#so I'll keep creating for the hound and the wolf.

[adastra121]

Erick the Cloaked Wolf

I redesigned my Hound MC’s childhood friend. Meet Erick, the Robin Hood-esque leader of their former thieves crew.

Pronouns: He/Him Birthday: May 2 Height: 6’0 / 183cm Personality: Dutiful, pragmatic leader. He has a lot of older brother energy to his crew and the kids in the slums. Likes: Rooftop views, stupid jokes, strong alcohol, dogs, card games, when things go according to plan Dislikes: Shitty ale, brutes, the rich, tight spaces, surprises, owing debts Fatal flaw: Will always take the safest path, no matter what Other: He’s a decent guitarist. Once suggested, when he and Alon were kids, that they start a band and become the most famous bards across the land. And then he heard Alon sing…They became thieves instead.

More info about him below:

Erick is the childhood friend of my Hound!MC Alon. They met when Alon used their curse on his abusive father, and they escaped together.

In contrast to Alon’s friendliness and spontaneity, Erick is more introverted, calculating, cautious, and thoughtful. He never takes action without a well thought-out plan.

Their differences made them work well together. They challenged each other, each friend pushed the other a little outside of their own comfort zones, and in doing so, they made each other better thieves. Better people, too, for that matter.

One summer night when they were still children, on a lonely rooftop, Alon revealed to him their greatest secret — their cursed hands — so that he'd know the truth of what happened to his father on the night they met. She was prepared for him to run, but instead, he made her a promise. They would gather enough coin to find a cure and leave the walled city. Together.

Over the years, more and more misfits, runaways and victims joined him and Alon, and they became the Greycloaks. Grey for the stone walls that tower over the Outer District, for the mine smoke and factory smog, for the Fog and the Soulless that creep into the Shade and disappears its inhabitants to the indifference of the affluent Inner District.

Erick, being the one who usually formed all the plans and kept things in order, became the de facto leader of their motley crew.

Erick wasn’t born into a great family. His father often beat him before Alon did him in with her curse. Life at their old orphanage wasn’t much better. As far as he’s concerned, the Cloaks are his family — and he’ll do anything to protect them.

At first, they stole and did jobs together for their own crew’s survival, but as time passed, they started to give portions of what they stole to people who needed the coin and the resources, those in the slums where they grew up.

Eventually, they become something close to folk heroes in the Shade (slang term for the slums in the Outer District, which sits right at the border, hence always being in the “shade” of the city’s walls. It could also refer to the sunless mines and factories where the majority of the working class labour away, but it originally referred to the poorest parts of the district).

A little bit on Erick and Alon’s friendship:

It took Erick a while to warm up to Alon — after all, they didn’t meet in the best circumstances. Eventually, though, their goofy and friendly demeanour became safety. A respite from their hellish childhoods. A home.

Erick and Alon were very physically affectionate with each other. Having known each other for years, they’d fallen into a natural rhythm when it came to sharing physical affection. Even though he's one of the few people Alon trusts with touching their bandaged hands, Erick makes sure to avoid them, going instead for headpats, wrapping an arm around their shoulders, forehead touches, piggybacks, fireman carries, and using Alon’s head as a chin or elbow rest.

Alon doesn't often use their hands for physical affection but when she does — like when she plays with his hair, cradles his face or rubs soothing shapes on his back — he trusts them implicitly. 

He enjoys hearing Alon sing. They’re atrocious and he knows that, but he also knows they love singing and it makes him happy to see them having fun. That’s why he’ll always be her accompanying melody, even though there is absolutely no chance they’ll earn any coin from it whatsoever.

He gifted Alon their glasses, they were a commission. Erick, being Erick, was meticulous about making the glasses practical for their work — they were made to be durable and long-lasting, shatter-resistant so Alon wouldn’t suffer injury to their eyes if they broke.

If you have heard about sun and moon pairs, posing the question to either of them, they would see the other as the sun. A bright constant in the centre of their universe, bringing warmth and hope to all those in its orbit. I think others would see the two of them more like binary stars. They are each other’s sun, orbiting around each other, so closely intertwined that from a distance, others would mistake them for a single entity.

I made their relationship ambiguous — they could be read as very close friends or lovers or friends who pined for each other but never pursued romance for whatever reasons. But they were definitely family, and they loved each other deeply. The both of them would have been content just living out the rest of their lives together, wherever they ended up.

At first glance, he seems more serious and put-together than Alon, but once you warm up to him, you’ll discover that they’re both massive dorks.

He loves terrible jokes and dumb humour. He’d laugh at any dad joke. Fortunately for him — unfortunately for everyone else — Alon has a whole arsenal. They’d trade goofy dad jokes back and forth to the rest of the Greycloaks’ chagrin.

Erick has an eidetic memory, which comes in handy for casing a joint or making a profile about a mark.

He prefers to be a careful observer instead of the centre of attention, but if the heist calls for an impromptu performance, he’ll play his part. Even if he’s not looking forward to the teasing from the other crew members afterward.

Did a brief stint in underground fighting, where he met another future Greycloak. Later on, after he and Alon had formed their thieves crew, they stole her contract and freed her from the brutal business.

Wields a shortsword from his time as a Sentry, the guards at the city walls that exterminate the Soulless and other creatures of the Fog that manage to slip in. Although he has left the watch, he keeps the sword for any monsters that appear in the more vulnerable slums of the Outer District. Usually, he keeps his sword sheathed if he’s going up against humans. Soulless and other non-sentient creatures from the Shroud get the flash of steel. 

He prefers not to, but he can, has, and will rock someone's shit if forced into that situation.

He has a “no killing” rule — he’s a thief, not an assassin nor a vigilante. He has no desire to play judge, jury, and executioner, his only goal is to take enough to take care of the people he's promised to protect. Though that rule is swiftly abandoned after his betrayal.

He’s good at card games. Almost unfairly good. People have accused him of cheating before.

Has a soft spot for children, especially those who have had a rough go of it, similar to himself and the rest of his crew. If life had been different, he probably would have opened up an orphanage in the Outer District.

Has a high alcohol tolerance — he could probably drink a sailor under the table.

Erick is claustrophobic. Much of it is due to trauma from his father’s abuse, having been locked into small spaces as a punishment. He sticks it out whenever he has to, like on a job, but those who know him would notice the new tension in his frame.

His zodiac sign is a Taurus. 

MBTI type is INFJ.

Enneagram is 6w5.

And here’s his new full design:

I draw traditional, and I felt it when he extended beyond the page. But I didn’t want to start over so I just. Taped his feet on. XD

And here are some songs I associate with him, if you wanted to give them a listen:

“Dear Friend Across the River (The Bridge)” by Samuel Kim ft. Rachel Hardy I believe this is the song I listened to while creating his character.

"A Million Dreams" by Hugh Jackman, Michelle Williams, and Ziv Zaifman The promise theme. For the Hound origin, I liked to imagine the childhood friendship as something hopeful for the MC, and this song, being filled with innocent optimism and hope, is fitting for that.

“In the Cold” by Vincent Lima Erick's character theme.

"Eight" by Sleeping At Last A backstory theme that also fits him in the present.

"Safe Ship, Harbored" by The Crane Wives Too much has changed since that promise they made when they were children.

"Guns for Hire" by Woodkid Another Arcane song, it just fits so well for the betrayal.

[vampirepirates]

⠀⠀⠀⠀ ⠀

⠀⠀⠀⠀ ⠀

THE LONG WINTER ( ... ) SANDOR CLEGANE .

Masterlist:

⠀⠀⠀⠀ ⠀

1 2 3 4 5 6 7 8 9 10 11 12 13 14

⠀⠀⠀⠀ ⠀⠀⠀⠀

⠀⠀⠀⠀ ⠀⠀⠀

⠀⠀ ⠀⠀⠀⠀ ⠀

⠀⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀" ⠀⠀ ⠀

⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀

⠀⠀⠀⠀ ⠀⠀⠀⠀

⠀⠀⠀⠀ ⠀⠀⠀𝔖andor Clegane saw clearer then than he ever had - Lyarra Stark, the lone wolf, would never last a day in the Lion's den. To hell with it, he couldn't help but think. He cared not about winter - nor the pack surviving. He cared not for the Starks to begin with. What he did care about, was making sure the all-encompasing light of Lyarra's eyes never went out. Not while he still lived. ⠀⠀⠀

⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀"

⠀⠀⠀⠀⠀⠀

ORIGINAL CHARACTER - Lyarra Stark. Twin to Lyanna, sister of Eddard, Benjen, and Brandon.

Lyarra Stark of Winterfell would give her life for her family, while Sandor Clegane would do everything in his power to keep her from doing so. ⠀⠀⠀⠀ ⠀⠀⠀⠀

⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀

⠀⠀⠀⠀ ⠀⠀⠀⠀

⠀⠀⠀⠀ ⠀⠀⠀

— ⠀⠀INTRODUCING ⠀THE CAST OF ⠀⠀'THE LONG WINTER'

( any other characters not listed simply are casted with their usual faceclaim, or whatever comes to mind! these are just the /main/ characters . )

LYARRA ⠀STARK ⠀— ⠀THE ⠀LONE ⠀WOLF .

Played by Katie Mcgrath ( ... )

" You cannot ask me to stay — not when my wolf lays trapped in the jaws of a Lion .. "

SANDOR ⠀CLEGANE ⠀— ⠀THE HOUND ⠀.

Played by Rory McCann ( ... )

" Praying to your Gods, Little Wolf? Good, you're going to need them .. "

REYNE⠀ 'STARK' ⠀— ⠀THE ⠀LOST ⠀GIRL ⠀.

Played by Alicia Agneson⠀ ( ... )

" I will never allow my fear to overcome my love. Not while I still live .. "

GOGNI ⠀⠀— ⠀⠀THE ⠀⠀FREE ⠀⠀MAN   .

Played by Travis Fimmel  ( ... )

" I never knew a wolf to accept her cage as willingly as you have .. "

PETYR ⠀BAELISH ⠀— ⠀⠀LITTLEFINGER .

Played by Aidan Gillen ( ... )

" Trust no one — and yet make sure that everyone can trust you. Loyalty kills more men than fealty .. "

LYANNA ⠀STARK ⠀— ⠀⠀THE ⠀LOVED   .

Played by Kaya Scodelario ( ... )

" Compassion came easy to her, Lyarra could recall. She had never met someone with more love in her heart, than her sister .. "

JON ⠀SNOW ⠀⠀— ⠀⠀THE ⠀BASTARD  .

Played by Kit Harrington ( ... )

" I have only known one mother, my entire life. And now I am meant to watch in silence, as she leaves .. "

TYRION ⠀LANNISTER ⠀— ⠀THE ⠀IMP   .

Played by Peter Dinklage ( ... )

" In my experience, it is a far easier feat to make a friend than an ally! So, let's drink, shall we? "

—               Hello! My name is Zevran! I'll try to keep this short for the sake of my sanity. This is my first official fanfic, so bear with me as I work through this. This fic randomly came to my mind a few weeks ago, and I have not been able to escape it. Some things to note before I start this; Lyarra is not perfect. There will be times where she makes brass decisions, says rude things, and very clearly sides with the wrong people. One example of this, is the nature of her friendship with Petyr Baelish. Petyr is not a good person, and I will never deny this! But he is someone that Lyarra cares for greatly, so I will portray their relationship the best I can. Also, I have never read the books. I just started the first one, but considering I am now writing this -- that will definitely be a slow process. My timeline may be messy, especially considering I am creating my own events and timelines. So if I mess anything up, feel free to let me know -- but know I may not change everything.

Anyways, I hope you enjoy the fic -- and feel free to leave any kind of comment!

             Lover, Hunter, Friend, and Enemy — You

             Will always be every one of these.    Lover,

             Hunter, Friend, and Enemy .. You        will

             Always         be          every       one   of these .

             — Fleurie,                               Love and War .

[ariel-seagull-wings]

TOP 10 SONGS ABOUT S*X FROM MUSICALS

@themousefromfantasyland @the-blue-fairie @thealmightyemprex

Back in 2011, inspired by the... "classic" songs about bumping uglies from Grease 2, the Nostalgia Chick counted down her top ten songs about doin' it from the stage and screen! It was a fun list, but since it mainly came from a mainly humorous and north-american perspective, the list didn't went deep trough the subject as it could, and missed some gems as well.

As a humble attempt to expand the horizons in the erotic potential of musical theater and film, I decided to come up with my own list: my Top 10 Songs about F* from the long, proud history of musicals as an art form.

10. Sodomy (Hair)

"Sodomy Fellatio Cunnilingus Pederasty... Father, why do these words sound so nasty?

Masturbation Can be fun Join the holy orgy Kama Sutra Everyone!"

This is the shortest song, so that is why is low on the ranking like in Nostalgia Chick's list, but is still a memorable number confronting taboo that forbids talking about sex from one of the most important works of theatre later adapted into an underrated film.

09. Touch-a, Touch-a, Touch Me (Rocky Horror Picture Show)

"Now all I want to know, is how to go I've tasted blood and I want more (More, more, more) I'll put up no resistance

I want to stay the distance I've got an itch to scratch

I need assistance

Touch-a, touch-a, touch-a

Touch me I wanna be dirty Thrill me, chill me, fulfil me Creature of the night"

Rocky Horror went an extra mille in borrowing counter-cultural elements and bringing it to the musical stage and screen: extablishing that it takes place in a world of sci fi and horror stories, it invites us to leave away our body and soul at the door, refuse being trapped by appearances of normality and respectability, and defy any labels while embracing sexual liberation, and this song is an anthem to this liberation.

08. Little Bird in the Cinnamon Tree (Man of La Mancha)

"Little bird, little bird

Beneath this tree This cinnamon tree We learned to love We learned to cry For here we loved And here we kissed And here one cold and moonless night We said goodbye"

I have come to terms with the fact that when it comes to pairing narrative with music, Man of La Mancha is one of the weakest musicals.

Unlike contemporaries like Pippin and Camelot, which are consistent in combining their narratives with their songs fitting their inspirations and create a strong, whole cohesive message, Man of La Mancha tries to pair a message on the value of idealism while still keeping the humor from a satyricial, cynical source material, which makes it an uncohesive narrative as a whole.

However, I can accept that while the story is weak as a whole, some individual song numbers are good on their own, and the best example is this song, especially as performed in the 1972 film adaptation: it contrasts the softness of a sweet, folk like love song with the agressiveness of a band of bandits who hound around Aldonza with the intension of sleeping with her... wether she wants it or not.

This effectively comes to show that something that should be an enjoyable experience of pleasure can and will be twisted into an instrument of violence and control by a predator who still presents their act of ignoring consent as "something sweet and romantic" in an attempt of justifying it.

Speaking of predactors...

07. Hello Little Girl (Into the Woods)

"Think of that scrumptious carnality Twice in one day... There's no possible way

To describe what you feel

When you're talking to your meal!"

From the words of Diva from @musicalhell

"Into the Woods is all about returning Fairy Tales to their original roots, which doesn't mean just putting back all the death and morbid stuff that several centuries of bowdlerization cut out, but exploring their simbolic and psychological implications: and that means tackling the stranger danger subtext in Little Red Riding Hood in all its dark glory, with a Wolf that embodies every modern parents Predator Fears. Not for nothing is the original costume disturbingly anatomically correct. Sondheim leaves a chilling justaposition between the Wolf's jaunty seduction of Little Red Riding Hood and his sinister lascivious inner dialogue, watching him lure the little girl out of her path while savoring the tought of devouring her (take that in whatever context you like) is sure to make your skin crawl. And that's exactly what it should do."

Surprise: the next one is a tye...

05. Le Val d'Amour (Notre Dame de Paris)/Lovely Ladies (Les Misérables)

"At the top of Saint-Denis Avenue

There is a blessed place

From which you can see the candles shine

As soon as nightfall comes

Over there in the middle of the plane

It's enough that you go there one day

So you you always go back there

At the Cabaret of the Valley of Love

In the Valley of Love, the women of love

Will make love to you for a few sous

No need for gold or jewels

No discussion nor sweet words

Just a few sous to make love to the

women of love in the valley of love

Andalusians, the Jews, the dead

Come from all over from all the ports

Travellers and merchants

Come to rest here as they pass by

Catalonians and Flemings

Come to burn all their money"

"Old men, young men, take 'em as they come Harbor rats and alley cats and every kind of scum Poor men, rich men, leaders of the land See them with their trousers off they're never quite as grand All it takes is money in your hand!

Lovely ladies Going for a song Got a lot of callers But they never stay for long

Come on, Captain, you can wear your shoes Don't it make a change To have a girl who can't refuse Easy money Lying on a bed Just as well they never see The hate that's in your head Don't they know they're making love To one already dead!"

If I had a nickel for a sung-trough musical based on the literary works of Victor Hugo that makes a sardonic and matter of fact aproach to present the world of prostitution, I would have two nickels. Which is not much, but is curious that happened twice.

In the french language rock-opera adaptation of Notre Dame de Paris/The Hunchback of Notre Dame, the narrator Pierre Gringoire acts as the announcer of the bordello Val D'Amour (the place where the cad Captain of the Guard Phoebus Chateaupers intends to trick the romani street urching Esmeralda to give her virginity to him) a place known even by people outside of France who come to sleep with the ladies, whose work is represented in a ballet simulation of the act in shadowed sillouetes.

Meanwhile, in Les Misérables, we see the single mother Fantine slowly degrading by selling her necklace, her hair implicitly also her teeth like the book, until culminating to need to become a prostitute to try and feed her daughter who she left in the inn of the Thénardies.

Both songs sound fun and joyfull in their arrangement, while presenting images that this profession is clearly not an "Easy Life" like some people usually call it.

04. Les Rois Du Monde (Roméo et Juliette: de la Haine à l'Amour)

"We, we make love and live life Day after day night after night What's the use of being on Earth If it's to live our whole lives on our knees We know that time is like the wind To live is the only thing that matters We don't care much about morals We know for sure that we make no harm"

Roméo et Juliette: de la Haine à l'Amour  is a French musical based on William Shakespeare's play Romeo and Juliet. Differences from Shakespeare's plot include that the nature of the lovers' deaths is different, depending on the production.

New characters such as Death (French, Belgian, Japanese, Netherlands, and Moscow productions only) and the Poet (French production only) appear for dramatic effect.

Lady Capulet has a greatly increased role and in the case of the Hungarian version, has an affair with her servant. The role of Tybalt has changed slightly from being purely dark to a more pitiful character because of his growing up with the hate and a dark childhood, as well as an unrequited attraction to Juliet.

Sang by Romeo, Benvolio and Mercútio, this song idealizes a contrast between the carefree life of the young men who view the older generation in positions of autority as having an isolated, fearful existence.

It is an anthem to a romanticized idea of hedonism, emphasizing the importance of living life to the fullest, disregarding societal norms and focusing on love and enjoyment, rather than being constrained by fear and power struggles.

This carefree moment is a scene of levity that will bring stark contrast to the darkness that comes ahead, as well as extablishing that before meeting his true love in Juliet, this version of Romeo imitated his companions in impulsively going trough sexual escapades as an adventure.

03.Johanna (Mea Culpa) (Sweeney Todd)

Johanna, Johanna I'll keep you here forever I'll wed you on the morrow Johanna, Johanna The world will never touch you I'll wed you on the morrow

As years pass, Johanna You'll tend me in my solitude No longer as a daughter As a woman

Johanna, Johanna I'll hold you here forever then You'll keep away from windows and You'll Deliver me Johanna From this Hot Red Devil With your Soft White Cool Virgin

Palms...

We are back with Sondheim, with a song that is considered so disturbing that most stage productions and the movie addaptation of Sweeney Todd cut it out. Why?

Let this description by Diva of @musicalhell from her number two ranking of Top Five Musical villains give you the context:

"You have to be pretty awful to come off as worse than an obsessed serial killer barber and his equally obsessed cannibalistic accomplice and Judge Turpin fits the bill. We're all too familiar with the type: Stern moral Crusader on the outside, sexual deviant who abuses his power to his own ends on the inside. Such is the extent of Turpin's corruption that it ends up tainting his one good deed in the entire show: he takes in Sweeney's foundling daughter Joanna which is decent of him, I mean considering that he kind of had her father imprisoned on false charges and raped her mother, causing her to go insane and drink poison. But when Joanna grows up, the charity goes right out the window and the perving begins.  Turpin's hypocrisy and sexual dysfunction are so unsettling that his big villain song is almost always cut from the production for being too intense it's a chilling insight into his psyche as he alternately lusts over his lovely ward and brutally chastises himself for that lust crescendoing until..."

Sondheim's attempt at writing the first major musical number in a Broadway show that has an orgasm is presented in a villain song contrasting religious guilt with violence and lust, following a tradition that goes back to Va Tosca (Te Deum) from Puccini's Tosca and would go on to inspire later villain songs like Hellfire from Disney's The Hunchback of Notre Dame.

"Spicy, even for Sweeney Todd", its legacy couldn't get out of the conversation on this list.

02. Gently Johnny (The Wicker Man)

"I put my hand o-on her knee And she says, do you want to see? I put my hand o-on her breast And she says, do you want a kiss?

Gently, gently Gently Johnny Gently Johnny My giggalo

I put my hand o-on her thigh And she says, do you want to try? I put my hand o-on her belly And she says, do you want to fill me?

Gently, gently Gently Johnny Gently Johnny My giggalo"

The Wicker Man is an interesting case where people often only praise it as a good work in folk horror cinema (justly deserved), yet it is rarelly discussed as a musical, when there are several diegetical musical numbers that not only serve to pass the time, but move the story forward and add to the story's theme, as all great musicals strive to do.

The story explores the cultural and ideological clash between a devout christian police officer, who has a very repressive view of sexuality, and a neo pagan comunity in a scottish island who treat sexuality not as a taboo, but as a natural part of Nature's Cicle of Life, Death and Rebirth, and a form to enter in contact with the Gods.

There are a total of five song numbers that talk about sexuality, and the most memorable, with a song covered by several folk singers since, is Gently Johnny, sang by the custommers inside a tavern as Lord Summerisle introduces Ash Buchanan to Willow McGregor, the Landlord's Daughter who, acting as an avatar of the ancient goddesses, receives the ‘sacrifice’ of Ash's youth while Summerisle reflects on watching the animals mating:

"I think I could turn and live with animals, they are so placid and self-contained! They do not lie awaken in the dark and weep for their sins. They do not make me sick, discussing their... duty to god. Not one of them kneels to another or to his own kind that lived thousands of years ago. Not one of them is... respectable, or unhappy all over the Earth."

Now, the moment all have been waiting for...

01. Geni e O Zepelin (Ópera do Malandro)

"One day it came, shining,

Between the clouds, floating,

An enormous zeppelin.

It hovered over the buildings,

It opened two thousand apertures,

With two thousand cannons, just like that.

The city, terrified,

Stood there

Ready to turn into jelly.

But from the gigantic zeppelin

Stepped down its commander,

Saying: "I changed my mind!"

"When I saw in this city

Such horror and iniquity,

I decided to blow it all up.

But I can avoid the drama

If that beautiful lady

Serves me tonight."

That lady was Geni!

But it can not be Geni!

She is made to be beaten!

She is good for spitting on!

She will fuck anyone!

Damned Geni!

But, indeed, it was her,

So pitiful and plain,

Who captivated the stranger.

The warrior, so fancy,

So feared and powerful,

Was her prisoner.

But it just so happens that the maiden

(And that was a secret of hers)

Also had her whims.

And to lay with a man so noble,

So smelling of luster and copper...

She'd rather lay with the beasts.

On hearing such heresy,

The city, on pilgrimage,

Went to kiss her hand:

The mayor on his knees;

The bishop, red-eyed;

And the banker with a million.

Go with him, go, Geni!

Go with him, go, Geni!

You can save us!

You will redeem us!

You will fuck anyone!

Blessed Geni!"

Ópera do malandro (The Rascal's Opera) is a brazilian musical with libretto and music by singer and composer Chico Buarque, based on John Gay's Beggar's Opera (1728) and Bertolt Brecht and Kurt Weill's Threepenny Opera (1928).

The story told in ‘Ópera do Malandro’ takes place during the Second World War, when Getúlio Vargas was president of Brazil. The epicentre is the bohemian neighbourhood of Lapa. Chico Buarque chose to set his reinvention of ‘The Threepenny Opera’ in the 1940s as a strategy to escape censorship during the Brazilian Military Dictatorship (1964-85).

"Even Brecht took precautions and set his opera at the beginning of the century. John Gay even put the Minister of Justice of his time, 1728, on stage. But that's not possible today. Corrupt police officers would inevitably be identified with the ones everyone knows. The problems that would arise wouldn't allow the play to be staged," Chico told the press at the time of the play's launch.

When Chico Buarque wrote ‘Ópera do Malandro’, he was already coming from very intense experiences with the theatre.

Firstly, in 1967 (a year after the success of ‘A Banda’), he composed the score for ‘Morte e Vida Severina’, a poem by João Cabral de Mello Neto. This was followed by ‘Roda Viva’, a play that led to his arrest and subsequent self-exile in Rome, “Calabar”, which was banned by the military, and ‘Gota D'água’ (written with Paulo Pontes).

In the 1960s, Bertolt Brecht was one of the main references for the main Brazilian authors and theatre groups. From Augusto Boal to Oduvaldo Vianna Filho, from José Celso Martinez Corrêa to Plínio Marcos, including Gianfrancesco Guarnieri and many others, Brecht's plays were synonymous with political engagement and research into new forms of dramaturgy.

His theory of critical distancing, based on the idea that a play should not transport the spectator to a fictional world, but rather awaken them to reflective reality, inspired groups such as Arena, Oficina, Opinião and later Ornitorrinco to create what is for many the greatest moment in the history of Brazilian theatre.

In the musical, we follow a pimp by the name of Duran, who poses as a big businessman, and his wife Vitoria, who has inherited nothing of the name. Vitoria a who made a living from the commercialization of the body. Her daughter Teresinha was in love with a high-ranking officer, Max Overseas, who lives off scams and conniving with police chief Chaves.

Other characters are the prostitutes, presented as saleswomen in a boutique, and the transvestite Geni, who to society "only serves to beat, spit on and give to anyone."

The lyrics of Geni e o Zepelim describe the long story that defines the episode that took place with Geni, a harlot, who was harassed in the city.

Faced with a threat of attack from a Zeppelin, the commander is enchanted by Geni's skills, and she ends up being treated differently by her detractors.

Once the threat has passed, she returns to her ordinary daily life, in which people offended and excluded her, revealing the false-moralistic and hypocritical nature of society.

The song is an adaptation of Pirate Jenny, featured in the Threepenny Opera.

In the original song, Jenny dreams of the arrival of a pirate ship with 50 cannons that will destroy the whole town and take her away.

Geni e o Zepelim has become so iconic that it obfuscates the other characters, songs and the whole story of Ópera do Malandro in people's memory, more often being performed on its own rather than as a number in the show.

That is how powerful this song is! And that is why it receives the number one in my Top Ten Songs about S*x from Stage and Movie Musicals.

Honorable Mentions: Loud as the Hell You Want (Avenue Q), Say No To This (Hamilton), Point of no Return (Phantom of the Opera), Two Ladies (Cabaret)

[blueberrypancakesworld]

Masquerade ball

Joffrey Baratheon x Sansa Stark

warning : fluff, kiss, alcohol consumption, mention of murder, smut (nothing explicit)

Summary : A masked ball is held in honour of Robert's successful hunt. Her mask a fox, the prince's a raven, two animals that were something else danced around each other and the lion sneaks out of the hall with the she-wolf to reunite themselves.

info : this one-shot was created by the inspiring art of @kaisserin thanks again for letting me make a fic out of it. Have a look at the blog and now have fun reading and see you all next time :)

~~~~~~~~~~~~~~~

The sun was already slowly rising on the horizon, bathing the lands, King's Landing, and the Red Keep in a golden glow.

A deep gold, almost too reddish, it seemed to burn brighter than the coins, jewelry, and the Lannister colors.

A color that was reflected in the blue eyes of the redhead.

A color she always associated only with him, not with his mother, not with his uncle, and not with his siblings.

The gold of the setting sun with a hint of red belonged to Joffrey Baratheon.

The young prince and heir to the throne of the Seven Kingdoms, the young prince to whom she had lost her heart and whom her heart also feared.

Like a bird, she felt that what she knew, her home Winterfell, her stories, dreams, and hopes, were a cage.

Sansa was also suspicious and stopped singing when she saw the violence in the city, the lies and whispered words, even from Cersei, made her feel uncomfortable... a feeling of darkness that also seemed to lie within Joffrey.

Lies made him ugly, but she could see behind the young lion that he was ashamed of the dark stag that ran clumsily through the forest, leaving a trail of destruction and neglect in its wake.

Robert was not as she had imagined him, Cersei was different from what she wanted, and the Hound seemed to be the most honest of them all, but they all belonged to the crown and the throne...and if the crown demanded a masquerade to honor a successful hunt and the full moon, then so be it.

Much to her sister's chagrin, Arya had teamed up with their father and excused herself to go into town to work.

“Sansa, dear, you represent your sister and me. When I'm done with my chores, I'll keep you company in the hall” her father had promised her when he came into her room.

When she looked into his dark eyes, she wanted to hug him, wanted to tell him all about her hopes, but she was no longer in Winterfell, she was a lady, she was Lady Stark and soon to be a Baratheon and a Lannister.

Her light blue dress reminded her of the clear sky after the snow, the skirt flowing lightly like the water from which her mother sprang.

“I won't disappoint you, Father. Thank you for the dress, it's beautiful...and take care of Arya” she added as her hand briefly touched hers and the gray-clad figure was already about to leave. She saw Ned's little smile.

Just a few moons ago, at the beginning of spring, she would have scolded Arya and wished she would stay with her dance teacher and in the smithy, but now she only hoped that Arya wouldn't cause any trouble.

As the door closed behind her, she turned back to the mirror in the room.

She liked what she saw: the dress was a beautiful reminder of her mother and Winterfell, but the mask she had been given was so unlike her.

A fox—she didn't belong to House Florent, but the masquerade ball seemed to be more about animals than houses, a thought that made her smile.

What will Joffrey wear? she immediately thought of a lion or a deer antler, although that would be rather obvious and simple.

A masquerade ball, she had heard from her maid and Septa, was there to deviate from the customs. One should be open and relaxed, have fun behind the façade, be someone else than one usually is.

A thought that Sansa liked very much, and when her maid came in again and let her know that it was time to go, the blue dress almost blurred in the mirror as she made her way toward the throne room.

Even in the stone halls, she could already hear the noise, the music, the murmurs, and the smell of food.

The tension and yet the anticipation gripped her heart when she saw a few guests standing at the door.

High-born ladies, mothers with daughters and noble sons, all dressed up and whose names were being called. I belong here too, from House Stark, she thought to herself when she realized she was alone...if Lady had been at her side, she would have felt more comfortable.

The thought that she had once possessed such a powerful and beautiful being, that her father was the king's hand, and that she had been such a young lady, strengthened the redhead.

As she took the last step and entered the room, she heard her name spoken “Lady Sansa of House Stark, daughter of the King's Hand!” one of the men called out, and the looks and recognition were on her, at least for a moment, as she stepped forward and looked around.

There were already some people walking around in the crowd, jugglers and guards alike, the houses were seated at tables with abundant food, and directly in front of her sat the king and queen, the seat for her father empty, but she would take his place.

“Good evening, my king, queen, what a wonderful idea with the masks” she greeted them both, and saw the broad smile on Robert’s face, wore a deer mask that barely covered his beard.

To her surprise, Cersei had a dragon and an equally dark dress that nevertheless matched the gold of her hair. “Good evening, little dove, a pretty blue...matching the wildness of the fox” the queen said to her, but the look in her green eyes let Sansa know how much dislike lay behind it.

The younger girl merely curtsied and circled the table to take her place, an honor to sit so close to the king and queen, slightly nervous, reached for the goblet of wine. Sansa had not often drunk, but perhaps it would make the queen's gaze less harsh.

It was a sweet Dornish wine that had been diluted with water, a taste she liked, a familiar sweetness but not the heaviness that wine usually had, and she put the goblet down when she flinched as a hand brushed her red hair.

“The blue of the water, as beautiful as your eyes, my lady” she heard the whisper and looked to her right.

Sansa saw the green eyes behind the black raven mask, saw the short blond hair topped with a crown reminiscent of the Baratheon antlers, saw the red shirt with the lion he wore.

Of all those present, he was the first to take notice of her.

Of all those present, Joffrey was the first to look at her and not ignore her...the raven flew around the lone fox.

As the meal began, one course after another was served, the wine flowed and music played in the background, it was above all the little delicacies that delighted the redhead.

Sansa let her gaze wander, even though she had no one to talk to, this only bothered her a little, she could observe and dream, knowing that Joffrey had somehow defended her.

Even though his mother didn't like her and her family, the prince had enough decency to stand up to his mother and father...at least in some moments before the lion regained his pride and the horrible power of words hit the little bird.

At least she was spared that when, after the fourth course, the conversations grew louder and Robert, more slurring and shouting than calm and composed, announced that the dancing was open.

A glance to the side revealed that both mother and son were reaching for their goblets, clearly wishing that the king would show less such unsavory behavior at such an occasion, but Robert was the king and could do as he pleased.

The lords and their ladies, knights with maidens, streamed into the middle, and Sansa, feeling emboldened by the wine, rose and joined the dancers.

The sound of the harp and the singing filled her ears as the scent of flowers surrounded her and the women's dresses swirled around her as she joined the dance alone at first.

She had heard stories from her mother about how Catelyn had danced with Ned, how they had spun around and how he had kissed her that night and she had given him her handkerchief, an image that made the red-haired girl smile. But on the next turn, she suddenly felt two hands on her hips.

Someone was standing behind her, someone taller, whose touch was gentle yet held her in place, the smell of wine and leather emanating from him. “The pretty fox is dancing alone?” a question was whispered to her and she saw the amused look behind the mask.

The prince and the lady found their perfect rhythm among the dancers, but she wasn't interested in the rest.

Blue met green, red hair swirled like a storm through the blonde storm, the young lion danced with the young she-wolf.

The surprise seemed to linger in her eyes, she felt the moisture on her cheeks and ears, “Not when the swift raven is with me,” she replied and placed her hand on his as they came closer while dancing, the spinning came to a slow end and the music transitioned to something calmer.

Her blue eyes looked at Joffrey for a moment.

His clothes had been specially tailored for the occasion, and there was still a hint of childishness in his face, even though it was already clear that he would inherit the beauty of the Lannisters, the same beauty she had inherited from her mother.

She could also sense that he didn't want to let her go, that his grip wasn't loosening. “How would my lady like something a little more amusing?” he asked, and she felt his lips brush her cheek almost deliberately, her heart beating faster as she realized that he wanted to be alone with her.

That she would get away from the hall, from the drunken Robert, from the loneliness without her father, and from the terrible looks of the queen.

That the raven had been flying around her the whole time, that it wouldn't let her go until its black feathers had completely enveloped her and the lion had his she-wolf.

That if she left, she would disappoint her father, violate her duty, be as stubborn as Arya would be if she refused...she was no longer a little child who played with dolls.

She was now a lady, and when she squeezed his hand lightly and said, “Your lady would like this very much, my prince” he immediately pulled her through the dancers, past the revelers and drunks, and out of the hall.

The coolness of the hallway was a welcome change as the heat inside slowly became unbearable, and time had passed so quickly that the moon was already in the sky.

The laughter of the two could be heard as his hand did not leave hers, his green eyes reappearing when he simply threw away his mask and she did the same in her excitement.

“The fox is actually Lady Stark, how interesting” the prince said with a wink, and the prince took her along the stairs and down the hallway.

“The raven is the prince, who would have thought?” she giggled and saw his own smile as he pointed slightly to the lion on his shirt, golden embroidery that identified him as a Lannister.

“A lion” said the heir to the throne, and she felt a hint of seriousness next to him. In the end, Joffrey was still his mother's pride and joy, and the lion would always get what he wanted.

He was no raven that flew away; he was a powerful, handsome animal that did not hide and whose mood changed when he pleased.

Joffreys mood seemed to lighten again when he opened the wooden door of his chamber and they both disappeared inside.

The kiss she received took her by surprise, his hand on her cheek felt warm, she wanted more of it than the kiss came sooner than she ever thought possible when she saw his smile.

Joffrey's pride made her blush as she felt so small again. “Don't be shy when you're with me” he said to her, and his hand gently took hers as he pulled her toward the bed.

She watched as he unbuttoned his shirt, her fingers doing the same, spurred on by the wine and her love for him, the fire inside her, her heart longing for him.

What did one night under the full moon matter when she was going to marry him anyway?

What was a little blood when she could be united with the prince of her dreams?

The blush on her cheeks lingered as the moon lit up his room and her hair covered her naked upper body.

Sansa saw the prince's enchanted gaze as his hand slipped under her petticoat. “My beautiful queen” he murmured and kissed her hand as the two naked bodies lay before each other, moving toward the bed covered with furs.

She saw his satisfied sigh as she sat on his lap, her hair seeming to surround them both, she dared to kiss his neck, the soft skin like hers, flawless, unexplored, and yet two who loved each other like a lion and a wolf, never wanting to be apart.

As the night wore on, marks appeared on the prince's body, scratches and hickies adorned Joffrey, the body of his beloved was covered in blue marks from his grip, blood and tears adorned the furs and pillows.

Sounds of lust and fear mixed in the wine-dampened minds of both echoed...who could have guessed that behind the masks of the raven and the fox, the prince and the lady were hiding?

That only moons later, Sansa and Joffrey would be reunited, both with Ned Stark's blood on their hands, despite everything that had happened in the one night that had bound them together, but that night seemed like a distant dream from which they had both awakened differently.

When the lion ascended the throne and the she-wolf stood alone at the foot of the stairs, she could only look up at him and hope that he remembered the night as she did.

At the night, they had both hidden behind masks... masks that were now little more than a dream of the dance.

~~~~~~~~~~~~~~~

[homosexuality-and-morphine]

Just some little things of resident evil characters in my au using social media because even though they probably wouldn't use it in canon I think it would be funny (some may be ooc but also it fits well enough in my au) also if anyone actually likes this I'll probably make a part two (with less characters)

Leon: he started off by being featured in some of Ashley's tiktoks mostly on accident but because of his mutations writers would ask her to have him tell them how a tail feels from his perspective and because there were so many comments like that he ended up making his own tiktok to help writers out with things like that (he also uses it as a way to see helping people as more than just killing things and it distracts him from everything bad in his life)

Chris: context for most of this is he's a furry and is an artist (yes he has a fursona he also made fursonas for all of his friends) so he discovered Tumblr soon after it was created and saw it as a nice place to share his art and use it as a coping mechanism for all of the bioterrorism while also using it to spread awareness of bioterrorism (he has to fight tooth and nail to keep Leon from finding out there's supernatural fans... It's not working)

Ashley: the one that seems the least ooc she posts tik toks that are usually light hearted and she helps promote fundraisers and charity work that the wolf hound squad does by using her knownness of being the former us president's daughter to reach more people

Claire: posts promotions for fundraisers and charity work for the wolf hound squad but also posts self defense tips (mostly learnt from Chris but also just things she's learned in general)

Luis and Rebecca: they share a tiktok account (along with some other scientists from the wolf hound squad) that shares medical tips and scientific discoveries

Ethan(includes my multi fandom bullshit): doesn't use it much besides being featured in Michael's tiktoks and having stupid beef with Michael cause they're stupid as hell (plus Chris decided it was a great idea to make Micheal the wolf hound squad social media manager so Ethan is typically featured randomly)

Piers: doesn't post often but will post about isopods as a way to vaguely post about Finn without actually posting about Finn and also has beef with Jake online constantly

Finn: similarly to piers he posts about fish as to indirectly post about piers but also tends to repost info about the fundraisers and stuff

Jake: exclusively on social media to post about Sherry and argue with piers for laughs (Chris has to stop them half the time)

Sherry: mostly just replies to Jake but is featured in Ashley's tiktoks alot

[scarletooyoroi]

Hmm...

More connections at hand? Going through the quests involving Caterpillar and this Hex and Hound book caught my eyes with something.

A lil picture heavy so I'll stuff it under the cut.

So I wanna rush out the gate with this text here. This particular text really made me remember an instance that transpired in the World Quest, to the point it almost felt bizarre in the scale it matched together. This spirit in particular asks you a question from the Book of Revelations.

In the world of inside of the Book of Revelations, it seems to be one that's based on inverses as you need to change your spiritual perception in order to dive deep on this. The other form that this dog can take and has taken before this cutscene here was that of a wolf.

So to look towards Hex and Hound, it led to the circumstances to become peculiar. It talked about a measure of powerful dark magic being utilized.

Not to mention the similar imagery that's provoked between Canotilla and the descriptions within this said book.

Descriptions of a forest while being cast in this otherworldly realm, one seemingly enriched with hopes and resolve. I'm not sure of the specifics myself, but the matter of importance to me is how this can align. I believe this book is (secretly) unveiling the origin of how Riftwolves in general were not only created, but how these dark magisters in particular had an aim for transforming individuals into Riftwolves.

If enough is reflected where it couldn't be strictly be called coincidence, this may be one of the boldest declarations made in showing the history of witches in Teyvat. After all, the motivations for the usage of this spell, at it's heart holds a frightening similarity.

Love was a channeled determination to ensure this spell's certainty. How it needs to reach obsessive heights in order to keep that hidden world materialized. This also segways into conditions to help ensure the world's stability, how key figures within this obsession can't come to step into here for long, or it'll begin to genuinely fuck up.

I'm keeping my eyes HARD on this one.

For this could be--

Part of the very techniques that Rhinedottir herself was playing with in this pursuit to 'Perfection.'

[sucker-for-shifters]

what would ur ocs look like as animals? :3 either furry or feral

Thank you so much for the ask!

I’ll only be doing concepts for now (since life’s been keeping me extremely busy, and I’m not great at drawing furries), but I’ll still label the ones I will be doing art for soon. (College is kicking my ass, and these concepts have taken long enough.) The others will just remain concepts unless I have any specific drive to make their furry versions.

[OCs with Art]

Wynn - He most definitely has dog energy, though specifically what kind was a little bit difficult to get down. I wanted to choose a breed that's perceived as loyal and gentle despite its size, but also can be perceived as threatening from appearance alone. (Mainly adding that last detail because of what Wynn did before he forfeited his first life.)

Hence, I thought that I'd go with a Doberman for him. Looks scary if you don’t know him, but is actually very loving to people he trusts most. Admittedly, due to his undead nature (being a revenant and all), I jokingly thought of him as one of those skeleton animas from Minecraft, though that wouldn't be entirely accurate to his original design. (He still has human-like features from the shoulders up, despite the hole rotted in his cheek.)

~~~

Cen - Frankly, he was a little tougher to nail down. I felt like he had cat-like energy, but at the same time, it didn't seem to fit for him. Since he's a fae/fairy, I wanted to keep the trend of him not being able to use his wings unless absolutely necessary. (So he's less of a cat and more like a bird, but even then, it's hard to pin what kind he'd be.)

After a lot of research, I finally decided on making him a raven, due to being Wynn's source of information in the modern world, not to mention his sharp wit and him being rather blunt at times.

~~~

Spruce - I've gotta thank past research (and an RP) for this idea, because I thought of making him a rabbit. Due to their unique behaviors (especially concerning their habit of humming, squeaking, and growling instead of speaking), I thought that having them as a rabbit would fit best. I wasn’t sure what kind of rabbit I’d make him, but I grew attached to him being a Dutch rabbit.

~~~

Anita - I wanted to slide her in here because she was the first created out of these OCs. She was tricky to do, since I wanted to lean into her survivalist nature and stealth, but I didn’t just want to make her a cat.

It took a while, but I eventually decided on her being a collared lizard. Not only are they mainly carnivores (hunter aspects), but they can also run pretty fast. (Top speeds of 16mph/26kph!) Plus, I thought it’d be cute to have a cold-blooded furry that loves soft fabrics and like items.

~~~

I'll continue onto the ones without art below the cut. Didn't want to leave anyone out!

[OCs without Art]

Fionn - Wolf. No doubt. (I mean, with his kinship/closeness to his companion, I thought of it as one Snow Hound protecting another.) However, in comparison to his companion, I think that Fionn would look a little less threatening, having a bit of a fluffier silver coat with patches of white to simulate his original form's vitiligo. No doubt that his tail would wag like crazy when he gets excited, especially when meeting people like Wynn and Cen.

Aspen - Due to being Fionn's brother, I'm making Aspen some form of wolf as well, though he would appear more tamed in comparison. Not to say that Fionn is wild, but due to being the crown prince, Aspen has to make himself look presentable, which means toning down aspects of himself. His coat would look a bit sleeker, but still have the same silver color with patches of white scattered throughout.

Selene - For Selene, I actually wanted to make her some form of cat, since I though that having her as a cat fit best compared to the other characters I originally thought of as cats. (Also for the fact that despite having dog-like energy in her openness towards others, she tends to do things on her own.)

Hydrangea - Honestly, it was about as tricky to nail down what Hydrangea would be like as it was to nail Cen's down, if not trickier. Due to original Hydrangea being a homunculus, as well as being part-flower due to contamination and almost completely mute, I wanted to come up with something that would simultaneously make it fit in with the other furries in this post and make it stand out. In the end, I decided to make Hydrangea a mouse in order to fit in with the laboratory theme, since “lab mouse/rat”. However, instead of normal fur, each strand is a small flower petal, like its usual form’s hair. It also fits in with its mute nature.

Arden - Although he and Anita are rather similar, I wanted to make them different kinds of furries due to their different personalities and skills. With him being the tinkerer that he is and with his fluffy, cloud-like hair, I kind of thought of him as some kind of squirrel or chipmunk. I would’ve thought of a beaver, but that may be a bit much for him.