As the annual Grand Parade approached, so did the mother's plans. They had agreed it a few years ago - bit by bit, they would plant subliminal messages suggesting that their sons really *did* want to go to the Parade.
Of course, the mothers didn't want the boys going as boys. They had already bought all the dresses, petticoats, gloves and accessories. Plus they'd all look so *cute* in those outfits.
When the day came, all the mother's hard work had paid off. Alex and Jo couldn't wait to wear their dresses for the parade - although they didn't quite know why. Something felt a bit odd - they looked at each other, a little puzzled and sheepish. Where was Ash? Had he backed out? Where was he?
Well, Ash wasn't puzzled or sheepish at all. He'd been practising in the dress for week. Oh, was today the Parade?
[This story and artwork was requested by a DeviantArt user]
92 notes
·
View notes
The first drawing that I started during my recent Picarto stream. This was a drunken stream so I decided to do this piece first before the Jack Daniel's Single Barrel hit my blood stream too hard.
The brain lubricant that night was the Mint Julep since that was beverage that resulted in my first drunken stream many years ago. Now Mint Juleps are often associated with the Kentucky Derby. So I wanted to draw my muse Rosemary in a southern belle dress.
53 notes
·
View notes
Forty years ago (4 March 1984) on this day in show biz history the made for TV adaptation of Tennessee Williams’ A Streetcar Named Desire premiered on ABC. This interpretation – starring Ann-Margret as Blanche DuBois, Treat Williams as Stanley Kowalski, Beverly D'Angelo as Stella and Randy Quaid as Mitch – was green-lit during Williams’ lifetime, but he didn’t live to see it. “Ann-Margret looks too healthy to portray Blanche DuBois, the physically and mentally fragile Southern belle protagonist of Tennessee Williams' A Streetcar Named Desire, but we forget this discrepancy five minutes into her marvelous performance,” AllMovie concludes. “The 1984 Streetcar Named Desire is less a remake of the 1951 version than a companion piece - a praiseworthy alternate version of the same sturdy material.” John H O’Connor of The New York Times, meanwhile, raved “Ann-Margret transforms [Blanche’s] disintegration into a journey of incredible pain and heartbreaking beauty. Her performance keeps building in intensity until, by the final scenes, she reaches a pitch of vulnerability that is almost unbearably riveting.” You can watch it for yourself on YouTube.
30 notes
·
View notes