#Blanton's Gold

[bourbonroxx]

Blanton's Gold Edition

[taphousebourbon1]

Kentucky Bourbon

Bourbon making can be traced back to the late 18th century, standing as a uniquely American spirit known for quality and craftsmanship. Because of specific and high standards, bourbon tastes different than other whiskies such as Scotch, Irish, Canadian or Tennessee whiskey. Bourbon must be made in America and predominantly from corn. This makes bourbon unique among all other styles of whiskey. Furthermore, bourbon is never stored in used barrels. New oak barrels age bourbon slowly over time so it garners a deep amber color and rich flavors as it matures. No artificial colors or additives are ever added. Remember, all bourbons are whiskeys, but not all whiskeys are bourbons.

We’re a certified liquor store from Kentucky specializing in the local and postal supplies of top-shelf bourbons in retail and bulk at descent prices.

[bourbontrend]

Dive into the world of Blanton's Gold Bourbon and discover a legacy that gleams with rarity and quality. Explore how this liquid gold from Buffalo Trace Distillery has captivated enthusiasts with its complex flavor profile, limited availability, and the thrilling chase it ignites among bourbon seekers. Unveil the treasure that is Blanton's Gold by clicking through to our article. Savor the story behind every drop!

[pappyvanwinkleforsale]

Navigating the Hunt for Pappy Van Winkle For Sale

In the realm of rare and sought-after spirits, few names hold as much mystique as Pappy Van Winkle. This Kentucky bourbon, crafted by the Old Rip Van Winkle Distillery, has become the Holy Grail for whiskey enthusiasts and collectors alike. Its scarcity and exceptional quality have turned the search for pappy van winkle for sale into a quest that spans the globe.

The Pappy Van Winkle phenomenon began with a family legacy deeply rooted in the art of bourbon making. The Van Winkle family's commitment to producing exceptional spirits traces back to the 19th century, with Julian P. Van Winkle Sr. laying the foundation. However, it was his grandson, Julian Van Winkle III, who elevated the family name to legendary status with the creation of Pappy Van Winkle's Family Reserve.

The allure of Pappy Van Winkle lies not only in its rich history but also in its meticulously crafted flavor profile. Aged for an extended period, often beyond two decades, the bourbon exudes complexity, depth, and a smoothness that sets it apart from its peers. With a limited number of barrels produced each year, obtaining a bottle has become a test of patience and perseverance.

The scarcity of Pappy Van Winkle for sale can be attributed to various factors. The aging process alone requires a significant investment of time and resources. The Van Winkle distillery's commitment to quality over quantity means that only a select number of bottles make it to market each year. Furthermore, the hype surrounding Pappy Van Winkle has led to an unprecedented demand, creating a supply-and-demand dynamic that has made these bottles increasingly rare.

For enthusiasts eager to experience the magic of Pappy Van Winkle, the quest often begins with an online search. However, the digital landscape is rife with pitfalls, as counterfeit bottles and dubious sellers abound. To navigate this treacherous terrain, it's crucial to rely on reputable sources and established retailers with a track record of authenticity. Genuine Pappy Van Winkle for sale often comes from licensed liquor stores, reputable online marketplaces, or directly from the distillery.

For those with the means and inclination to explore the secondary market, Pappy Van Winkle auctions have become a popular avenue. However, buyers should exercise caution and conduct thorough research before participating. Verification of a bottle's authenticity, provenance, and the reputation of the auction platform are paramount to ensure a legitimate acquisition.

Despite the challenges, the pursuit of Pappy Van Winkle remains a testament to the passion and dedication of whiskey enthusiasts. The thrill of finding a bottle for sale, whether through traditional channels or the secondary market, adds to the allure of this liquid gold. The camaraderie among collectors who share tales of successful hunts or near misses further enhances the sense of community surrounding Pappy Van Winkle.

In conclusion, the journey to find Pappy Van Winkle for sale is a quest marked by scarcity, history, and a shared appreciation for exceptional bourbon. As the legend of Pappy Van Winkle continues to grow, so does the fascination with this elusive elixir. Whether you're a seasoned collector or a curious newcomer, the pursuit of Pappy Van Winkle is a venture into the heart of bourbon lore, where each bottle tells a story of craftsmanship, tradition, and the relentless pursuit of perfection.

[chokedonaturtle]

my humanized cars headcanons

Cereal Choice Edition

▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀

Strip: he ain’t allowed to eat cereal it makes him hyper. Lynda makes him oatmeal instead and he throws a tantrum every time.

Cal: he ain’t allowed to eat cereal, eats POPS in moderation when supervised (he will eat the entire box)

Lynda: Oatmeal. she don’t really care for cereal.

Tex: Great Value Apple Fritters Cereal (it’s discontinued and he pays $60 on ebay each time he needs another box.) Usually just has Blanton Gold Label for breakfast (it’s whiskey).

Lightning: Cocoa puffs, Reese’s Pieces Cereal, anything incredibly sweet and borderline life threatening. The occasional Cheerio.

Mater: anything you put in front of him. whether or not it’s edible is not important.

Bobby: actually doesn’t like cereal. mostly just doesn’t like milk and won’t eat it dry.

Brick: Frosted Flakes but ONLY the ones that are travel sized. He said they don’t taste the same as the big box. Also says that if they’re bought in the store, they taste different than the ones from the hotel breakfast line.

Sally: Honey Smacks, Choco Chimps. thinks the chimp is cute. drinks a glass of orange juice with her cereal and it drives Lightning insane.

Doc: He’s a doctor and only eats Raisin Bran and Cheerios because sugary cereal is bad for you…………

Cocoa Krispies. he likes when they go *pop pop pop*

Sheriff: he’s a simple man and doesn’t ask for much.

German cereal Vitalis Schoko Müsli Klassisch, Kelloggs ICEE cereal and Peeps cereal. makes Doc cry. who tf introduced him to those.

Sarge: MRE Future Essentials Corn Flakes Cereal #10 Can. man has not shit in six years.

Fillmore: organic gluten free sugar free preservative free strange crunchy objects. no milk.

Flo: prefers granola, mixed with cream and some fruit. makes a bomb parfait.

Ramone: eats whatever Flo is eating. if Flo is not eating he WILL starve.

Red: Honey Nut Cheerios, Apple Jacks….. Gerber snacks for baby. they’re fire and he won’t tell you otherwise.

Lizzie: has literally never heard of cereal, is shocked every time she sees someone eating it. it’s been 40 years of this.

Luigi: Swissli, but hasn’t found a good enough alternative in the US. Cheerios will do.

Guido: Doesn’t care for cereal, makes a real breakfast instead.

▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀

lmk if i forgot anyone i wasn’t looking :p

ta ta !!!

<3

bonus !!

thomasville eats cereal too

Smokey: puts straight granola in milk. adds chocolate chips and maybe some fruit.

River: Honey Bunches of Oats, Honey Nut Cheerios, anything honey flavored

Louise: There’s a discontinued brand of strawberry yogurt Cheerios that she used to love. She swears on her life it existed and the boys like to mess with her and swear otherwise.

Junior: also fucks with Gerber snacks for baby. Prefers apple sauce from the squeeze tube--

is this man an actual child ???

[krispyweiss]

Hardly Strictly Bluegrass Day Three, Golden Gate Park, San Francisco, Calif., Oct. 6, 2024

The good folks who put on Hardly Strictly Bluegrass created an epic conundrum of good musical fortune by booking the Wood Brothers, the Infamous Stringdusters and Emmylou Harris in simultaneous, festival-closing slots. This, of course, created high anxiety as all three acts are high on any music lover’s gotta-hear list.

But more on that later. Because first, Miko Marks began the day at the Rooster stage with some Sunday soul music before 93-year-old Ramblin’ Jack Elliott, accompanied by mandolin and bass, came out yodeling on Jimmie Rodgers’ “Waiting for a Rain.” He then dug into Woody Guthrie’s “The 1913 Massacre,” got a bit uptempo on “The Cuckoo” and nodded to the Hardly Strictly atmosphere of a super-heated Golden Gate Park (on Oct. 6!) with Jesse Fuller’s “San Francisco Bay Blues.” Between numbers, Elliott regaled the squeezed-into-shady-areas fans with tales from 70 years of music making. Steve Earle then emerged to tell an overly long story over soft picking leaving Elliott to try, unsuccessfully, to get a word in as time ran down on his 40-minute allotment.

So … off to the Banjo stage where Tony Trischka’s Earl Jam was finishing “Brown’s Ferry Blues” and launching into “Lady Madonna” - strictly bluegrass style. Brittany Haas, who would appear later with Aoife O’Donovan and Hawktail, then entered the fray for double fiddling with Shad Cobb on “You Got to Die,” and putting the blues in the grass.

Peter Case, Teddy Thompson, Melissa Carper and Carsie Blanton hit the Rooster next for a Songwriter’s Circle/guitar pull with truth as the refreshing theme. A delightful exercise in the power of folk music.

But there was also blues at Hardly Strictly Bluegrass because: “If you don’t like the blues, you probably don’t like your mama.”

So said Bobby Rush on the Banjo, where the 91-year-old - “If I’m not the oldest, I’m the ugliest,” he cracked - and his big band got down and dirty in flashy sequins as they spanned 70 years of Rush originals and covers like “Hoochie Coochie Man.” Rush blew harp with the lungs of a young man, danced around the stage with the body of a young man and rapped like the OG he is, proving yet again the magic of music - even when you’re singing of your woman leaving you “for the damn garbage man.”

After a public soundcheck that signaled sublimity to come, O’Donovan, Hawktail and the San Francisco Girls Chorus - who joined one-third of the way through the 60-minute set - spanned O’Donovan’s solo discography rearranged to fit Hawktail’s musical tapestry woven of classical, jazz and bluegrass. The Chorus voices soared across Golden Gate as O’Donovan led them through songs about the battle to pass the 19th Amendment from All My Friends.

It was a stirring performance that provided some hope in an era that sometimes feels hopeless and earned a standing ovation from the Banjo stage listeners.

Down the road at Towers of Gold, Patti Smith played to a crowd so humongous people were turned away to listen to her cover Bob Dylan’s “Man in the Long Black Coat” and Nirvana’s “Smells Like Teen Spirit,” read poetry and and play such songs as “Cash” and “People Have the Power” at the adjacent Swan stage, which was also rammed with festivalgoers, where the Wood Brothers were to play next and Smith’s set benefitted from stellar sound piped in from next door.

Even from behind the Towers, Smith’s performance was deeply affecting - a penetrating mix of soft-edged emotion and hard-edged aggression.

“Use your voice,” she said after using hers for 65 minutes and fans on both sides of the stage exploded in applause when she finished her gig.

Now to address the daylong conundrum, splitting up three must-see acts.

And so it transpired that Mr. and Mrs. Sound Bites caught the Woods (Hardly) playing “Little Bit Broken,” “Tried and Tempted,” “Pilgram” and “A Little Bit Sweet;” the ’Dusters (Strictly) on “Gravity” and “Rise Sun” at the Rooster; and Harris’ (country, not Bluegrass) homestretch at the Banjo, which included a rambunctious “Luxury Liner” and a mournful “Together Again.”

And then it was over …

Read Sound Bites’ coverage of Day One and Day Two at the hyperlinks.

10/7/24

[clifairysims]

johanna blanton.

age: 26

traits: motivating, savvy, [redacted]

occupation: valerie’s manager.

Johanna Blanton, Val's childhood friend turned savvy manager, has a knack for turning jazz dreams into reality. A shrewd businesswoman with a heart of gold, Jo navigates the cutthroat music industry, fiercely protecting Val while dealing with her own demons from the past.

[gabrielscore2blog]

Post 2

Attribution: Nuestra Señora del Rosario con Santo Domingo y San Francisco [Our Lady of the Rosary with St. Dominic and St. Francis] – Works – Collection Highlights – Blanton Museum of Art (emuseum.com)

For my Spanish Colonial Art class last semester, we had to find an artwork from a museum corresponding to the time period and location the class covered. The artwork that we discovered was the subject a research paper based on the artwork we saw in person despite having little or no identification about the artwork. I chose this beautiful small painting because I recognized the Mestizo Baroque style and also the technique of brocateado. This technique of applying gold on the Virgin Mary's dress elevated her status for the viewer. This image is important to me because it is a great example of my passion for learning about Art History. I am hopeful that I can use what I have learned in school and the artworks that I have seen in person as an inspiration in my creative practice in this class. I believe what I have seen in the past will be able to positively influence and provide new ideas for what I am creating on my own in the present and future.

[jpbjazz]

LÉGENDES DU JAZZ

SONNY GREER, ‘’THE WORLD’S BEST PERCUSSIONIST REACTOR’’ (Duke Ellington)

‘’Sonny knew what audiences liked. He was one of the few people from Duke readily took advice. A great reactor to material, he needed only a skeleton of an idea. With that as a base, he’d contribute a great deal to the glory of a work. Sonny had a great ear and unusual reflexes.’’

- Mercer Ellington

Né probablement le 13 décembre 1895 à Long Branch, au New Jersey, William Alexander Greer avait étudié la batterie avec le batteur de vaudeville, pianiste et compositeur J. Rosemond Johnson. Greer était encore adolescent lorsqu’il avait commencé à se produire avec un orchestre à Red Bank, au New Jersey. Greer était si talentueux qu’il avait vite brûlé les étapes et avait été engagé pour jouer avec l’orchestre du Plaza Hotel à Ashbury. On raconte même que Count Basie, qui avait connu Greer à Red Bank, avait soudainement abandonné son projet de devenir batteur après avoir entendu Greer jouer... C’est ainsi que Basie était devenu pianiste. Les deux hommes étaient éventuellement devenus bons amis et avaient même joué en duo durant un certain temps.

DÉBUTS DE CARRIÈRE

Greer se produisait avec le trio de Fats Waller dans un hôtel d’Ashbury Park en 1918 lorsqu’il avait été invité à venir se produire à Washington, D.C., pour un weekend. Engagé pour jouer avec le Howard Theatre's Orchestra, Greer y était resté durant trois ans.

Greer se produisait avec le Howard Theatre's Orchestra en 1919 orsqu’il avait rencontré Duke Ellington pour la première fois. Impressionné, Ellington avait aussitôt recruté Greer et l’avait nommé premier batteur de son groupe la même année. Avec le contrebassiste Jimmy Blanton, Greer avait formé une des sections rythmiques les plus redoutables du monde du jazz. Décrivant ses débuts avec Ellington, Greer avait précisé: ‘'I gave him a line of jive that set him back on his heels. From that time on, we were tight and played together around Washington.'' Lorsque l’artiste de vaudeville Wilbur Sweatman avait recruté Greer en février 1923, le batteur avait réussi à convaincre Sweetman d’engager Ellington et le saxophoniste Otto Hardwicke avec lui. Même si le contrat avec Sweatman n’avait duré que quelques mois, le trio s’était joint par la suite au groupe du banjoïste Elmer Snowden, les Washingtonians. Après que le groupe se soit aperçu que Snowden en menait un peu trop large et s’était emparé du montant de la paie des musiciens, Ellington avait pris la direction du groupe.

Après avoir joué avec les Washingtonians, Greer s’était aussi produit au Cotton Club avec le grand orchestre d’Ellington. Greer étant également concepteur de batteries pour la Leedy Drum Company of Indiana, il s’était faut fabriquer un set de batterie imposant d’une valeur incroyable pour l’époque de 3000$, qui comprenait des carillons, un gong, un timpani et un xylophone.

Très proche d’Ellington, Greer avait été un élément essentiel de l’orchestre depuis le début des années 1920. Décrivant la grande confiance qui unissait Greer à son père, Mercer Ellington avait déclaré: ‘’Sonny knew what audiences liked. He was one of the few people from Duke readily took advice. A great reactor to material, he needed only a skeleton of an idea. With that as a base, he’d contribute a great deal to the glory of a work. Sonny had a great ear and unusual reflexes.’’ Duke Ellington lui-même avait écrit dans son autobiographie intitulée Music Is My Mistress publiée en 1973: ‘’When we heard a ping, he responded with the most apropos pong. Any tune he was backing up had the benefit of rhythmic ornamentation that was sometimes unbelievable. And he used to look lile a high priest or a king on a throne, ‘way up above everybordy, with all his gold accessories around him, all there was room for on the stand !’’

Dans les années 1930 et 1940, Greer se produisait plutôt rarement en dehors de l’orchestre d’Ellington. Il avait toutefois participé à quelques sessions avec de petits groupes composés d’autres membres de l’orchestre et à une session avec l’orchestre de Lionel Hampton pour les disques Victor.

Greer étant un grand buveur (il était aussi parieur et avait souvent dû laisser sa batterie en gage chez des usuriers), Ellington avait répliqué à son manque de fiabilité en engageant un second batteur, Butch Ballard, lors d’une tournée en Scandinavie. L’engagement de Ballard avait grandement insulté Ballard, qui avait eu une violente dispute avec Ellington qui l’avait finalement invité à quitter l’orchestre en 1951.

Ce n’était d’ailleurs pas la première fois que les problèmes de jeu et d’alcool de Greer lui causaient des problèmes. Greer, qui était un excellent joueur de billard, perdait souvent tous ses gains dans des paris. Un jour, une chanteuse répondant au nom d’Ada ‘’Bricktop’’ Smith était venue à la rescousse de Greer en lui obtenant un contrat pour aller jouer au Barron’s, un club de Harlem. Par la suite, le groupe était allé jouer au Kentucky Club. C’était à l’époque de la Prohibition, et les choses n’étaient pas toujours faciles. Se rappelant de cette période, Greer avait commenté: ‘’We had all kinds of people coming in to the Kentucky club - entertainers, racketeers, socialities, the good and the bad. Because I knew so many characters and had a great memory, no one could get a drink in the place unless I gave the nod.’’

DERNIÈRES ANNÉES

Greer avait quitté l’orchestre d’Ellington en mars 1951 avec le tromboniste Lawrence Brown pour se joindre au groupe du saxophoniste Johnny Hodges. Après avoir passé six mois avec Hodges, Greer s’était installé à New York où il avait entrepris une fructueuse carrière d’accompagnateur dans des clubs comme le Stuyvesant Casino, le Metropole et le Embers, se produisant notamment avec les groupes de Red Allen, J. C. Higginbottham et  Tyree Glenn. Il avait aussi fait des apparitions dans quelques films.

En 1958 et 1967, Greer avait brièvement dirigé son propre groupe. Il avait également fait partie du trio du pianiste et chanteur Brooks Kerr en 1974. Greer avait aussi fait partie de la légendaire photographie d’Art Kane intitulée  "A Great Day in Harlem". En 1974, Greer avait également participé à un hommage à Duke Ellington qui avait remporté un grand succès d’un bout à l’autre des États-Unis.

Sonny Greer est mort d’un cancer le 23 mars 1982 au St. Luke's Hospital de Lenox Hill, à Manhattan. Il était âgé de soixante-dix-neuf ans. Ont survécu à Greer son épouse Millicent, deux petits-enfants, douze arrière-petits-enfants et deux arrière-arrière-petits-enfants. Les funérailles de Greer ont eu lieu à l’église St. Peter, à l’intersection de l’avenue Lexington et de la 54e rue. Il a été inhumé au Woodlawn Cemetery, dans le Bronx.

Batteur au style subtil et élégant, Greer était fait sur mesure pour jouer avec un groupe de swing et avait énormément contribué au son de l’orchestre d’Ellington à l’instar du guitariste Freddie Guy et du contrebassiste Jimmy Blanton. Très flamboyant et doté d’un remarquable esprit d’équipe, Greer avait été un des premiers batteurs à utiliser d’autres instruments de percussions comme les carillons, les gongs, le timpani et le xylophone. Il avait aussi été un des premiers musiciens à incorporer des instruments provenant d’autres cultures, préfigurant ainsi le travail de Don Cherry et de l’Art Ensemble of Chicago, entre autres. Même si Greer n’était pas précisément le meilleur batteur pour garder la mesure, il avait ajouté de la couleur et de la classe à la section rythmique de l’orchestre d’Ellington. Tout en reconnaissant que Greer n’était pas très bon pour déchiffrer des partitions, Duke Ellington le considérait comme ‘’the world’s best percussionist reactor.’’ Avec Bubber Miley et Cootie Williams, on reconnaît aujourd’hui à Greer d’avoir été à l’origine du style ‘’jungle’’ qui avait caractérisé le son de l’orchestre d’Ellington à ses débuts.

Les expérimentations auxquelles se livrait Greer derrière sa batterie avaient fait dire au critique Whitney Balliett: ‘’He moves ceaselessly back and forth between his cymbals.’’

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

‘’Sonny Greer.’’ Wikipedia, 2024.

‘’Sonny Greer.’’ All About Jazz, 2024.

‘’Sonny Greer.’’ Modern Drummer, 2024.

WILSON, John S. ‘’Sonny Greer, 78, Ellington Drummer, Is Dead.’’ New York Times, 25 mars 1982.

[whiskybrokersuk]

Unveiling the Elegance: Yamazaki Reserve by Whisky Brokers Associates

In the world of fine spirits, few names evoke the same level of reverence and admiration as Yamazaki Reserve. Crafted with precision and passion by Whisky Brokers Associates, this exceptional whisky stands as a testament to the artistry and expertise that go into every bottle.

yamazaki reserve, the crown jewel of the Whisky Brokers Associates collection, is a blend of tradition and innovation. The name Yamazaki itself carries a rich legacy, as the distillery is situated in the heart of Japan, where the art of whisky-making is taken to new heights. The combination of meticulous craftsmanship and the unique Japanese terroir results in a whisky that captivates the senses.

At Whisky Brokers Associates, the commitment to excellence is evident in every step of the production process. From selecting the finest grains to the patient aging in oak barrels, each element contributes to the distinctive character of Yamazaki Reserve. The result is a symphony of flavors that dance on the palate, leaving a lasting impression that lingers long after the last sip.

The allure of Blanton’s Gold lies not only in its exquisite taste but also in the attention to detail in its packaging. The bottle itself is a work of art, with a design that reflects the sophistication and elegance synonymous with Whisky Brokers Associates. As you pour a dram of this remarkable spirit, you can't help but appreciate the dedication that went into creating an experience that transcends the ordinary.

For enthusiasts and connoisseurs alike, exploring the world of Yamazaki Reserve is a journey into the heart of Japanese whisky culture. The interplay of fruity and spicy notes, the velvety texture, and the lingering finish make it a truly immersive experience. Whisky Brokers Associates has not just crafted a drink; they have curated an indulgence for the senses.

Whether you are a seasoned whisky aficionado or a newcomer to the world of spirits, Yamazaki Reserve by Whisky Brokers Associates is an invitation to savor the exceptional. Each bottle is a chapter in the story of a distillery that has mastered the art of whisky-making, earning its place among the finest in the world.

In conclusion, as you raise your glass to the golden elixir that is Yamazaki Reserve, you are not just enjoying a drink �� you are celebrating the legacy, craftsmanship, and passion that define Whisky Brokers Associates. Cheers to a spirit that transcends borders and brings the essence of Japanese whisky to enthusiasts around the globe.

[cherchezlafemmepardieu]

Blanton's Gold Edition Kentucky Bourbon 

[maltrunners]

Blanton's Gold (2022)

[whiskyblog]

Blanton's Whiskey Gold Edition

Blanton's Whiskey Gold Edition is a limited edition version of the popular Blanton's Whiskey.

Blanton's Whiskey Gold Edition is produced at the Buffalo Trace Distillery in Frankfort, Kentucky. Handcrafted in small batches, the whiskey is matured in individual barrels, which gives it its characteristic taste.

The taste of Blanton's Whiskey Gold Edition is rich and complex. It offers aromas of vanilla, caramel, spices and a hint of honey. It has a pleasant sweetness and a full-bodied flavour that comes from the long maturation in oak barrels.

[goldoradove]

wedding photoshoot to show off the blantons’ wedding gift - a brand new steinway.  pierce definitely can’t play piano

[youvebeenlivingfictional]

The Long Con Part Five

Previous Part | Masterlist | Next Part Pairing: Marcus Pike x Reader Rating: T Notes: I hope y’all had a good week! 💕 Warnings: This is almost purely fluff. There’s some angst in there, but it’s just, like...A speck. And it’s covered over by fluff. Also I’ve never been to Austin, I did a lot of Googling for this bit, so if any of it is inaccurate, I’m sorry!! It seems like such a cool town and I don’t wanna do it a disservice! Lastly, I linked the museum and the art pieces mentioned in the chapter at the end of the chapter, under the tags. Summary: You’d stayed behind to get ready— but you didn’t know what exactly what you were be getting ready for.

While you and Marcus would be helping Marnie and the family out with wedding prep during the week, they didn’t have anything in particular scheduled for that day. After he’d had his breakfast, Marcus had showered, gotten dressed, and left to get the car that he’d rented for two of you to use that week. You’d stayed behind to get ready— but you didn’t know what exactly what you were be getting ready for. “I wanna show you around while we’ve got some time,” Marcus had told you between stealing sips of your coffee (which were solely permitted because the two of you were pretending to be together - if this had been under any other circumstance, he would not have gotten away with a single sip. His parents had found it adorable. You had found it a loss of coffee).

You dressed in casual clothing, things that you knew you’d have no trouble walking around in for the day. Marcus honked twice once he was outside in the rental, and you bid quick goodbyes to his family. 

-- “So,” Marcus glanced over at you from behind the dark lenses of his aviator sunglasses, “We have a few options-- well, we’ve got a ton, but, I was thinking we could take a tour of the Capitol building, and check out the Harry Ransom Center -- it’s this massive archive and library. There are a few places we could hit for lunch, and then… I don’t know, the Lady Bird Johnson Wildflower Center? And I thought we could finish with the Blanton Museum of Art?... Or is that, like, a no, since we’re both kinda around art all the time?” You watched him for a few moments, stunned. He’d clearly gone out of his way to think about what you’d like to do -- places that he knew and that you would like. He wanted you to have fun, and time out of the house - away from his family. Marcus was taking you out and about like… Like he probably would a real girlfriend. “That all sounds really awesome,” You admitted softly. Marcus grinned at you, and you settled back in your seat, facing forward again. -- Conversation came as easily as it had when you were in D.C. Marcus dropped the odd fact about Austin now and again (though it was nothing near his panicked post-flight info-dump), pointed out his old haunts, told you about his and Marnie’s childhoods. Even without his family around, you found that the two of you kept close. You reached for one another’s hands; Marcus drew you into his side when you were in crowded places; even when there was plenty of room, Marcus’ hand was on your shoulder, or your back. The contact was comforting; it didn’t feel forced.  You found yourselves strolling through the Blanton with your fingers intertwined, speaking in hushed tones so as not to disturb the patrons around you. It was where the two of you wound up spending most of your day, discussing Fogel’s Conflict and Kern’s The Adoration of the Magi and Dorigny’s Diana of the Hunt. When you drifted into the Klimt pieces on loan from the Belvedere Museum in Vienna, and the two of you stopped in front of The Kiss, Marcus cupped your chin and leaned down, pecking the corner of your lips. You couldn’t help the stupid grin that took over your face, and you leaned into him, turning your head and hiding your face in his shoulder. 

He just curled an arm around you, smoothing a thumb along your side as you let your sheepishness run its course. You turned your head as it ebbed away, finally, taking in the intertwined lovers, robed in gold and adorned with flowers. 

--

“Okay, this… Is stupidly cool,” You admitted, looking around. “I was a little worried that you were going to stop at ‘stupid’.” “No!” You laughed, “I’ve never been anywhere like this.” Marcus had brought you to a bar with an arcade in Southern Congress for dinner. The two of you had ordered dinner and were looking for a few games to play before the food arrived. “They’ve got a little bit of everything. Pinball, Pac-man, Tron, Skeeball,” Marcus listed off. “Galaga?” “They’ve got Galaga.” “Perfect.” Marcus was exceptional at Pac-man and pinball, but you learned that you had the upper hand when it came to air hockey. You managed to play two games of it (both of which you won) before the food came. “Today has all been insanely awesome,” You told him after you’d polished off your pizza, “Thank you. I mean-- Seriously, you didn’t have to do this.” “I didn’t want you feeling like we were stuck at my family’s place all week, and...I mean I know we’re down here for Marnie, but you said you’d never been to Austin. I didn’t want you to miss out on seeing the city.” You and Marcus shared a smile before he added, “The whole day has been insanely awesome, huh?” “Yeah.” “Even in the kitchen?” “You mean when you were drinking my coffee? ‘Cause that put you on thin ice, mister.” “Right before that,” He corrected. The smile he was giving you was two parts bashfulness and one part coy. You folded one arm on the table, pillowing your chin on your other hand. “...Yeah, I’d include that. As first kisses go, it was…” You nodded a little, eyeing Marcus from under your lashes, “It was very...Very nice.” “‘Very nice’?” Marcus repeated, “I guess that’s not the worst review I’ve ever gotten.” “Don’t get all huffy,” You chuckled, ”I mean it, it was… I forgot what being kissed like that even felt like.” “What do you mean?” “I mean that...Was my first kiss in two years.” “Two-- How is that possible?” Marcus’ brow furrowed. You rolled your eyes a little bit, glancing away from Marcus as embarrassment swirled in your stomach. “The last person was my ex-fiancé. After that fell apart…” You shrugged, “I haven’t dated since.” You felt Marcus lean a little closer to get a better look at you. “Did you give up on finding someone?” “Not on purpose. I think I just...Built up some walls that I had torn down really quickly with them. And I built those walls up double. I prioritized work-- the devil I knew, you know.” “No dates, nothing?” “Nope.” “How many people did you turn down?” “What makes you think I turned anyone down?” Marcus tipped his head to the side, giving you a slight once-over as he muttered, “C’mon.” You shook your head, letting out a quiet, embarrassed laugh. “Well, how long after your engagement broke did you wait to date?” You asked. Marcus’ lips pressed into a thin, contemplative line before he admitted, “Five months.” “What made you get back out there? I mean… How’d you know you were ready?” “I wasn’t, but I was worried that if I waited until I was, the woman that had asked me out wouldn’t be available when I got there. I took a leap. It wasn’t a good leap, but it was a leap,” he chuckled, “And it made me remember that dating can suck and putting myself out there could be scary, but… Ultimately, it’s worth it.” You and Marcus regarded one another quietly for a moment. You couldn't even imagine what he was thinking. You couldn't understand how he was still so open to finding love when he'd been hurt the way he had. That sort of loss had only made you want to recede; it seemed to make Marcus even more determined to find love. Frankly, it was a wonder that he hadn't yet— he was the kindest man you'd ever met. You lowered your eyes to your empty plate as you realized that you were staring. It was easy to get caught up in his warm eyes; you’d found it happening more often lately, and it certainly suited the purposes of the lie you were playing up around his family. But there was something about all of it— his gaze, his smile, everything that the two of you had done today — it stirred up twinges or remorse. Lately you’d found yourself wondering if there ever could’ve been something real between the two of you, if you’d met under different circumstances. That was a very dangerous line of thought.

“If you’re finished with your food, we can go play some more air hockey.” You smiled at the offer, glancing back up at him as you asked, “I didn’t kick your ass enough the first time?” “Oh-- I was just warming up.” “Clocking all of my moves?” “Exactly.” “We’ll see about that.” (You beat him three more times.) (You let him win once.)

--

You flicked off the light before getting into bed, tucking yourself in beside Marcus. He yawned and mumbled, “G’night.” “Goodnight, what?” Marcus let out an exaggerated sigh, “Goodnight, supreme air hockey winner.” “Thank you.” “Mhm.” “I don’t ask for much.” “I know.” “Just that you steer clear of my coffee—” “Uh huh.” “And address me by my proper title.” You glanced over as you felt Marcus shift in the bed. Your breath caught in your throat as his arm wound around your middle, his hand dangling against your side as he rested his forehead against your shoulder. “Sleep,” He urged in a mumble, “Oh supreme one.” You settled down, resting one of your hands atop Marcus’ arm. It was a warm, comforting weight; a sweet touch that you could, if you weren’t careful, find yourself getting used to. “‘Oh supreme one’,” You repeated quietly, peering up at the ceiling, “I could get used to that.” Tag list: @hufflepuffing-all-day-long​ ; @spideysimpossiblegirl​ ; @blueeyesatnight​ ; @elen-aranel​ ; @yespolkadotkitty​ ; @artsymaddie​ ; @phoenixhalliwell​ ; @lunaserenade​ ; @winniedaboo​  ; @empress-palpat1ne​ ; @randomness501​ ; @nutmeg-20​ ; @leonieb​ ; @the-feckless-wonder​ ; @lou-la-lou​ ; @captain-jebi​ ; @supernaturalgirl​ ; @naturenebula21​ ; @evelynseventyr​ ; @giselatropicana​ ; @heatherbel​ ; @marydjarin​ ; @annathewitch​ ; @absurdthirst​​ ; @hnt-escape​ ; @writingletterstothefire​​ ; @misswriter​​ ; @bison-writes​​

Museums & Art Work

The Blanton Museum of Art

Fogel’s Conflict

Kern’s The Adoration of the Magi

 Dorigny’s Diana of the Hunt The Belvedere Museum

Klimt’s The Kiss