#Working boys short film

[imasillygooose]

Here's your daily picture of Jon Matteson

Challenge: can you name which Workin' Boy he is without reading the tags?

[cracklewink]

some sketches of my guy

[demigod-of-the-agni]

the silly...

taken from this post from the spiderversemovie account on instagram

[signed-sapphire]

Um. Can I. @annymation @uva124 @emillyverse

How hard I had to fight to not make Aster a twink was. So hard.

Idk experimenting with canvas sizes

@gracebethartacc has RWTS!Aster with star-shaped pupils and Cielo has glowing golden pupils, so I decided Imma draw KOW!Aster with stars IN their pupil.

The firefly one??? Is okay??? It doesn’t really look lika Aled’s art but idfc (I do, I really do but I gotta go to sleep)

Boots are a bit stiff but what can you do. I wanted to get some fanart out there so I can practice drawing the boy a little more later

[just-another-obsessed-fangirl]

mainly incoherent thoughts from watching that clip of angela in that true crime show that was going around but one thought that i can structure is. you're telling me that grace chasity is not the first role where angela giarratana played a horny 18 year old girl who convinced her peers to lure a guy out to get revenge on him, the end result being that guy is killed

[astramachina]

with the next chapter of House of the Setting Sun done, this week's looking pretty stacked. we've got:

HotSS chapter 2.

DTT chapter 15.

The next four chapters of The Architect.

A new horror short? 👀 (A continuation to Northern Lights, mayhaps?)

so i'll be a wee bit sparse until the end of the week.

[thunderbottle]

Love that i havent posted barely any art in months meanwhile ive been painting more the past few months than ever in my life previously

[tired-socks-og]

My senior capstone film is almost done!!!

One whole year of work. My first independent short film :)

Look out for the release of it!

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[secondjulia]

REALLY fixed this time! (This is new to me; I'm working on it :)

This was harder than Where the River Bends because it's such a happy song, and it's HARD to find Dream of the Endless looking happy. Non-antagonistic head tilts and raised eyebrows are about as good as it gets — until the sun finally breaks through.

[kaleuh]

boys are just . not real

[thepunkmuppet]

if I may add:

uncle wiley and miss holloway always fight and one of them always dies

jane houston always dies in a car crash

general macnamara always dies in the line of duty while inspiring someone else to save the day in his stead (not sure though as we only have two appearances from him)

this sounds so stupid and obvious but hannah foster is always born. it’s important because her birth seemed to have a hand in splitting the timelines, and apparently lex delivering her “saved the entire universe”

echoes in hatchetfield (aka events that repeat across timelines):

most reliably, ted spankoffski dies a violent death as a direct result of being horny and/or a bastard

grace chasity saves the day (and potentially becomes the new threat)

paul matthews and emma perkins fall for each other

as do stephanie lauter and peter spankoffski

lex and ethan are split up by circumstances beyond their control

duke falls in love with miss holloway and she might feel the same but they don't get together

linda monroe is doomed by her need to be adored

professor hidgens tries and fails to secure funding for workin' boys

barry swift is in a hurry

[corvids-corner]

Welcoming a new OC to the fam, it's TJ! (first name Trevor, middle name James) - he's a member of the ABO fraternity, which is secretly a werewolf pack

[batboyblog]

Copy Right and Public Domain in 2025!

It's January 1st 2025 which means it's my favorite unsung holiday! Public Domain Day! This is the day once a year when, in the US, copyrights expire and things enter the public domain, meaning they belong to everyone! even you, Steve!

American copyright for books, movies, art work, and musical compositions (but not recordings, more on that later) runs for 95 years (way too long!) so today works published in 1929 join us in the public domain.

So whats free? so glad you asked.

Popeye the Sailor Man

Many people assume Popeye originated as a cartoon character but thats not true, he comes from a comic strip. The strip was called Thimble Theatre and Popeye was something of a late addition. Thimble Theatre was first published in 1919, so Popeye's girlfriend Olive Oyl has been in the public domain since before the big 20 year copyright freeze of 1998-2019. Popeye first appeared as a minor character 10 years into the strip's run but was so popular he soon took over and the strip would be renamed Popeye less than 5 years later. Now as always whats public is only what appears in 1929, later developments, remain copyrighted. Such as, while Popeye always had super strength its not till 1932 his superpowers were tied to eating spinach, and Olive Oyl originally had a different boyfriend named Ham Gravy, who she dumped for Popeye when he became the main character. It looks like Popeye is following tradition for famous now public domain characters and getting a quicky horror movie this year.

Tintin!

This is personally very exciting as someone who grew up with the Belgian boy detective. Like Popeye I expect a lot of people don't know that Tintin started off as a weekly comic strip. Indeed Tintin appeared as a part of a weekly youth supplement in the Catholic newspaper The Twentieth Century. Any ways, Tintin was first published in there in January 1929, and soon would start what would become the first Tintin story, Tintin in the Land of the Soviets. Now only part of Tintin in the Land of the Soviets was published in 1929, the story line wrapped up in May 1930, so only those 1929 stories and what appears in them is free and clear and Tintin was published in black and white not color. Tintin's author Hergé had no idea what he was doing and was really learning on the job so In The Land of the Soviets is generally seen as his weakest outing and the only one he never opted to redraw in later years. Even so it's nice to see the character free in the world. No word on if Tintin will star in a horror movie.

Buck Rogers (but not really)

The original futuristic space man was published, again a comic strip, in 1929 which means he should enter the public domain today, but he won't. That's because he already is public domain! Before the Copyright Act of 1976 copyright was 28 years with the option to renew for another 28 years. The copyright on the original comic strips was not renewed so ran out at the end of 28 years, 1958. So Buck Rogers has been free and clear for close to 70 years now, whatever you hear about him today.

What else?

Famously last year Mickey Mouse entered the public domain, but all the entered public domain was one (maybe two) animated short, Steamboat Willie. Well this year a dozen Mickey Mouse animated shorts enter the public domain, including the first time Mickey has his iconic white gloves, and the first time Mickey speaks (the first thing Mickey Mouse ever says, voiced by Walt Disney himself, is "Hot dogs! Hot dogs!" in case you were wondering) This will give creators much more to work with if they want to use Mickey in their works which is exciting.

Speaking of Walt Disney, The Skeleton Dance is entering public domain, you likely don't know the title but I suspect you've seen at least part of it at some point

so look for this showing up on TVs in the backgrounds of films and TV shows in the next year or so

Books

The iconic novels of World War I, Ernest Hemingway's A Farewell to Arms and Erich Maria Remarque's All Quiet on the Western Front enter public domain. In fact All Quiet on the Western Front entered public domain last year, but only in the original German, the 1929 translation by Arthur Wesley Wheen is whats entered the public domain now. John Steinbeck's first novel, Cup of Gold, William Faulkner's The Sound and the Fury, Virginia Woolf's A Room of One's Own, and Agatha Christie's Seven Dials Mystery (always get an Agatha Christie novel on this list for the rest of our lives). Dashiell Hammett published both Red Harvest and The Maltese Falcon, later made into one of the greatest films of all time, in 1929. Future children's book author E. B. White (who's go on to write Charlotte's Web and Stuart Little) and future New Yorker cartoonist and humorist James Thurber teamed up to write the delightfully titled Is Sex Necessary? Or, Why You Feel the Way You Do a book of spoof essays making fun of popular books on Freudian sexual theories at the time. The Roman Hat Mystery the first of the long running Ellery Queen mysteries was published, Queen would keep publishing mysteries into the 1970s (and Ellery Queen was a pen name for two people). Richard Hughes' A High Wind in Jamaica and Oliver La Farge's Laughing Boy also came out in 1929 and are in the public domain now. There's much else but those are the highlights sorry if I missed your favorite 1929 novel.

Movies

Alfred Hitchcock and Cecil B. DeMille's first movies with sound, Blackmail and Dynamite respectively, came out in 1929. Marx Brothers' first feature film The Cocoanuts joins the public domain. Other comedy land marks are Harold Lloyd's first sound film, Welcome Danger and Buster Keaton's last silent film, Spite Marriage (which Keaton also directed). John Ford's first sound film, The Black Watch, which also is 21 year old John Wayne's first appearance in a film, as an uncredited extra, he worked in the art department. Hallelujah the first studio film to have an all black cast came out that year. Also worth noting is The Hollywood Revue of 1929 a singing and dancing review, one of the earliest and the movie that popularized the song Singin’ in the Rain, maybe the first time a movie made a song a hit.

Musical compositions

musical compositions, ie the lyrics and musical notations you might see on sheet music are governed by the 1976 Copyright Act, and music written in 1929 is public domain. Music recordings are governed by a whole different law (we'll get there). Songs written in 1929 include Singin’ in the Rain by Arthur Freed & Nacio Herb Brown, Ain’t Misbehavin’ and Black and Blue by the legendary Fats Waller, What Is This Thing Called Love? by Cole Porter, Tiptoe Through the Tulips by Alfred Dubin, You Were Meant for Me by Arthur Freed & Nacio Herb Brown, and also Happy Days Are Here Again by Jack Yellen which would become FDR's campaign theme song in 1932.

Art!

a number of pieces by Salvador Dalí including:

Illumined Pleasures

The Accommodations of Desire

The Great Masturbator

are entering the public domain as is René Magritte’s The Treachery of Images.

Art is hard because while movies and books are clearly "published" and put on sale, what counts as "published" for a piece of art? the law is not totally sure.

Musical Recordings

as I promised, we got here. Till 2017 there were no federal laws governing the copyright of music recordings before the 1970s, it was governed by a confusing patchwork of state laws and it was not totally clear what was or was not free and clear even from the very earliest recordings ever. Now the term of a music recording's copyright is set at 100 years (way too long) so music recorded in 1924 is now public domain such as. Nobody Knows the Trouble I’ve Seen by Marian Anderson, Everybody Loves My Baby (But My Baby Don’t Love Nobody But Me) by Louis Armstrong, California Here I Come by Al Jolson, Rhapsody in Blue by George Gershwin, Shreveport Stomp by Jelly Roll Morton, Mama’s Gone, Good Bye by Ray Miller, and It Had To Be You by Marion Harris. Now many recordings a lot less famous can finally be preserved and digitized to save them for the next 100 years. Many abandoned works are literally rotting away since without the copyright holder's permission digitizing a work isn't legal.

[jadenvargen]

free online james baldwin stories, essays, videos, and other resources

**edit

James baldwin online archive with his articles and photo archives.

---NOVELS---

Giovanni's room"When David meets the sensual Giovanni in a bohemian bar, he is swept into a passionate love affair. But his girlfriend's return to Paris destroys everything. Unable to admit to the truth, David pretends the liaison never happened - while Giovanni's life descends into tragedy. This book introduces love's fascinating possibilities and extremities."

Go Tell It On The Mountain"(...)Baldwin's first major work, a semi-autobiographical novel that has established itself as an American classic. With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity as the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935. Baldwin's rendering of his protagonist's spiritual, sexual, and moral struggle of self-invention opened new possibilities in the American language and in the way Americans understand themselves."

+bonus: film adaptation on youtube. (if you’re a giancarlo esposito fan, you’ll be delighted to see him in an early preacher role)

Another Country and Going to Meet the Man Another country: "James Baldwin's masterly story of desire, hatred and violence opens with the unforgettable character of Rufus Scott, a scavenging Harlem jazz musician adrift in New York. Self-destructive, bad and brilliant, he draws us into a Bohemian underworld pulsing with heat, music and sex, where desperate and dangerous characters betray, love and test each other to the limit." Going to meet the Man: " collection of eight short stories by American writer James Baldwin. The book, dedicated "for Beauford Delaney", covers many topics related to anti-Black racism in American society, as well as African-American–Jewish relations, childhood, the creative process, criminal justice, drug addiction, family relationships, jazz, lynching, sexuality, and white supremacy."

Just Above My Head"Here, in a monumental saga of love and rage, Baldwin goes back to Harlem, to the church of his groundbreaking novel Go Tell It on the Mountain, to the homosexual passion of Giovanni's Room, and to the political fire that enflames his nonfiction work. Here, too, the story of gospel singer Arthur Hall and his family becomes both a journey into another country of the soul and senses--and a living contemporary history of black struggle in this land."

If Beale Street Could Talk"Told through the eyes of Tish, a nineteen-year-old girl, in love with Fonny, a young sculptor who is the father of her child, Baldwin's story mixes the sweet and the sad. Tish and Fonny have pledged to get married, but Fonny is falsely accused of a terrible crime and imprisoned. Their families set out to clear his name, and as they face an uncertain future, the young lovers experience a kaleidoscope of emotions-affection, despair, and hope. In a love story that evokes the blues, where passion and sadness are inevitably intertwined, Baldwin has created two characters so alive and profoundly realized that they are unforgettably ingrained in the American psyche."

also has a film adaptation by moonlight's barry jenkins

Tell Me How Long the Train's been gone At the height of his theatrical career, the actor Leo Proudhammer is nearly felled by a heart attack. As he hovers between life and death, Baldwin shows the choices that have made him enviably famous and terrifyingly vulnerable. For between Leo's childhood on the streets of Harlem and his arrival into the intoxicating world of the theater lies a wilderness of desire and loss, shame and rage. An adored older brother vanishes into prison. There are love affairs with a white woman and a younger black man, each of whom will make irresistible claims on Leo's loyalty. 

---ESSAYS---

Baldwin essay collection. Including most famously: notes of a native son, nobody knows my name, the fire next time, no name in the street, the devil finds work- baldwin on film

--DOCUMENTARIES--

Take this hammer, a tour of san Francisco.

Meeting the man

--DEBATES:--

Debate with Malcolm x, 1963 ( on integration, the nation of islam, and other topics. )

Debate with William Buckley, 1965. ( historic debate in america. )

Heavily moderated debate with Malcolm x, Charles Eric Lincoln, and Samuel Schyle 1961. (Primarily Malcolm X's debate on behalf of the nation of islam, with Baldwin giving occassional inputs.)

----

apart from themes obvious in the book's descriptions, a general heads up for themes of incest and sexual assault throughout his works.

[dwaekkicidal]

𝖪𝗂𝗇𝗄𝗍𝗈𝖻𝖾𝗋: 'Sweetheart' ༄࿔ B.C. & Y.J.

⤷ Spit Roasting | Brat Taming  |  Manhandling

♱ word count: ~4k (i dont wanna talk about it.)

♱ warnings: *inhales* fem!reader, threesome, frat leader! Chan and frat boy! Jeongin, reader is a teeny bit of a brat, brat taming, some fingering, unprotected p in v, rough sex, light system mentioned but not used, spit roasting/eiffel towering, manhandling, mention of deepthroating, 2 "good girl"s, choking, impact play (1 face slap and like 1 spank), big cock channie AND soft-hard dom channie? (hard to explain but act surprised.), squirting, mention of sharing with other members of the frat (its only the rest of skz in the frat but specifically mean dom minho is named), jeongin films you with his phone and says hes gonna send it to the frat groupchat lol… i think thats it? Idk this was a fever dream

♱ notes: pov: sian getting carried away when she enjoys writing something. also the urge to make this a series is so strong...

mostly proofread, but may be some mistakes/inconsistencies

Kinktober Schedule

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“Y/N… Can you uh…” Jeongin clears his throat and rubs his face with both hands as if trying to keep his composure. “Can I have a cup of water?” You smile and nod, standing on your feet and walking out of your room to get him some water. Once you closed the door behind you, after telling them you’d bring some snacks too, Jeongin looked over to his friend desperately.

“Hyung. I am… not your strongest soldier.” The comment in itself was enough to make Chan burst out laughing, but he tried not to grab too much attention so he chose to snicker into his arm instead.

“Breathe man.” Chan laughed and leaned back on his arms, stretching and taking some breaths himself. “I’m not fairing that well either haha… I don’t think she even realizes what she’s doing.”

The most popular frat’s leader, Chan, and his youngest junior, Jeongin, are in your bedroom. And you, unfortunately, had agreed to tutor them after one long day in the library. They had the other 6 members with them and you were particularly stressed from preparing for a final later that day, so you arguably weren’t very clear-minded when you agreed to it.

Nonetheless, you kept your word and, after exchanging numbers with Chan, you sent them your address as well as a list of what days and times were best. It surprisingly wasn’t hard to find a time that worked for all three of you, and the study date was quickly decided. When the day came and you got a knock on your door and you opened it still in your pajamas, both sides were shocked at what they saw.

They had never seen any skin other than your arms, and sometimes your legs on the rare occasion that you wore a skirt. So when they were met with you in a crop top tank top and short shorts, they felt something awaken in them. Jeongin even more so, considering he had a secret little crush on you that only his frat knew about.

And you were surprised because you had completely forgotten that you agreed to tutor them. But considering they had already seen your outfit, you hadn’t bothered to change out of it. Which ultimately led to your current situation: your notebooks and their textbooks spread across your floor alongside them, with their painful bulges hidden underneath their hoodies.

You return only 15 minutes later with 4 bottles of water and a big plate of bagel bites. Both men drop everything instantly and lunge for the plate, taking it from you to “help” you carry everything, but in reality just so they can demolish the food. You smile and shake your head endearingly, a little too entertained by the childish action.

Through their fiending, Chan still offers you the plate many times and makes sure they leave enough for you to eat as well. Then, once both are satisfied and calmed down a little bit, they allow you to continue the lesson. Everything goes well for another 30 minutes until a slip-up happens with your wardrobe.

Chan notices first, and he feels his fingers twitching when you lean forward to point out something to Jeongin. You slightly lean over him in the process and the hand to hold yourself up rests right beside his thigh. The size difference between his thigh and your hand is enough to make his mind wander, but then he watches very closely as the strap of your tank top slowly falls down your shoulder from the new position.

Jeongin himself feels his own composure completely break at his sight. You leaning close to his face was enough to get him flustered, but the sight of your tank top strap slowly falling makes his cock twitch. Then, as if to add insult to injury, you shift just the slightest amount and your tank top loosens around your torso until it now hovers below your chest, giving him a good view of your tits, and a very slight view of your nipple.

Jeongin’s breath catches in his throat and he snaps his head to his eldest brother. “Hyung..” You hear it and look up at them curiously. The redness in their faces gives away that something happened, but it doesn’t hit you until Chan calls your name breathlessly and tugs at your fallen strap. Both men look at you with dark eyes and you feel your heart skip a beat when you realize that you just flashed 2 members of the most popular frat in the fucking state.

“Uh… Sorry… I didn’t realize-” You quickly fix your posture and your strap, wrapping your arms around your chest and trying to hide it from them. Chan chuckles and looks you up and down, making your face flush even harder.

“It’s ok, baby. But I think we’ve done enough studying today. I think you should help us with something else now.” He leans forward and grabs your arms, tearing them away from your chest and helping you to your feet. He leads you to the bed, leaving Jeongin in awe on the floor left to do nothing but watch the situation unfold.

“You’re so pretty, Y/N-nie…” He starts once he softly pushes you to sit down. He brings one of his veiny hands to your cheek, rubbing his thumb against it soothingly as he talks, “You’ve helped us so much already, but there’s one more thing we both need from you if that’s ok?” His gaze is strong but comforting as he checks for consent, and you find yourself nodding quietly despite the butterflies in your stomach.

Jeongin rises to his feet eagerly, taking a seat next to you and immediately leaning into you, resting his hand on your lower back. He leans into your neck and breathes in the scent of your body wash, sighing into your ear at the way it makes his cock twitch. Chan laughs and uses the hand on your cheek to lean your head to the side for the younger man.

“Help us and we’ll help you, okay baby?” You nod and look up at him under your lashes, moaning quietly from the lips that latch themselves on your neck. “You gotta tell us what you like and don’t like though, yeah?”

“Mkay…” Your eyes flutter shut and you have to bite your lip to stop yourself from moaning when Jeongin bites down on your neck, his other hand now resting on your inner thigh and squeezing it.

“Can we be rough with you?” You nod. “Haha… Yeah? Can we smack you around a little too?” Your eyes snap open and you nod eagerly when your eyes meet. He smirks and bites his lip, the hand on your cheek sneaking its thumb into your mouth. He opens his mouth to tell you to suck but moans quietly when you do it on your own.

“Good girl…” His eyes flicker down to Jeongin, and the smile on his face widens when he asks the next question. “Wanna get Eiffel Towered? Jeonginnie here is a bit eager with it, he might fuck you silly, but I’m a little too big for you to take this soon. Don’t wanna hurt you just yet.” He winks at the last sentence and pushes his thumb against your tongue.

When you nod, his body visibly bristles and he removes his finger in favor of tugging at the hem of your shorts, silently asking if he can take them off. You don’t bother replying and just lift your hips, just enough for him to pull them off along with your panties. You gasp when Jeongin’s hand immediately returns to your thigh, this time kneading the fat just an inch or two from where you need them the most.

Chan takes a seat opposite of Jeongin, on the other side of you, and rests his hand on the inner thigh of your other leg. He pulls it apart from the one Jeongin was squeezing and the younger man, despite being distracted with your neck, catches on and spreads you open.

You’re exposed to them both and, for the first time since he sat down, Jeongin releases your neck to take in the sight of your pussy. He sighs to himself and rests his forehead against your temple as he finally trails his fingers higher, ghosting them through your wet folds.

Your legs kick and Chan tightens his grip on your leg when Jeongin immediately sinks two long fingers into your hole, curling them off the bat and overwhelming you in all the right ways. Chan’s hand hooks your leg over his lap and moves to roughly play with your clit as Jeongin starts fingering you. He even leans down, craning his neck to land kisses all over your chest.

He lets up on your clit for just a second so he can tug your tank top under both of your tits, giving him better access. Then, he goes back to rubbing rough circles as his mouth ventures lower to your nipple. Your jaw drops and you lean back on your hands as you let them play with you freely, thoroughly enjoying all the attention.

Your moans are quiet and shaky, egging them on further as they work your body towards an orgasm. Chan is busy harshly sucking your left nipple as Jeongin speaks up for the first time in a while, his breath fanning your neck and making you shiver.

“You look so hot… Does this feel good, honey?” He curls his fingers up, digging his fingertips on the very edge of your g-spot.

“Jeongin… up more please-“ You whine and look at him desperately. He listens and shoves his fingers deeper, now angling them perfectly into your g-spot. You respond by furrowing your eyebrows and throwing your head back with a loud moan.

“Haha. There?”

“Uh-huh…” Chan laughs at your response and removes his fingers from your clit, nudging Jeongin away at the same time. You whine at the loss and fix your neck to look between them. “W-Why?”

Chan doesn’t answer and pulls you to your feet, yanking your tank top over your head. He places a kiss on each of your tits before kissing his way up to your neck, then stopping at your lips where he pushes his onto yours. You start to wrap your hands around his neck only to be spun around and held in place by Jeongin.

Jeongin pulls you into him and bites down on the opposite side of your neck that he had marked earlier as you faintly hear Chan undressing behind you. It’s only then that you notice the hardness pushing against your thigh and the bareness of the man in front of you. You wrap your hand around his dick and stroke him eagerly while he sucks more hickies into your skin.

Once Chan undresses fully, he crawls up your bed and rests on his knees near your pillows. Jeongin glances over at the older man and reluctantly pulls away, turning you back around and shoving you onto your hands and knees on your bed.

You grunt at the roughness but are given no time to react further as Chan drags you up the bed. You come face to face with his cock; hard, veiny, and an angry red. Your jaw drops and you look up at him to see a smirk plastered on his face. Yeah… you need him in you.

“Told you I was big, baby girl.” You whine and wrap your hand around him, placing a kiss on his tip as you revel in the sheer weight of him. “‘M not trying to break you today. Maybe next time, yeah?” You nod and his thumb pulls at your bottom lip. He doesn’t need to say anything else because you obey his command before it even leaves his lips.

Your lips wrap around him as the bed dips behind you, but you’re too enamored by his cock to pay the other man any mind. Chan moans loudly and tangles his fingers in your hair as Jeongin, now kneeling behind you, slides his tip through your folds a few times. “Ready?” He huffs out impatiently, but not wanting to force anything. He gets what he wants as soon as the question leaves his mouth because you push your hips back and grind against him.

The action causes his tip to slip into you for a split second and it’s all it takes for him to lose his composure. He curses and digs his fingers into your hips, holding you in place as he shoves his entire length into you at once. You moan around Chan, making him also moan out at the vibrations of your throat. The hand in your hair tightens as Jeongin finds a frantic pace that also fucks you onto Chan’s cock simultaneously.

It's almost brutal the way Jeongin’s hips slam against yours. Even his balls find a way to smack against your folds and it brings your orgasm even closer than before. Your body is still wound up from them playing with your pussy, and you can’t control the constant clenching it provides to the younger of the two. He moans loudly and his hips stutter at a particularly tight hold from you.

“Shit. You’re clenching me like crazy, honey. Gonna cum already?” Your hand tightens around Chan’s base and you moan around him, nodding as best as you can with him half down your throat.

“Don’t you fucking dare.”

Your eyes snap up to meet Chan’s and he stares back sternly, eyes narrowing. A whine leaves your throat subconsciously and he immediately shakes his head, standing his ground. The hand in your hair loosens slightly as you pull off of him, and you have to plead through your moans to get your point across.

“Please! I can’t hold it…” His hand leaves your hair completely and grabs onto your chin instead, roughly pulling you up to sit upright.

“I said no, so you’re not allowed to cum yet.”

He squeezes your cheeks and holds you in place as Jeongin’s thrusts speed up. He’s desperate to chase his own orgasm, and he doesn’t spare a thought to your struggle. He’s fucking into you so fast that your eyes flutter open and closed almost constantly. Chan’s eyes stay on your face the whole time, and the second he sees you go slack-jawed, he growls.

“Don’t make me repeat myself.” The eager cock constantly pummeling your insides was too much, especially at this new angle, but the sheer anger in his voice made some sick part of you happy, inadvertently cursing you to cum. Quiet grunts follow loud moans as you cum, and Jeongin fucks you through it, using your tightness to milk himself dry.

Chan allowed Jeongin to use you to ride out his orgasm up until the second he pulled out. Then he snatched you from under him and flipped you onto your back under himself. Jeongin laughed somewhere behind you at the aggressiveness and you swore you could hear your heart beating out your ass.

“Something tells me you know about the light system.”

Chan’s face was painted with anger, and you could feel that anger seep into the way he slapped his cock onto your used folds. You stayed quiet, a part of you wondering how far you could push him, and you got the reaction you wanted when his hand came down on your thigh when you still didn’t answer. You gasp and clench around nothing. Then, he waits only a few more seconds until you nod your head repeatedly, giving him the answer he wanted. You try to rise slightly to rest on your elbows, but Chan shoves you backward with a tsk.

“Good. Use it, yeah?”

He sinks himself into you before he can finish his own sentence, and you both hiss at the intrusion. He’s definitely bigger than Jeongin, maybe just as long, but the girth of him is enough to have your head spinning already. Your nails dig into the sheets as he shoves inch by inch into you, not slow enough to let you stretch properly, but slow enough to make you grow impatient. He’s not even bottomed out all the way before he’s stopping. Part of you is thankful because you can already feel him in your stomach, but the other side of you wants it all.

“Baby. Give it a second.” You whine and thrash your head around, doing everything in your power to push yourself back onto him. Chan sighs annoyedly and digs his fingertips into your hips to hold you still. Before he has to move another muscle the bed dips and a set of long fingers tightly squeeze your throat.

“Play nice for Channie, Y/N. It’s one thing to piss him off, but it’s another to piss us both off.” Jeongin leans down to whisper in your ear, but Chan still catches onto it. He also catches onto the way your walls flutter around his cock at the implication, and he realizes what the two of them have gotten into.

“Who would’ve thought the school’s resident good girl is a fucking brat.” He chuckles and talks under his breath. Jeongin snickers to himself and backs his face away to watch Chan plant his hands on either side of your waist in order to lean forward. 

“Aren’t I right? Your little pussy really liked the thought of pissing us both off.”

Your lips turn into a fine line and you look at him incredulously, lips slightly downturned. Then, as if to dig your own grave, your gaze drops from him and you stare off to the right. He follows your gaze curiously and he can feel the vein in his forehead pop out when you find more interest in your ceiling fan. His tongue pokes into his cheek and he digs his hands farther into your mattress.

“Yeah, nah. That’s fine.” His hips reel back and slam forward again, this time forcing the rest of his length into you. Your demeanor falters and you catch your bottom lip between your teeth to try and keep quiet. You’re bad at hiding it though, and the way your eyebrows furrow deeper and deeper with each thrust gives you away. Both men laugh at the sight of you struggling to stay defiant, and Jeongin finally loosens his hold on your neck in favor of sneaking that hand down to pinch your nipple.

Chan’s hips are bruising, more so than Jeongin’s, as he doesn’t hesitate to hold back. Now that he has a better idea of what you like, he’s not afraid to give you everything. His movements prove that further as he pulls out almost all the way just to sink in fully, and repeating the action constantly all while going fast enough to render you brainless. 

When that stubbornness finally gives out and your gaze falls between your legs, your whole body shakes at the sight of his thick cock entering your body. Your eyes slowly trail up, taking in the sweat dripping from his stomach and then the redness that has taken over his chest and his neck. Your eyes finally reach his and he smiles at you sinisterly. “You done?” He tilts his head playfully and rolls his hips deeply, making your eyes squeeze closed for a moment.

“Ff… Fuck you.”

His hips come to a stop and you swear you can see his lips twitch.

“Yeah…?” It comes out quiet and alongside a breathy, in disbelief, laugh. Your lips part to say another snarky comment and his hand comes down on your cheek, rendering you speechless. Your body tenses up and you clench tightly around him. He definitely didn’t miss the way you moaned at it either.

“C’mon, pretty. Be good for me.” His hand wraps around your throat and squeezes it tightly, cutting off some of your airflow. It makes your head spin, especially when his hips start moving again. He’s trying to convince you to play nice before he forces you to. But he realizes real quick that it just isn’t working. And you, instead, just furrow your eyebrows and dig your nails into the forearm of the hand that’s choking you. He grunts and releases your neck, this time wrapping both his hands around the underside of your knees. He pushes them up until you’re folded in half and your knees are by your ears.

“Ah! C-Chan!”

“That’s right, baby. Say my name~” Jeongin sits up on his knees and replaces Chan’s hands with his own, using some of his own body weight to hold your legs down. Now that he’s able to use his hands freely, Chan uses the thumb on one of his hands to spread your pussy lips open for him, giving him a better view of his cock splitting you open.

“Shit! Wait you’re- mmmmfuck! You’re too deep, Chan!” Your hands push against his stomach to try and push him out, but he shoves your hands away with his other hand. That same hand comes down on the side of your ass, making Chan sigh dreamily as your walls squeeze him so snuggly.

“This pretty pussy fits me so well baby. Want me to cum inside and make you ours? ‘Wanna be our frat’s pretty little sweetheart?” He moans loudly at the thought, and then once again when you nod and look up at him with teary eyes. Jeongin himself smirks at the thought and hovers his face over yours.

“That bratty little attitude of yours will get fucked out the window, honey. We got a looot of meanies over there. Minho-hyung will have a lot of fun with you.” Your eyes squeeze shut, already knowing who Minho was and hearing stories about how he was in bed. Most girls agree on the same two words: animalistic and straight-up mean.

“I should film Channie-hyung fucking you like this and send it to the group chat. Maybe even tell them we got ourselves a little toy. What do you think, hyung?” You hear the ding of his phone starting a recording and you’re cumming before you realize it; gushing around Chan and causing loud squelching noises to fill the room.

Chan laughs with his chest and his whole body shakes as he cums, his hands squeezing the flesh of your hips as he bottoms out one final time to cum deep inside. He doesn’t need to fuck you through his orgasm thanks to the way your walls continue to clench around him, almost suffocating him with the aftershocks of your orgasm.

You squeal when he finally slides out of you, every vein on his cock making you even more overly sensitive. Jeongin giggles and slides next to you on the bed, pulling you into his chest and running his hands down your back. Chan leans forward and places a kiss on your temple before swiftly leaving the room, stating he’s just going to get a washcloth to clean you off.

“You okay?” Jeongin kisses your neck softly and trails his kisses to the corner of your mouth. You hum and let your eyes become lidded, heavy with exhaustion. He can see it in your face and he coos, “You can sleep. Channie and I will take care of everything.” He smiles sweetly and tucks your hair behind your head, trying to wipe some of the sweat off your forehead too.

You hadn’t planned on any of this happening, but his fingers ghosting along your arms and all over your back are all too convincing as they urge your eyes to close. In seconds, you’re falling asleep to the feeling of Jeongin caressing your body and his lips repeatedly pushing against your cheek.

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