seen from Sweden
seen from United States
seen from Venezuela
seen from United States
seen from United States
seen from United States
seen from Brazil
seen from China
seen from United States
seen from Japan
seen from El Salvador
seen from United States
seen from India
seen from Netherlands
seen from Spain
seen from Malaysia
seen from Russia
seen from Argentina
seen from China
seen from Canada
As you grow older, you find out who you are and want you want and you see things differently so you demand different things from people. Growing apart doesn't change the fact that for a long time we grew side by side; our roots will always be tangled. A part of you will always be a part of me. I'll reminisce the good memories and let the bad ones haunt me forever, a reminder of what it feels like connecting your heart with someone who is not longer a part of your life.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
What a shitty day. I don't even have the courage to get out of bed, I don't wanna eat, I don't wanna exist. I'm so mad and exhausted and I don't want to see or speak to another soul. I feel trapped.
Rescan redux
Jason Mraz - Beautiful Mess Live On Earth (por hashashine111)
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
How to Make a Mess on Stage
Above: the set of That Face by Polly Stenham, now at City Center
In a May 26 post on the "ArtsBeat: The Culture at Large" blog on the NY Times, Erik Piepenburg quotes four set designers discussing how they created a convincing mess on stage.
Rachel Hauck, who designed the set for Chloë Moss' This Wide Night, looked to Nan Goldin's photography for inspiration then strived to achieve the look of "That place that you both recognize and don’t want to touch."
David Zinn, whose set is pictured above, explains: “I think that mess — not to intellectualize it — has a rhythmic sense to it. The detritus has a compositional rhythm that is interesting to me. It has a kind of tension and chaos that’s exciting. That’s what you’re trying to create, the potential for as much tension and action as possible."
"Making a Mess off Broadway"
