Nothing sure makes my morning then the same creepy dude I so happened to hook up with, fucking finds me at work– like dude??????????? He wouldn’t fucking leave, and that’s the sad part– I honestly think he must be off his rocker or some kinda shit, but thank god we have a bomb security team and got him the hell outta there.
Live through me people, be careful of who you fuck- because it’s true that there are a few crazies out there.
i can’t even put into words the vibe that the café outfit is giving me, it’s so… AU? just like the shots from brisbane were. i feel like we as a fandom have created so many version of thor, so more casual, all of them very cool, like biker, rocker, construction worker, student and it’s always only been imagination, or done in art, and now these new shots are giving it to us
i mean look at the café scene and tell me you aren’t imagining a little pub on the side of the road where half hippie half biker thor is just chilling?
“She was a fast machine, She kept her motor clean, She was the best damn woman I had ever seen! She had the sightless eyes, Telling me no lies, Knockin’ me out with those Underground thighs! Taking more than her share, Had me fighting for air, She told me to come, but I was already there! ‘Cause the walls start shaking, The earth was quaking, My mind was aching. And we were making it and you–
Shook me all night long! Yeah you shook me all night long!”
This is technically dance!tale, except music oriented. Of course, Azzy’s a hard-rocker, wailing on his big guitar, and banging his head to the beat of his music. Got the buckle boots, the slick, leather jacket, full sleeve tattoos, he is the essence of rock and roll. (I might draw some stuff of this Azzy later :P If it gets enough feedback/support I might actually put it on my verse list!)
as soon as the pics first came out i knew this deena needed short hair. pulling it all out nearly killed my hands, but glitter flocking is really ridiculously fun so it balances out. i also tarnished her guitar and painted the studs on her bracelet & glasses (still gotta figure out a subtler way to secure those)
On the road to stage and screen stardom, San Franciscans Darren Criss and Lena Hall studied, auditioned, danced, sang and trod the boards from the Eureka Theatre to Feinstein’s at the Nikko. In October, they’ll finally debut at the Golden Gate Theatre, reviving their marquee Broadway roles in the gender-fluid, tragicomic, in-your-face rock musical “Hedwig and the Angry Inch,” and launching its first national tour.
“For me and Lena, it’s a huge homecoming,” said Criss, 29, by phone from a drive into the city. “It would have driven me mad if someone else had done Hedwig (here).”
He relishes the title role in John Cameron Mitchell’s crossover cult musical, the story of a young gay man in 1980s East Germany who undergoes a sex change in order to marry an African American GI and escape to the West. The botched procedure leaves Hedwig with the titular inch — and a lot of anger. “San Francisco theatergoers have a real soft spot for the show, the celebratory nature of the show, the grit and the rock ’n’ roll,” he says. “It’s a very San Francisco show.”
A musician and actor since childhood, Criss debuted with 42nd Street Moon in grade school, joined ACT Young Conservatory at age 7 and starred in plays and musicals at St. Ignatius College Preparatory. After earning a bachelor’s in theater at the University of Michigan, he broke out as Blaine Andrews on Fox’s hit musical series “Glee.”
“I was raised backstage,” he says, “hanging out with thirtysomething theater hopefuls. They were taking me out for hamburgers after the show. That was so exciting for a kid. And the Young Conservatory is the very foundation of everything I’ve ever built.”
“He was a bright light from the get-go,” says Craig Slaight, Criss’ acting mentor at ACT. He also took advantage of his protege’s singing talent: “At one of the galas, I had him in a tuxedo as a strolling musician amongst the diners. I don’t know whether that gave him the edge he has now,” he muses wryly.
Even then, Criss had an edgy curiosity. He was 14 when the “Hedwig” movie came out, and “my brother and I would watch it in the basement. Every time we put it on, I felt like a delinquent,” he says. “Like, if my mom came in, how the hell would I possibly explain what I’m watching? I never dreamed in a million years it would be something I would do later on.”
As fate would have it, Criss became one of a succession of high-profile Hedwigs, taking up the role after Tony winner Neil Patrick Harris, Andrew Rannells, Michael C. Hall and John Cameron Mitchell, who created the show as an off-Broadway experiment in 1998. He joined the show just as Lena Hall was leaving the supporting role of Yitzhak, for which she won the 2014 Tony Award for featured actress in a musical.
“It’s a great way to cap off this long journey that I’ve been on in the musical theater world,” said Hall, 36, of their shared return. “This is where it all began.”
It’s hard to know who is more excited about Hall and Criss bringing “Hedwig” home, the actors or their friends and families. Their parents, who saw the show over and over in New York, will be fixtures in the orchestra section; their former teachers plan to attend with groups of theater students (the show is recommended for ages 13 and up).