a 2005 article by Robert K. Elder, Lee was quoted as saying, "What do I know about Gay ranch hands in Wyoming?" In spite of the 'straight' director's removal from the subject at hand, Brokeback Mountain showcased Lee's skills in probing depths of the human heart.

The 2005 movie about the forbidden love between two Wyoming cowboys immediately caught public attention and initiated intense debates. The film was critically acclaimed at major international film festivals and won Lee numerous Best Director and Best Film awards worldwide. In addition, "Brokeback" became a cultural phenomenon and a box office hit. "Brokeback" was nominated for a leading eight Oscars and was the frontrunner for Best Picture heading into the March 5 ceremony, but lost out to Crash, a story about race relations in Los Angeles, in a controversial upset. There was speculation that the film's depiction of homosexuality might have been the reason for that upset, while others speculate that Crash was simply a better movie. Lee said he was disappointed that his film did not win Best Picture, but was honored to win Best Director, becoming the first Asian to ever win the award.

If you're a fan of Brokeback but don't know Ang Lee's other work, we'd recommend his brilliant and touching 1993 film "Wedding Banquet." The film about an interracial Gay couple and the meeting of cultures is a treasure.

He also managed to successfully film Life of Pi, the claustophobic story of a castaway boy and a Bengal tiger togetther adrift in a lifeboat - in widescreen 3D, yet!

1971 – Matthew Williamson is an English fashion designer.

Williamson is openly gay. He counts celebrities such as Cat Deeley, Sienna Miller, Kelis, Jade Jagger and Plum Sykes amongst his friends, but has often been criticised by others in the fashion industry for using them to promote his designs.

He was born in Manchester, England, and studied in Manchester at Loreto College until he was 17. He then moved to London to attend school at Central Saint Martin's College of Art and Design, graduating in 1994.

His eponymous fashion house was founded in February 1997. That same year, Williamson debuted his collection 'Electric Angels' at London Fashion Week. His collections were displayed during New York Fashion week in 2002. His store at 28 Bruton Street, in Mayfair, London, followed in 2004.

In 2005, he launched his own perfume range; the following year he was appointed Creative Director at Emilio Pucci. In 2007, a runway show of his designs was incorporated into the video for Prince's song "Chelsea Rodgers" from his Planet Earth album. In 2007, the Design Museum, London, hosted a restrospective of his work entitled "Matthew Williamson – 10 years in Fashion".

In 2008, Williamson was awarded the "Red Carpet Designer" accolade at the British Fashion Awards where he has also received three nominations for Designer of the Year. In September 2008 Matthew Williamson returned to London full-time to focus fully on his own label's forthcoming ventures and expansion. He made a guest appearance on season 7 of Project Runway. The episode aired on 28 January 2010.

In October 2010 it was announced that Matthew Williamson signed a new licensing deal with MBFG. The deal began a new line – Muse by Matthew Williamson.

His collections are shown twice a year during New York Fashion Week, and they often have an Indian influence, perhaps related to the time Williamson spent working in India for the clothing store Monsoon.

1993 – In Helena, Montana, the state supreme court ruled that transvestitism is not a sufficient reason to deny a father joint custody of his 3-year old child.

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fashionbooksmilano · 1 year

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René Hubert

The Man Who Dressed Film Stars and Airplanes

Edited by Andreas Janser

With essays by Elisabeth Bronfen, Roland Fischer-Briand, Andres Janser, Angelo Luerti, Deborah Nadoolman Landis, Amy Sargeant, Katharina Tietze

Lars Müller Publishers, Zürich 2023, 248 pages, 275 illustrations, paperback, ISBN 978-3-03778-700-7

euro 60,00

email if you want to buy [email protected]

What are movie stars without costumes? From the 1920s to the 1960s, René Hubert belonged to the the crème de la crème of costume designers. His trademarks were opulence and glamor and a distinct flair for colors and lines. As a young man, the trained embroidery draftsman left his native St. Gallen for Paris. The emigrant's courage was soon rewarded: In Hollywood, Hubert dressed film stars such as Ingrid Bergman, Marlene Dietrich and Gloria Swanson. His international reputation helped him to win commissions in his native Switzerland, most notably for the Swiss National Exhibition in 1939, for Swissair uniforms and aircraft interiors, and for various theaters and textile companies.

This richly illustrated publication compiles sketches, costume photography, stage photos and film stills of Hubert’s work. Experts from both sides of the Atlantic reflect on his multifaceted oeuvre at his numerous workplaces in Switzerland, Europe and the US. Excerpts from René Hubert’s unpublished memoirs provide a personal view of his life and the glamor of the era.

03/05/23

orders to: [email protected]

ordini a: [email protected]

twitter: fashionbooksmilano

instagram: fashionbooksmilano, designbooksmilano tumblr: fashionbooksmilano, designbooksmilano

#René Hubert #costume designer #1920-1960 #opulence & glamour #stars'charisma #Ingrid Bergman #Marlene Dietrich #Gloria Swanson #Swissair interiors #fashion books #fashionbooksmilano

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opera-ghosts · 6 months

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Aureliano Pertile (1885-1952) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company.

By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks.

Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s.

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caroleditosti · 10 months

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'Days of Wine and Roses,' Truthful, Poignant, a Stunning Triumph

Kelli O’Hara, Brian d”Arcy James in Days of Wine and Roses (courtesy of Ahron R. Foster) Alcohol is different from other addictive drugs. It’s a part of our culture and integral to events around professional and social situations. It’s legal and easy to purchase. But for those who can’t “live” without it, alcohol is both a blessing and a curse. Days of Wine and Roses currently at Atlantic…

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#Adam Guettel #Atlantic Theater Company #Brian d&039;Arcy James #Byron Jennings #Days of Wine and Roses #Kelli O&039;hara #Michael Greif

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frontmezzjunkies · 11 months

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"Days of Wine and Roses" and "Bees & Honey" Make Quite the One Day Meal

#frontmezzjunkies reviews: @AtlanticTheatre's #ATCWineAndRoses & @MCCTheater @solprojectnyc's #MCCBeesAndHoney #CraigLucas #AdamGuettel #MichaelGreif #BrianDArcyJames #KelliOHara #GuadalísDelCarmen #MelissaCrespo #MaribelMartinez #XavierPacheco

The Off-Broadway Theatre Review: ATC’s Days of Wine and Roses – MCC’s Bees & Honey By Ross All on one day, a Saturday in June, I found myself feasting on Atlantic Theatre‘s Days of Wine and Roses after a lunchtime visit with MCC‘s Bees & Honey. It was quite the meal, reeling and gulping down the complications of coupledom and attachment, played out in pairs in such different complicated ways.…

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#Adam Guettel #Atlantic Theater Company #Brian d&039;Arcy James #Craig Lucas #Guadalís Del Carmen #kelli ohara #MCC Theater #Melissa Crespo #Michael Greif #off broadway #off broadway musical #off broadway play

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d-criss-news · 1 year

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Via Clare McCormick's Instagram Story (April 18th, 2023)

#darren criss #atlantic theater company gala #instagram #video #april 2023

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supercantaloupe · 10 months

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tagged by @notyouraveragejulie, ty!

1. are you named after anyone? - a great grandfather, i think. middle name after my father. russian name scheme innit. my hebrew name unsurprisingly comes from the tanakh

2. when was the last time you cried? - last week when my cat passed

3. do you have kids? - ...no?

4. do you use sarcasm a lot? - yeah

5. what sports do you play/have you played? - i was a field hockey goalie for six years. i hate basically every other team sport lol

6. what’s the first thing you notice about other people? - clothes, i guess

7. what’s your eye color? - blue (i know. sorry.)

8. scary movies or happy endings? - happy endings i guess? i don't watch scary movies but i also don't watch many movies period. i prefer a satisfying ending over anything else, whether that means happy or not

9. any special talents? - finding four leaf clovers

10. where were you born? - i'm from the mid atlantic and that's as specific as i'm going to get on a tumblr post.

11. what are your hobbies? - music (listening and creating), writing, drawing, cooking, being weird about theater

12. do you have any pets? - i consider the two cats at home mine still. the dog is my parents, i don't claim her lol. but i also don't live at home full time anymore. my roommate just got a kitten at our apartment tho i'm excited to meet him

13. how tall are you? - 5’5/165 cm

14. favorite subject? - music history

15. dream job? - music preparation/librarian or artistic operations with a professional orchestra or opera company. it would be very cool to be able to perform full time for a job but that's never going to happen

tagging @tragedyposting @yardofblondegirls @grasslandgirl @kingfisherkink @tempestclerics @theresa-of-liechtenstein @malcolm-f-tucker and @nablah if you'd like

#sasha speaks #tag game #tagged for me #notyouraveragejulie #ty!

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jcmarchi · 4 months

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Building technology that empowers city residents

New Post has been published on https://thedigitalinsider.com/building-technology-that-empowers-city-residents/

Building technology that empowers city residents

Kwesi Afrifa came to MIT from his hometown of Accra, Ghana, in 2020 to pursue an interdisciplinary major in urban planning and computer science. Growing up amid the many moving parts of a large, densely populated city, he had often observed aspects of urban life that could be made more efficient. He decided to apply his interest in computing and coding to address these problems by creating software tools for city planners.

Now a senior, Afrifa works at the City Form Lab led by Andres Sevstuk, collaborating on an open-source, Python-based tool that allows researchers and policymakers to analyze pedestrians’ behaviors. The package, which launches next month, will make it more feasible for researchers and city planners to investigate how changes to a city’s structural characteristics impact walkability and the pedestrian experience.

During his first two years at MIT, Afrifa worked in the Civic Data Design Lab led by Associate Professor Sarah Williams, where he helped build sensing tools and created an online portal for people living in Kibera, Nairobi, to access the internet and participate in survey research.

After graduation, he will go on to work as a software engineer at a startup in New York. After several years, he hopes to start his own company, building urban data tools for integration into mapping and location-based software applications.

“I see it as my duty to make city systems more efficient, deepen the connection between residents and their communities, and make existing in them better for everyone, including groups which have often been marginalized,” he says.

“Cities are special places”

Afrifa believes that in urban settings, technology has a unique power to both accelerate development and empower citizens.

He witnessed such unifying power in high school, when he created the website ghanabills.com, which aggregated bills of parliament in Ghana, providing easy access to this information as well as a place for people to engage in discussion on the bills. He describes the effect of this technology as a “democratizing force.”

Afrifa also explored the connection between cities and community as an executive member of Code for Good, a program that connects MIT students interested in software with nonprofits throughout the Boston area. He served as a mentor for students and worked on finding nonprofits to match them up with.

Language and visibility

Sharing African languages and cultures is also important to Afrifa. In his first two years at MIT, he and other African students across the country started the Mandla app, which he describes as a Duolingo for African languages. It had gamified lessons, voice translations, and other interactive features for learning. “We wanted to solve the problem of language revitalization and bring African languages to the broader diaspora,” he says. At its peak a year ago, the app had 50,000 daily active users.

Although the Mandla App was discontinued due to lack of funding, Afrifa has found other ways to promote African culture at MIT. He is currently collaborating with architecture graduate students TJ Bayowa and Courage Kpodo on a “A Tale of Two Coasts,” an upcoming short film and multimedia installation that delves into the intricate connections between perceptions of African art and identity spanning two coasts of the Atlantic Ocean. This ongoing collaboration, which Afrifa says is still taking shape, is something he hopes to expand beyond MIT.

Discovering arts

As a child, Afrifa enjoyed writing poetry. Growing up with parents who loved literature, Afrifa was encouraged to become involved with the theater and art scene of Accra. He didn’t expect to continue this interest at MIT, but then he discovered the Black Theater Guild (BTG).

The theater group had been active at MIT from the 1990s to around 2005. It was revived by Afrifa in his sophomore year when Professor Jay Scheib, head of Music and Theater Arts at MIT, encouraged him to write, direct, and produce more of his work after his final project for 21M.710 (Script Analysis), a dramaturgy class taught by Scheib.

Since then, the BTG has held two productions in the past two years: “Nkrumah’s Last Day,” in spring 2022, and “Shooting the Sheriff,” in spring 2023, both of which were written and directed by Afrifa. “It’s been very rewarding to conceptualize ideas, write stories and have this amazing community of people come together and produce it,” he says.

When asked if he will continue to pursue theater post-grad, Afrifa says: “That’s 100 percent the goal.”

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outoftowninac · 2 years

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FIXING SISTER

1916

Fixing Sister is a four-act play by Lawrence Whitman (aka William Hodge). It was originally produced by Lee Shubert starring Mr. Hodge.

‘Fixing Sister’ tells how a devoted brother outwits a headstrong sister who has been carried away by the temptations of luxury, title-hunting, and bridge whist gambling, in the midst of the gay society life of the metropolitan rich. As a result of her foreign travels, she has almost annexed a foreign nobleman of untested lineage. Her brother. John Otis, a representative American of a shrewd and humorous sort, learning of his sister’s peril, hastens to New York from Kansas City. It Is his native common sense and shrewdness which effect a not sudden, but finally very effective, cure, including staging a police raid at her bridge party. He also rescues his own sweetheart, a tantalizingly Independent sort of American girl, from the wiles and the guiles of New York society and foreign nobility.

All four acts take place in New York City.

Bridge whist is a card game popular in the early 20th century. It was derived from whist with the additional rules that the players would take turns as dummy and that the trump suit would be deliberately chosen (including the option not to have one) on each deal rather than random.

"Next Thursday night will be ‘police night' at Maxine Elliott's Theater, when the members of the police department gambling squad will attend in a body to see the performance of William Hodge in ‘Fixing Sister,' in order to enjoy the spectacular police raid of a gambling party, which furnishes an exciting climax to the third act.” ~ EVENING STAR

The somewhat odd title was one of a dozen considered by Hodge. It was originally announced as The Social Climbers, but that seemed too similar to Clyde Fitch’s 1901 play The Climbers.

Fixing Sister opened in Atlantic City at Nixon’s Apollo Theatre on January 16, 1916. From there, it traveled to Wilmington DE, Altoona PA, Pittsburgh PA, and Boston MA.

After Beantown (Boston), Hodge and company went to the Motor City (Detroit) before returning to Boston’s Majestic, where business was brisk.

“As an indication of the volume of business being done, it was necessary, on Ash Wednesday, to place the orchestra on the stage and sell seats in the pit usually occupied by the musicians.”

In mid-March 1916, Hodge made a formal announcement confirming the rumors that he was indeed playwright Lawrence Whitman. At the end of March, Hodge took on a second play in his downtime: Hobson’s Choice at the Wilbur. He requested that Mr. Shubert cancel one of his Fixing Sister matinees so that he might perform in Hobson’s, but Shubert declined. Instead, he arranged a special benefit of Hobson’s at an alternate time.

Although the above item appears to be an article, it is actually a paid advertisement! Do not send Miss Maxwell-Conover stray cats!

The Boston engagement finally came to an end on April 22, 1916. Although Broadway seemed the next logical step, the play moved to Maine through the end of the month. Hodge then retired to his summer home on Long Island to be with his wife and three small children, looking forward to bringing the play to Broadway in the new season.

Getting the play back on its feet, Hodge chose Pittsburgh, returning to the Alvin, where the play initially enjoyed a brief stay.

Fixing Sister opened on Broadway at Maxine Elliott’s Theatre (109 West 39th Street) on October 4, 1916.

“Early in the play the audience is let into the secret. The onlooker is taken into the confidence of the leading character and the game is won. The audience plays the rest of the piece. The interest and enthusiasm is so alive that it comes in waves to me across the footlights. Such a play is bound to be a delight to both the folk who play it and those who are entertained by it.” ~ WILLIAM HODGE

“Mr. Whitman’s play dramatizes the yellow journal idea of society life in Manhattan.” ~ BROOKLYN DAILY EAGLE

“When will Missouri stop ‘showing’ us New York?” ~ CHARLES DARNTON

Hodge’s character, John Otis, is from Kansas City, Missouri (aka the ‘Show Me’ State)

“Interest is sustained as long as [Hodge] is on the stage, making droll remarks about everything in general in his inimitable manner, but it lags perceptibly when the other characters are depended upon to keep things going.” ~ BROOKLYN LIFE

In early November, the production cleverly addressed rumors that Hodge would close the New York production and tour. A week later, the play was extended, selling advance tickets for as far ahead as New Year’s.

Despite this, Hodge packed his tents and moved the play to Chicago a week before Christmas. It ran on Broadway for 85 performances.

#Fixing Sister #1916 #William Hodge #Lee Shubert #Nixon's Apollo Theatre #Atlantic City #Maxine Elliott's Theatre #Broadway #Broadway Play #Broadway Theatre #Lawrence Whitman

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