hi cib! im looking for a twin brother (has to pass for 17-20) and also a father (early to mid-30s) faceclaim for jenna ortega. they will be the children of diane guerrero. thank you so much! x
well i did it - 28 fics in as many days (and yes i did burn myself out in the process!) totalling to almost 34000 words! i don’t quite know how i did it, but i did & that’s the main thing! so in case you missed any, here’s a list:
head wound | chicago pd | hailey upton x reader | 1054
failed rescue attempt | chicago fire | stella kidd x reader | 1333
blood loss | chicago pd | kim burgess x jay halstead (burgstead) | 1168
Savion Glover, Jason Robert Brown, Priscilla Lopez, More Join NYPL I'm Still Here Benefit
BY ANDREW GANS
JUN 16, 2021
The upcoming benefit, celebrating the New York Public Library's Billy Rose Theatre Division, honors George C. Wolfe and the late Harold Prince.
Additional artists have joined the upcoming I'm Still Here benefit, celebrating the 90th anniversary of The New York Public Library for the Performing Arts’ Billy Rose Theatre Division and the 50th anniversary of its Theatre on Film and Tape Archive.
Honoring Tony-winning directors George C. Wolfe and the late Harold Prince, I’m Still Here will stream on Broadway on Demand June 23 at 8 PM ET.
Jason Robert Brown, Savion Glover, Priscilla Lopez, Susan Stroman, Marisha Wallace, and Christopher Wheeldon have joined the starry roster of participants. The evening, as previously announced, will also feature archival content of several Broadway productions preserved in the archive, including the newly announced Angela Bassett and Samuel L. Jackson in The Mountaintop; Bette Midler in I'll Eat You Last; Brian Stokes Mitchell in Ragtime; Kelli O'Hara and Paulo Szot in South Pacific; Christian Borle and Tim Curry in Spamalot; and Craig Bierko and Rebecca Luker in The Music Man.
Viewers can expect to see Glover, Jimmy Tate, Choclattjared, and Raymond King in Bring in 'da Noise, Bring in 'da Funk; Meryl Streep, Marcia Gay Harden, and Larry Pine in The Seagull; Lin-Manuel Miranda, Robin de Jesús, Christopher Jackson, Karen Olivo, Andréa Burns, Janet Dacal, Eliseo Román, and Seth Stewart in In the Heights; and Glenn Close in Sunset Boulevard.
Watch Stephanie J. Block Belt Out She Loves Me's 'A Trip to the Library' for NYPL I'm Still Here Benefit
Also taking part: Annaleigh Ashford (Sunday in the Park with George), Alexander Bello (Caroline, or Change), Laura Benanti (She Loves Me), Malik Bilbrew, Alexandra Billings (Wicked), Susan Birkenhead (Jelly’s Last Jam), Shay Bland, Alex Brightman (Beetlejuice), Matthew Broderick (Plaza Suite), Krystal Joy Brown (Hamilton), David Burtka (Gypsy), Sammi Cannold (Endlings), Ayodele Casel (Chasing Magic), Victoria Clark (The Light in the Piazza), Max Clayton (Moulin Rouge!), Calvin L. Cooper (Mrs. Doubtfire), DeMarius Copes (Mean Girls), Trip Cullman (Choir Boy), Taeler Elyse Cyrus (Hello, Dolly!), Quentin Earl Darrington (Once on This Island), Robin de Jesús (In the Heights), André De Shields (Hadestown), Frank DiLella (NY1), Derek Ege, Amina Faye, Harvey Fierstein (La Cage aux Folles), Leslie Donna Flesner (Tootsie), Chelsea P. Freeman, Joel Grey (Cabaret), Ryan J. Haddad (The Politician), Sheldon Harnick (Fiddler on the Roof), James Harkness (Ain’t Too Proud), Marcy Harriell (Company), Neil Patrick Harris (Hedwig and the Angry Inch), Mark Harris (Mike Nichols: A Life), David Henry Hwang (M. Butterfly), Cassondra James (Once on This Island), Marcus Paul James (Rent), Taylor Iman Jones (Hamilton), Maya Kazzaz, Tom Kirdahy (The Inheritance), Hilary Knight, Michael John LaChiusa (The Wild Party), Norman Lear (Good Times), Baayork Lee (A Chorus Line), Sondra Lee (Hello, Dolly!), Telly Leung (Aladdin), Ashley Loren (Moulin Rouge!), Allen René Louis, Brittney Mack (Six), Taylor Mac (Gary: A Sequel to Titus Andronicus), Morgan Marcell, Aaron Marcellus, Joan Marcus, Michael Mayer (Spring Awakening), Sarah Meahl, Joanna Merlin (Fiddler on the Roof), Ruthie Ann Miles (Sunday in the Park with George), Bonnie Milligan (Head Over Heels), Rita Moreno (West Side Story), Leilani Patao (Garden Girl), Nova Payton (Dreamgirls), Joel Perez (Kiss My Aztec), Bernadette Peters (Into the Woods), Tonya Pinkins (Jelly’s Last Jam), Jacoby Pruitt, Sam Quinn, Phylicia Rashad (A Raisin in the Sun), Jelani Remy (Ain’t Too Proud), Leslie Rodriguez Kritzer (Beetlejuice), George Salazar (Be More Chill), Marilyn Saunders (Company), Marcus Scott (Fidelio), Rashidra Scott (Company), Rona Siddiqui (Tales of a Halfghan), Ahmad Simmons, Rebecca Taichman (Indecent), Jeanine Tesori (Fun Home), Bobby Conte Thornton (Company), Sergio Trujillo (On Your Feet), Kei Tsuruharatani (Jagged Little Pill), Ben Vereen (Pippin), Jack Viertel, Christopher Vo, Paula Vogel (Indecent), Nik Walker (Ain’t Too Proud), Shannon Fiona Weir, Helen Marla White (Ain’t Misbehavin’), Natasha Yvette Williams (Orange Is the New Black), and Ricardo Zayas (Hamilton).
The program will also feature interviews with Broadway artists plus the re-conception of classic musical theatre songs, including "A Trip to the Library," “Wheels of a Dream,” “Another Hundred People,” “Love Will Find a Way,” and, fittingly, “I’m Still Here.”
READ: The Woman Who Fought to Record and Preserve Broadway Shows
The virtual benefit is produced and conceived by Boardman and Doran and features direction by Steve Broadnax, Sammi Cannold, Nick Corley, Ty Defoe, Lorin Latarro, Mia Walker, and Jason Michael Webb, choreography by Ayodele Casel, Latarro, and Ray Mercer, with new music arranged by Rachel Dean and Annastasia Victory, arrangements and orchestrations by Brian Usifer, and casting by Peter Van Dam at Tara Rubin Casting.
Tickets are donate-what-you-can, with a recommendation of at least $19.31 in honor of the year the division was founded. Visit StillHereat90.com.
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(Review #422, September 16th [2022])
It has been a full decade since The Mars Volta released their last studio album with 2012's Noctourniquet. The group behind classics like Frances the Mute and De-Loused in the Comatorium went mostly AWOL for a solid decade sans a couple of singles and bits of unreleased music coming to light. It was always going to be a difficult task to live up to the more iconic records in their discography. However, The Mars Volta's self-titled album is shockingly even more disappointing than it initially seemed destined to be.
As any extended period of time between two releases from the same act may promise, The Mars Volta sound extremely different hear than they did years ago. If anything, this self-titled record is the single most accessible things that The Mars Volta have done in their entire existence. The artsy pop rock aesthetics that they adapt to here will likely be unfamiliar to pre-established fans of the band. With this comes the inevitable question of whether or not The Mars Volta are capable of doing this style well. The answer is that they are, generally speaking, not. While they theoretically could have made something interesting due to their history as a fairly forward-thinking progressive rock band, they simply lack the necessary passion to really stand out from a number of younger alternative bands doing relatively similar music to much greater success. The point of The Mars Volta's latest studio album was to appeal to a larger audience, and it is painfully obvious.
The experiments that they do take are mostly fruitless. The Latin influences displayed via Willy Quinones' drumming are too insignificant to play any sort of integral role. The semi-electronic style that is presented on "No Case Gain" is obnoxious above anything else, and the faux balladry on cuts like "Shore Story" add nothing to the listening experience beyond mild throwbacks to sounds that belong decades in the past. This isn't to imply that The Mars Volta are the risk-taking types on their self-titled album. However, it is to state that the handful of times they dip their toes into the pool, they accidentally slip, fall in, and drown.
The album itself feels almost pathetically thin in nature. This is a descriptor that goes many ways. The mixing from Marcel Rodriguez-Lopez does little to allow the individual instrumentalists of The Mars Volta shine while still ensuring that Cedric Bixler-Zavala sounds muffled. Bixler-Zavala's lack of enthusiasm in his performance certainly doesn't help. Even conceptually, The Mars Volta's latest album feels about as thoughtless as it gets. There is an air of certainty of what the band want to do here. Unfortunately, they never fully flesh out many of the ideas they compose. These leads to an album of songs that, despite their obvious status as complete, feel unfinished.
In conclusion, the Mars Volta's first album in 10 years fails to live up to even half of its many expectations. Sure, you could certainly argue that it was never going to live up to what people wanted it to be. After all, the Mars Volta are certainly a legendary band, and that is something that is undeniable. There is a lot of hype surrounding any talk about them releasing new music. With that in mind, the Mars Volta's self-titled studio album completely fails in virtually every regard, and does not at all sound like anything that a band like the Mars Volta should be pointing out this far into their career. Between adapting a new sonic aesthetic that just doesn't work out and a handful of weak, thin, and failed experimentations, the Mars Volta have managed to disappoint in just about every way that they possibly could have with their first album in quite some time.