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(Original Caption) Strikers. Los Angeles: Actor Charlie Chaplin stands with other citizen observers during mass picketing at Paramount Studio yesterday. Left to right, front row, David Kramer, Charles Chaplin and Stanley Paley, October 1945.
He is sporting a pre Verdoux mustache.
The strike went from March 1945-November 1945.
»#pleasantcats« by david kramer
[via]
Celine 04 Show Invitation Book by Hedi Slimane
Artwork by David Kramer

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David Kramer, Late Arrival, 2015 Ā
Pencil and gouache on paper, 25 x 20 in
Hi Pauline! Did you like the new Globe production of Romeo & Juliet? I saw it last week and was rather disappointed, but I would love to hear your thoughts :)
HiĀ dear!
To my surprise, I really liked it. I saw pictures before going to the play and I hated the chosen costumes and make-up, so I came in with low expectations, fearful of what they would come up with. It was my first play at the Globe, and I had been hoping for something more lavish, or out of the box; the 2007 inspired clothes and clownish faces did not bode well.
But the direction and acting really sucked me into Kramerās world. The use of music, stage directions, and choreography I found extremely well done and engaging. I particularly enjoyed Julietās acting as well, and found her comedic timing, her casualness delightfully endearing; her death scene also brought me to tears, and Iām not one to tear up usually. She was superb.
Overall, this interpretation of the play is very different from my own. Although I agreed with the focus on comedy and the shift to tragedy between the first and second part, I felt that Romeo and Juliet were too long to act āgenuinelyā in love, and that the Montaigu boys lacked subtlety. The satire of teenage love and artificial courtship was solidābut I personally feel that satire disappears as early as the balcony scene, if not the kissing scene on Julietās part, whereas Kramer chose to make it abruptly passionate only after the wedding (that sex scene was so well done). Similarly, Mercutioās death scene lost in intensity for me, but helped the general message of the playāthey were too young to understand, raised to kill, unable to separate games and war.
Time and time again, the direction forced me to challenge my own vision of theĀ play, and to change my focus in order to understand what this new take was trying to communicate, and it was intellectually wonderful. Subjectivity and relativism in literature, in translation, in drama is something that I find endlessly fascinating, and The Globeās production really presented a personal take on the play, I felt. The teenage caricature, the heart-pumping warning bells, the satirical or overtly-sexualised deliverances of some of my favourite (and idealised) lines shocked me into thinking, which is what you want from a good performance, isnāt it?
Some suppressions I regretted a bitāshortening the boysā scenes of friendships and Tybalt appearances for exampleā, some of them I found useful and/or clever āswapping Parisā death scene with a dream(?) sequence of the family killing, or was it a dream?,Ā removing the epilogueā, because they efficiently conveyed Kramerās message: a message of hopelessness, a glamourisation of violence, its meaninglessness, its darkness. I thought some of the characterisation and relations were delightfully subtle (the nurse and Juliet, friar Lawrence and Romeo), and some much weaker (I disliked Lady Capulet in every scene, and I was underwhelmed with Romeo up until his death scene, which wasnāt stellar but stronger than the rest). I enjoyed the on-the-nose symbolism: the bal scene costumes, the wiping away of make-up when true passion conquered. Some direction choices (most notably mingling several scenes to increase the intensity, foreboding, urgency) I found bold and very efficient.
All in all, it wasnāt what I expected and what I had hoped for, but it was exhilarating, surprising and stimulating, and it left me with new ideas and new questions. Iām happy about that.
Laisse-moi oublier aujourd'hui jusqu'Ć demain, Dylan (Daniel Kramer)