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thispabulum-blog · 2 years ago

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Oh No Baby What is You Doing?

Why Are Men? Wednesday

Today I want to talk about one guy in particular, whom I discovered recently. I like a good character study.

To set the scene here, he's 26, lives in the closest major city, moderately attractive, longish wavy brown hair. Already I'm sold. Doesn't smoke, doesn't drink, no drugs. 93% Match. Alright, sign me up. What else is about him?

I keep reading. And the first thing I see is that he says

Currently living a simple life in downtown [Big City] after having travelled and experiencing a great deal for my age.

The first part seems like a contradiction, which threw up a red flag for me.

Material possessions did not serve me so now I have only a roof and great friends.

Eh. I mean, I admire the sentiment and all, but minimalism just ain't me. I like things, I like gadgets, I like clutter.

Drug free. Caffeine free. Phone free. (Yes you read it right.) Off the map. Let's adventure!

Oh no. This person sounds exhausting.

There's something about that particular rhetorical device ("Yes, you heard me right") that always comes off super pretentious and it bothers me. You're pre-supposing that what you've just said is so mind-boggling that your reader will assume you've made an error.

And then THE VERY NEXT THING on his profile is this:

Wait, what?

I'm really having trouble with the cognitive dissonance between "no material possessions" and "I wanna be in one of those big shiny buildings".

Later on he says "Bool Kogi" instead of bulgogi which, while technically correct, also strikes me as pretentious.

As does his description of his favorite comedian, Joe Pera.

He hits a different note to most comedians. It is really enjoyable to hear him speak and the comedy is very meta so many people do not even get it.

And his favorite board game, Settlers of Catan.

Settlers of Catan, because it loosely models economic growth through resource allocation.

Yeah, buddy. That's the idea. You're not breaking new ground here.

At this point I'm not interested in this dude anymore because he seems full of himself. I get like...Into the Wild vibes from him, as if maybe he's a rich kid who's going through a phase of rejecting materialism - except the fact that he lives in downtown Dallas makes me think he still has quite a bit of money. Trust fund baby, maybe?

I was curious about our Match percentage, so I went to check out the Match questions we disagreed on. And wow.

Would you allow a pet to sleep on the bed?

Me: Yes

Him: No

We just talked about this.

Would you rather play Scrabble, go out dancing, or get drunk?

Him: Dancing

Me: Scrabble

Yeah, he seems high-energy. He also had a few questions about going out clubbing and partying.

Do you believe in God?

Him: Yes

Me: No

That's generally not a good sign for a relationship.

Would you enjoy a night in playing video games?

Him: No

Me: Yes

Oof.

Do you think video or computer games are childish?

Him: Yes

Me: No

Double oof.

Could you date someone who doesn't believe in vaccinating?

Him: Sure

Me: Hell no

Uhhhhh

Are you texty before you meet someone in person from a dating app?

Him: Minimally, just to make plans

Me: Yes, it's a good way to get to know someone

I mean if he doesn't have a phone I guess I understand that.

Do you like word games like Scrabble or Boggle?

Him: No

Me: Yes

So you don't drink, you don't smoke, you don't do drugs, you don't have a phone, you don't play video games, you don't like word games...what the fuck do you do?

Are you a cat person or a dog person?

Him: Neither

Me: Both

Bro just doesn't like animals. What a terrible human.

Do you enjoy a day of binge-watching?

Him: No

Me: Yes, now and then

God, we really can't do anything together.

What is your opinion of sarcasm?

Him: Sarcasm is formulaic and lazy

Me: I like it or love it

Yeah, this guy sounds like a fucking catch.

Do you dream of traveling the world or are you happy where you are?

Him: I'm fine where I am, thanks.

Me: Where's my ticket?

Good for you, I guess, if you've already traveled the world.

So yeah.

I thought this was an interesting example of a guy who's not gross or terrible or creepy, but nonetheless entirely uninteresting to me.

#Spotify #okcupid #dating #poly #dating app #online dating #tinder #men are trash #relationships

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blackkudos · 5 years ago

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Canada Lee

Canada Lee (born Leonard Lionel Cornelius Canegata; March 3, 1907 – May 9, 1952) was an American actor who pioneered roles for African Americans. After careers as a jockey, boxer and musician, he became an actor in the Federal Theatre Project, most notably in a 1936 production of Macbeth adapted and directed by Orson Welles. Lee later starred in Welles's original Broadway production of Native Son (1941). A champion of civil rights in the 1930s and 1940s, Lee was blacklisted and died shortly before he was scheduled to appear before the House Un-American Activities Committee. He furthered the African-American tradition in theatre pioneered by such actors as Paul Robeson. Lee was the father of actor Carl Lee.

Biography

Canada Lee was born Leonard Lionel Cornelius Canegata on March 3, 1907, in the San Juan Hill neighborhood of Manhattan in New York City. His father, James Cornelius Lionel Canegata, was born on the Caribbean island of St. Croix, and as a youth had migrated to New York, where he married Lydia Whaley Gadsen. Raised by his parents in Harlem, Lee had an aptitude for music, and at age seven he began studying violin and piano with J. Rosamond Johnson at the Music School Settlement for Colored People. He made his concert debut at age 11, performing a student recital at Aeolian Hall. But after seven years of music studies, without explanation, he put away his violin and ran away from home. In 1921, aged 14, Lee went to Saratoga Springs, New York, and began a two-year career as a jockey.

Lee returned to his parents' home in Harlem in 1923 with no idea what he was going to do next. He considered returning to music, but an old school friend suggested that he try boxing. At one amateur match, fight announcer Joe Humphries saw the name "Canagata, Lee" on the card he was using. He tossed the card aside and instead announced "Canada Lee"—a name that Lee liked and adopted. In the amateur ring he won 90 out of 100 bouts and the national amateur lightweight title.

Lee turned pro at age 19, in October 1926, and became a favorite with audiences. At 5 feet 9 inches (1.75 m) and about 144 pounds (65 kg), he fought as a welterweight. His boxing statistics vary due to incomplete coverage and record keeping for the sport in the 1920s and 1930s. Boxing historian Donald R. Koss documents Lee having 60 bouts 1927–31, the majority of them taking place 1927–28. The New York Times reported that Lee had some 200 professional matches and lost only about 25.

During his victorious 10-round bout with Andy Divodi at Madison Square Garden on December 12, 1929, Lee was dealt a blow over his right ear that detached his retina. With treatment his vision could have been saved, but Lee feared losing his successful career and masked his injury. In time he lost all sight in his right eye. He quit professional boxing in 1933. Despite having made an estimated $90,000 during his boxing career (roughly equivalent to $1.7 million today), Lee was broke. "Just threw it away," Lee later said. Lee eventually lobbied for insurance, health care, financial consultation and retirement homes for fighters. "The average boxer possesses little education," he said in 1946. "If he winds up broke, he has no trade, no education and nobody to turn to."

As Lee's fighting career began to wind down, he put together a small dance band that played at obscure clubs. When an old friend, sportswriter Ed Sullivan, plugged him in his new entertainment column, Lee and his group began landing better engagements. His career as a bandleader peaked in 1933 when his group played at the Lafayette Theatre in Harlem. The following year he opened his own small club, The Jitterbug, which he managed to operate for six months. When it closed he had no prospects, and his mother convinced him to simply get a job.

Acting

All my life I've been on the verge of something. I'm almost becoming a concert violinist and I run away to the races. I'm almost a good jockey and I go overweight. I'm almost a champion prizefighter and my eyes go bad. Now I've got it, now I've got what I'm going to be.

Lee discovered a love for Broadway theatre during his years as a prizefighter. He remembered Show Boat as the first stage production he ever saw: "A big, tough fighter, all muscle, just sobbing," he recalled.

His acting career began by accident in 1934. While at a YMCA to apply for a job as a laborer, Lee stumbled upon an audition in progress and was recognized by playwright Augustus Smith. Lee was invited to try out, and won a supporting role in Brother Mose, directed by Frank H. Wilson. Sponsored by New York's Civil Works Administration, the show toured the boroughs, playing at community centers and city parks into the fall of the year. In October 1934 Lee succeeded Rex Ingram in the Theatre Union's revival of Stevedore, which toured to Chicago, Detroit and other U.S. cities after its run on Broadway. It was his first professional role.

Lee then was cast in his first major role, that of Banquo, in the legendary Federal Theatre Project production of Macbeth (1936), adapted and directed by Orson Welles.

"I never would have amounted to anything in the theatre if it hadn't been for Orson Welles," Lee recalled. "The way I looked at acting, it was interesting and it was certainly better than going hungry. But I didn't have a serious approach to it until … I bumped into Orson Welles. He was putting on a Federal Theatre production of Macbeth with Negro players and, somehow, I won the part of Banquo. He rehearsed us for six solid months, but when the play finally went on before an audience, it was right—and it was a wonderful sensation, knowing it was right. Suddenly, the theatre became important to me. I had a respect for it, for what it could say. I had the ambition—I caught it from Orson Welles—to work like mad and be a convincing actor."

Macbeth was sold out for ten weeks at the Lafayette Theatre. After an additional two weeks on Broadway it toured the nation, including performances at the Texas Centennial Exposition in Dallas.

After five months in a supporting role, Lee succeeded Rex Ingram as the lead in the stage production Haiti (1938), portraying Haitian slave turned emperor Henri Christophe. One of the Federal Theatre Project's most popular productions, Haiti was seen by some 90,000 people at the Lafayette Theatre in Harlem and at Boston's Copley Theatre.

In January 1939, with the end of the Federal Theatre Project, Lee won a role in Mamba's Daughters, a Broadway success that toured North America and returned to Broadway for another brief run in 1940. Lee took a break from the road tour to make his motion picture debut in Keep Punching (1939), a film about boxing. He made his radio debut as narrator of the weekly CBS jazz series Flow Gently, Sweet Rhythm (1940–41). As that regular series came to an end, he opened a restaurant at 102 West 136th Street, Canada Lee's Chicken Coop, which offered authentic South Carolina cuisine, jazz and blues. Lee kept it going despite chronic financial difficulties.

Lee played the lead role in the 1940 revival of Theodore Ward's Big White Fog. A 1938 Federal Theatre Project production, the play was remounted by the newly created Negro Playwrights Company, founded in New York by Ward, Langston Hughes, Paul Robeson, Theodore Browne, Richard Wright and Alain Locke.

Lee became a star overnight in his ultimate stage success, Native Son (1941), an adaptation of Richard Wright's novel staged on Broadway by Orson Welles. The show was a spectacular hit for both Welles and Lee, who starred in the initial New York run, a 19-month national tour, and a second run on Broadway with accessible ticket prices. "Mr. Lee's performance is superb," wrote Brooks Atkinson of The New York Times, who called him "certainly the best Negro actor of his time, as well as one of the best actors in this country." Wright also applauded the performance, noting the contrast between Lee's affable personality and his intensity as Bigger Thomas. The sympathetic portrayal of a black man driven to murder by racial hatred brought much criticism however, especially from the Catholic Diocese of Brooklyn and the Legion of Decency, and the ensuing pressure forced the play to close.

During World War II, Lee continued to act in plays and in films. In 1942, he played in two comedies by William Saroyan, and earned approving reviews despite the generally negative response to these plays. In 1943, his name was above the title on the marquee for South Pacific, a race-themed drama directed by Lee Strasberg that again was panned by critics but won Lee critical praise.

Perhaps Lee's most famous film role was in Alfred Hitchcock's Lifeboat (1944), in which he played ship’s steward Joe Spencer, one of 8 men and women who survive the sinking of the freighter carrying them from New York to London and are joined in their lifeboat by a survivor of the crew of the U-boat that destroyed their vessel.

According to a June 22, 1943, Hollywood Reporter news item, Lee was the first actor cast for the film. The script was criticized for making Joe "too stereotypical". Lee testified that he attempted to round out the character by revising dialogue, primarily eliminating repeated "yessir"s and "nossir"s that sounded subservient, and cutting some actions. An NAACP critique of the film condemned the role of Joe and praised Lee’s performance. The Baltimore Afro-American's review, while commenting on the character's shortcomings, praised Lee's portrayal. Historian Rebecca Sklaroff, while writing in 2009 that Joe's role was more "tokenistic" than black roles in the wartime films Sahara and Bataan, noted that Joe was depicted as compassionate, dependable and heroic. He is the only one who resists the impulse of mob fury that leads the other characters to kill the German. He is the only character who steps forward to disarm the wounded German sailor rescued at the end of the film.

Lee's successful radio career continued with New World A-Comin', which made its debut in March 1944. He narrated the first two seasons of the groundbreaking WMCA radio series that presented Negro history and culture to mainstream American audiences.

He became the first African American to play Caliban, in Margaret Webster’s 1945 Broadway rendition of The Tempest. Lee had admired Shakespeare since his turn in Macbeth; indeed, at the time of his death he was preparing to play Othello on film.

In 1946, Lee played a principal role in On Whitman Avenue, a drama about racial prejudice directed by Margo Jones. Lee produced the play, making him the first African-American producer on Broadway. The play spoke directly to the need for interracial housing following World War II and won the praise of former First Lady Eleanor Roosevelt, who wrote weekly columns encouraging readers to see it.

In the autumn of 1946, Lee made American theatre history when he portrayed the villain Daniel de Bosola in John Webster's The Duchess of Malfi. Presented in Boston and on Broadway, the production marked the first time a black actor had played a white role on the stage. Lee wore a special white paste that had been used medically, to cover burns and marks, but had never before been used in the theatre.

In 1947, he had a supporting role in Robert Rossen's Body and Soul, another boxing picture.

In 1948, Lee played his last stage role, that of a devoted slave in Set My People Free, Dorothy Heyward's drama based on the aborted 1822 slave revolt led by Denmark Vesey.

In 1949, he took a supporting role in Lost Boundaries, a drama based on William Lindsay White's book of the same title, a nonfiction account of Dr. Albert C. Johnston and his family, who passed for white while living in New England in the 1930s and 1940s.

Lee's last film appearance was the starring role of minister Stephen Kumalo in Cry, the Beloved Country (1951).

Civil rights activism

As an actor, Lee came into contact with many of the leading progressive figures in the country. Langston Hughes, for instance, wrote two brief plays for Lee; these were submitted to the Theater Project, but their criticism of racism in America was deemed too controversial, and neither was staged. Lee spoke to schools, sponsored various humanitarian events, and began speaking directly against the existing segregation in America's armed forces, while simultaneously acknowledging the need to win World War II. To this latter end, he appeared at numerous USO events; he won an award from the United States Recruiting Office and another from the Treasury Department for his help in selling war bonds. These sentiments would carry on throughout his life, culminating in his early firsthand account of apartheid in South Africa.

Lee was an early influence on physician and human rights activist H. Jack Geiger. They met in 1940 when Geiger, a 14-year-old middle-class Jewish runaway, was backstage at a Broadway production of Native Son. Lee agreed to take Geiger in when he showed up at his door in Harlem asking for a place to stay. With the consent of his parents, Geiger stayed with Lee for over a year. Lee took on the role of surrogate father and introduced Geiger to Langston Hughes, Billy Strayhorn, Richard Wright, and Adam Clayton Powell. Geiger eventually became a journalist, then a doctor who co-founded the first community health center in the United States, Columbia Point Health Center in Dorchester, Massachusetts. He became a founder of Physicians for Social Responsibility and Physicians for Human Rights, and established community health centers in Mississippi and South Africa. Geiger says he would never have moved so deeply in these worlds so quickly if not for his experiences with Canada Lee.

By the late 1940s, the rising tide of anti-communism had made many of Lee’s earlier contacts politically dangerous. In 1949, the trade journal Variety stated that under no circumstance was Lee to be used in American Tobacco’s televised production of a radio play he had recently starred in because he was "too controversial".

The same year, the FBI offered to clear Lee’s name if he would publicly call Paul Robeson a communist. Lee refused and responded by saying, "All you’re trying to do is split my race." According to newspaper columnist Walter Winchell, Lee stated that he intended to come out and "publicly blast Paul Robeson." However, the fact that the friendship between the two actors remained until Lee's death suggests that Robeson put no faith in Winchell's claim.

At the height of the Hollywood blacklist, Lee managed to find work in 1950 as the star of a British film Cry, The Beloved Country, for which both he and Sidney Poitier were smuggled into South Africa as indentured servants in order to play their roles as African ministers. During filming, Lee had his first heart attack, and he never fully recovered his health. The film’s message of universal brotherhood stands as Lee's final work towards this aim.

Being on the Hollywood blacklist prevented him from getting further work. Scheduled to appear in Italy to begin production on a filmed version of Othello, he was repeatedly notified that his passport "remained under review". Lee was reportedly to star as Bigger Thomas in the Argentine version of Native Son but was replaced in the role by Richard Wright, author of the novel, when Lee had to withdraw.

Family life

In December 1925, Lee married Juanita Eugenia Waller. On November 22, 1926, they had a son, Carl Vincent Canegata, who became actor Carl Lee. The couple separated while their son was young, and they were amicably divorced in 1942.

In 1934, Lee began a love affair with publisher and peace activist Caresse Crosby, despite the threat of miscegenation laws. They often had lunch in uptown New York in Harlem at the then-new restaurant "Franks", where they could maintain their secret relationship. When Lee was performing in Washington, D.C., during the 1940s, the only restaurant in the city where they could eat together was an African restaurant named the Bugazi. Crosby and Lee's intimate relationship continued into the mid-1940s.

In March 1951, Lee married Frances Pollack. They remained together until he died just over a year later.

Death

Lee died of a reported heart attack at the age of 45 on May 9, 1952, in Manhattan. It was later revealed by his widow, Frances Pollack, that he had been diagnosed with uremia and died of kidney disease, slipping into a coma and passing away 10 days after his diagnosis. He was buried at Woodlawn Cemetery in The Bronx.

#03/03 #05/09

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nhacly · 2 years ago

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Top 10 Best Comedy Shows in Dallas, TX - October 2022 - Yelp

Top 10 Best Comedy Shows in Dallas, TX – October 2022 – Yelp

What are people saying about comedy clubs in Dallas, TX? This is a review for comedy clubs in Dallas, TX: “This place is AMAZING!! I’ve been a few times already with my husband and when we have friends in town we always bring them here. It’s such a fun night out, the cast is hilarious, and the venue is a really cool theater. You will be laughing the whole night and the tickets are very…

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benniemac205 · 2 years ago

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TONIGHT ‼️ RECOVERING HOE™️ (Happiness Ova Everythang) Comedy Tour Coming To Dallas-Fort Worth Area Friday August 26th At Hyenas Comedy Club 525 Commerce St Fort Worth, TX. Door Open At 9:30pm Showtime 10pm. Get Tickets At www.HyenasComedyNightClub.com #dallas #fortworth #ComedicNarratorBennieMac #IBrangYouTheFunny4ALilMoney #RECOVERINGHOE™️ComedyTour (at Hyena's Comedy Nightclub Fort Worth) https://www.instagram.com/p/ChuwAgUOLmO/?igshid=NGJjMDIxMWI=

#dallas #fortworth #comedicnarratorbenniemac #ibrangyouthefunny4alilmoney #recoveringhoe��️comedytour

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gregproops · 6 years ago

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https://itunes.apple.com/us/podcast/the-smartest-man-in-the-world/id401055309

http://feeds.feedburner.com/TheSmartest

Whose Live Anyway? Running Wild All Autumn

http://www.whoseliveanyway.com/

8/15 (7:30PM) Bar Lubitsch | West Hollywood, CA Info Free for the Sexy

8/22 (7:30PM) Bar Lubitsch | West Hollywood, CA Info Free for the Sexy

8/29 Flappers Comedy Club – Stand up| Burbank, CA Tickets and Info

8/31 – 9/02 (Pardcast on 9/2) Addison Improv | Dallas, TX Tickets and Info

9/20-23 JFL42 (Podcast and Stand Up) | Toronto, ON Tickets and Info

10/18 (Potcast 10/21) Helium Portland | Portland, OR Tickets and Info

11/08-09 (Proopcast 11/08) Tacoma Comedy Club | Tacoma, WA Tickets and Info

11/10-11 (Proopcast 11/11) Spokane Comedy Club | Spokane, WA Tickets and Info

11/18 Improv with Greg, Colin Mochrie and Brad Sherwood in OZ and NZ | Brisbane, AU Tickets and Info

11/20 Improv with Greg, Colin Mochrie and Brad Sherwood in OZ and NZ | Perth, AU Tickets and Info

11/21 Improv with Greg, Colin Mochrie and Brad Sherwood in OZ and NZ | Melbourne, AU Tickets and Info

11/22 Improv with Greg, Colin Mochrie and Brad Sherwood in OZ and NZ | Sydney, AU Tickets and Info

11/27 Improv with Greg, Colin Mochrie and Brad Sherwood in OZ and NZ | Auckland, NZ Tickets and Info

12/11 Podcast Shakespeare and Co | Paris, France Tickets and Info

12/15-16 Whose Line Live – Royal Albert Hall | London, UK Tickets and Info

12/17 Podcast – Soho Theatre | London, UK Tickets and Info

Whose Live is on the road all Autumn whoseliveanyway.com

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theliterateape · 3 years ago

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Four Movies That Made Me Ask for a Refund

by Don Hall

The wonderfully modern age of digital streaming is sometimes overwhelming but mostly amazing.

I grew up before cable tv was widely available and Blockbuster was but a dream to be hatched so my early experience with film was simple: drop your cash and hope the movie wasn't a turd.

Today, I can start a film on Netflix or Hulu and, if it sucks, I can just turn it off. No muss, no fuss. I paid my subscription and can watch as many or little as I want. The cost of starting a late-stage Bruce Willis movie and slamming it shut after the first ten minutes is minimal. In fact, I can do that all night long.

After dunking a Tyrese Gibson movie (Rogue Hostage) a mere four minutes in, I thought about how many trips to the theater ended the same way but in person and at some expense. More so, how many of these experiences resulted in a request for a refund?

Prairie Home Companion (2006)

I hadn't yet started working for NPR in Chicago when this came out. I wasn't a fan of the radio program. In the 90's, my theater company wrote and performed a long-running parody of Golden Age radio called The Armageddon Radio Hour so the synopsis of this Garrison Keeler starring film seemed promising. It was directed by Robert Altman, a personal favorite, as well.

‌A private investigator (Kevin Kline) keeps tabs on the proceedings as guests, cast and crew (Meryl Streep, Lindsay Lohan, Woody Harrelson) of a long-running radio show prepare for the final broadcast. Their home, the Fitzgerald Theater, is due for demolition, and they await the arrival of the Texas axe-man (Tommy Lee Jones). Meanwhile, the show's creator and host (Garrison Keillor) conducts business as usual in the face of the show's impending demise.

I can't speak for that 81% critic approval because I was bored out of my mind within the first fifteen minutes or so. I was alone so I simply got up, walked to the box office and explained that this movie wasn't what I thought it was.

"What did you think it was?" asked the teenage attendant.

"More interesting than watching gasoline glint in the moonlight in a parking lot."

He refunded my cash and I bought a ticket to The Prestige which was far more interesting.

Andy Warhol's Dracula (1974)

Released in 1974, I didn't see the first twenty-five minutes of this thing until 1988 at an arthouse theater in Dallas. I was trying to impress this sexy goth chick I'd met during a jazz conference in town and so artsy, bloody, and weird seemed to be my red carpet to her black carpet.

‌Count Dracula has depleted all the virgin blood in Transylvania and is dying from lack of a fresh supply. And so he and his manservant Anton pack up coffin and move to Italy, hoping to find a virgin there. There they find the De Fiori family, titled but poor and hoping to find a rich man to marry one of their four daughters. Being seen as a desirable suitor, Dracula settles in to drink his fill. However, thanks to the belligerent Marxist hired hand Mario, the daughters are not the virgins he hoped to find.

She was solidly cute but the opening credits where the albinoid Udo Kier sits painting his face with makeup into normal fleshtone likeness and then paints his white hair black did not bode well. I made it a full 25 minutes of the 98-minute running time before the almost comically bad acting, poorly staged sex scenes, and strange accents made the potential sex unworthy of my time.

My date stayed.

Despite sitting through a third of it, the guy at the front desk refunded my cash. "Oh, you're not the only one with this thing."

The Adventures of Pluto Nash (2002)

‌"Pluto Nash" is an action comedy set on the moon in the year 2087, starring Eddie Murphy as the title character, an audacious nightclub owner who finds himself in hot water when he refuses to sell his club to the local mob. The lunar gangsters are helping the mysterious Rex Crater mastermind a plan to take over the moon.

Seven minutes. I lasted seven minutes before I decided "Nope. I have more life to live than waste a single second more on this heaping pile of shit." I did not get a refund because, even after seven minutes, the refund line was so long that night, I wasn't convinced to wait my turn.

To this day I maintain that Eddie Murphy owes me $12.

Atlas Shrugged: Part I (2011)

I hear you. "Why would you pay money to see this crap?"

Before I realized how bereft of human decency was Ayn Rand, I actually enjoyed Atlas Shrugged. "Who is John Galt?" and the story of Dagny Taggart and her search for the answer to a crumbling America, while a bit overwritten wasn't a bad read.

Years later as my political ideologies coalesced into a leftist perspective, I understood more clearly why this book had become so reviled by the left and lauded by the right. I still always wondered what a movie version would look like and had it cast in my head for some time.

The credits played and I lasted all of twelve minutes. It was just so fucking bad. Not the politics of it necessarily but the acting, the direction, the writing, the film quality, the music. This thing was drenched in suck. It was worse than the worst Tim Allen movie. It was shittier than the most drecked up Hallmark Special Movie of the Week about a mentally challenged kid and his imaginary friend.

When I went to the box office counter, I didn't even have to ask. The kid saw my face and simply handed me back my dough.

All four of these movies are available to stream. I might give ‌Andy Warhol's Dracula a second chance.

And Eddie Murphy owes me $12.

#Prairie Home Companion #Andy Warhol's Dracula #The Adventures of Pluto Nash #Atlas Shrugged: Part I #bad movies

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desi4018 · 2 years ago

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TAMPA FLORIDA! November 20th I’m at @sidesplitterstampa get your tickets ASAP Go to Www.comedianDesi.com for show tickets 10/13 Baltimore 10/22 Brooklyn NY 10/28 Arlington VA 11/11 Washington DC 11/17 Hollywood CA 11/20 Tampa FL 11/25 New Orleans 11/27 Houston 12/2-4 Detroit 12/11 Dallas 12/9 Cocoabutterfest 2 12/16 Boston . . . . . . #tampa #florida #tampabay #orlando #miami #tampaflorida #stpete #clearwater #tampafl #southtampa #explorepage #jacksonville #stpetersburg #atlanta #brandon #sarasota #love #explore #miami #downtowntampa #lakeland #newyork #usa #wesleychapel #kissimmee #hiphop #funny #nfl #desi4028 #comedy (at Side Splitters Comedy Club) https://www.instagram.com/p/Cjk3WDYMJl2/?igshid=NGJjMDIxMWI=

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architectnews · 4 years ago

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State Theatre on Congress Avenue, Austin

State Theatre, Austin Arts Building, Texas Project, American Architecture, USA Images

State Theatre on Congress Avenue in Austin

Apr 14, 2021

State Theatre on Congress Avenue

Architecture: Clayton Korte

Location: Austin, Texas, USA

Built on Congress Avenue next door to the Paramount, Austin’s original performing arts venue, State Theatre opened as a movie palace on Christmas Day in 1935. Throughout the 1930s and 1940s, the theatre flourished before falling on hard times due to changes in the film distribution industry. In 2000, State Theatre officially merged with the Paramount and formed the Austin Theatre Alliance. Two formerly distinct operational and business models combined the best of both to become one of Austin’s most treasured performing arts resources that produces a range of drama, comedy, music, dance, and spoken-word events. With approximately 300 seats, State Theatre is a genuine downtown Austin venue beloved by performers, patrons, and staff for its approachability, diversity of programs and intimate atmosphere.

The development of a hotel project immediately next door to the theatre prompted a major renovation of the State Theatre and the first significant rehabilitation of the Paramount Theatre since 1979. According to leadership, the singular purpose of the renovation is to give the State Theatre a true reason for its existence; the theatre will serve as an incubator for future Paramount performers and be the entry point for audience segments not yet meaningfully engaged with the Austin Theatre Alliance world.

The renovation includes significantly greater seating and configuration flexibility with seated capacity targeted at 450 and full general admission capacity at almost 600. From a creative standpoint, it is a unique opportunity to re-introduce an 85-year-old building that has virtually no brand history or equity.

The building’s exterior is rehabilitated to better represent the original 1930s design and celebrate its existing marquee and blade signage. The divided light steel and glass infill references a historical photo from 1936. To meet current programmatic needs and code, two new ticketing windows are introduced along with a new pair of egress doors. A new rooftop deck allows for outdoor gathering and offers spectacular views of downtown Austin.

Inspired by the Art Deco façade of the exterior, the interior is reimagined with rich materials and geometric detailing. The double height lobby is reconfigured to provide a tucked bar with a private mezzanine lounge above for exclusive artist meet-and-greets. A new two-sided elevator provides multiple points of connection between the State and Paramount levels and solves a critical accessibility challenge. A dramatic sculptural stair steals the show as it travels through the building, encouraging guests to grab a drink and socialize before heading to their seats. The basement is transformed to allow guests to flow between a new underground bar and lounge and the ground floor of the auditorium. With bars and lounge spaces at each level, the theater’s interior reanimates with activity matching the energy and excitement promised by the exterior marquee and State blade signage.

The auditorium is redesigned to allow multiple seating and lighting levels with audio and projector booths at the rear. Retractable seating replaces fixed seating at the ground floor level and the removal of steel catwalks and platforms overhead allow for the reintroduction of balcony seating. With roughly a 10 foot height difference between the alley and stage, a platform and new mechanical lift provide ease of movement for artists’ equipment. The stage is extended to provide room for backstage functions, a new egress stair, and a connection to the Paramount basement. When the flexible seating is partially retracted, a thrust stage can be configured, creating an intimate setting for a comedy club setup or solo singer/songwriter show. Together with its location and history, increased capacity and a variety of seating and standing configurations will distinguish the theatre from others in the city.

State Theatre on Congress Avenue in Austin, Texas -Building Information

Architecture: Clayton Korte Interior Designer: Clayton Korte Structural Engineer: Structures MEP Engineer: Encotech Owner’s Representative/Project Manager: CPM Texas

Clayton Korte Team Paul Clayton AIA, Principal Charlotte Baham AIA, Architect Emily Little, FAIA Veronica Lloveras, Interiors Christina Clark, Interiors Christian Hertzog

Square Footage Total Square Footage: 8,211 SF Reuse / Renovation: 17,011 SF New Construction: 1,200 SF Conditioned: 17,521 SF Non-Conditioned: 690 SF (Balcony & Rooftop Lounge)

State Theatre on Congress Avenue, Austin information / images received 140421

Location: Austin, Texas, USA

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cityofsanantonio · 4 years ago

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Nightlife in San Antonio City, Texas

San Antonio Nightlife : The Official San Antonio Guide sanantonio.com/nightlife From Downtown to the Strip to the epicenter of San Antonio nightlife on the Riverwalk—where there are numerous bars all within walking distance—the Alamo City s bar and club scene is definitely an experience. Featured Listings. Betty’s Battalion. 1524 East Grayson Street San Antonio TX 78208

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San Antonio Hotels, Restaurants, Nightlife & Events

sanantonio.com Introducing San Antonio. With a population of over one million and second only to Houston as Texas’s most populated city, San Antonio, Texas is big in every way. With varied historical, cultural and downright fun attractions, San Antonio sees well over 20 million visitors to the city every year.

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Nightlife in San Antonio – Clubs, Bars, Weekdays, Sunday!

packforcity.com/nightlife-in-san-antonio The city of San Antonio is not known for its nightlife scene, but it is very important for visitors to know about them. There are a wide variety of different nightlife venues for those interested in going out Monday through Sunday. The city of San Antonio has everything from great nightlife events to urban dance clubs.

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The BEST San Antonio Bars & Clubs

tripadvisor.ca/Attractions-g60956-Activities-c20-t99-San_Antonio_Texas.html “a must stop when on the Riverwalk for great entertainment and a cold beer and hot soup, perfect for a December stroll before dinner and night out.” “Love this place, went in to take a break on the river walk, enjoyed the piano bar and songs.”

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nhacly · 2 years ago

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Eddie Griffin - Addison Improv Comedy Club, Dallas, TX - Tickets, information, reviews

Eddie Griffin – Addison Improv Comedy Club, Dallas, TX – Tickets, information, reviews

EDDIE GRIFFIN RETURNS TO THE STAGE He’s back! Eddie Griffin returns to the stage this fall from Las Vegas to New York with his unique perspective of the world around him, his life, politics, religion and whatever else strikes his fancy. He has been listed as one of the top one hundred comedians of all time – and honestly, it is time you took the time to see him live on stage! It is all right if…

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benniemac205 · 2 years ago

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RECOVERING HOE™️ Comedy Tour Coming To Dallas-Fort Worth Area Friday August 26th At Hyenas Comedy Club 525 Commerce St Fort Worth, TX. Door Open At 9:30pm Showtime 10pm. Get Tickets At www.HyenasComedyNightClub.com #ComedicNarratorBennieMac #IBrangYouTheFunny4ALilMoney #RECOVERINGHOE™️ComedyTour (at Hyena's Comedy Nightclub Fort Worth) https://www.instagram.com/p/CgyCsbkuX6R/?igshid=NGJjMDIxMWI=

#comedicnarratorbenniemac #ibrangyouthefunny4alilmoney #recoveringhoe™️comedytour

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gregproops · 6 years ago

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Angels

https://itunes.apple.com/us/podcast/the-smartest-man-in-the-world/id401055309

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Whose Live Anyway? Running Wild All Autumn

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8/15 (7:30PM) Bar Lubitsch | West Hollywood, CA Info Free for the Sexy

8/22 (7:30PM) Bar Lubitsch | West Hollywood, CA Info Free for the Sexy

8/29 Flappers Comedy Club - Stand up| Burbank, CA Tickets and Info

8/31 - 9/02 (Pardcast on 9/2) Addison Improv | Dallas, TX Tickets and Info