#The New Jewish Theatre

[talia-my-darling]

dear director,

please never again schedule auditions on Hanukkah especially at the time when the sun goes down. Yes, my school did do this and I’m pissed off about that.

Fuck you,

a very angry jew

[stars-inthe-sky]

...

[mariocki]

Play 21: Fish in the Dark by Larry David

First performed: Cort Theatre, New York, 2015

Quote: "Oh come on. Why is it that after someone dies all of a sudden people decide to become honest? Not only is honesty not the best policy, it's actually the worst of all possible policies." (Norman)

Stage direction: [he comes running out in his underwear]

Notable cast: Larry David originated the role of Norman himself, with Jason Alexander replacing him later in the run. The premiere cast included Rita Wilson, Rosie Perez, Jake Cannavale and Jerry Adler.

Notes: David's first (and so far only) play benefits from being written in a voice that's instantly recognisable. Drawing on Jewish comedy staples as well as the traditions of classic farce, Fish is a close relative of Curb Your Enthusiasm in its twisted observational dialogue and cringeworthy schemes, but underneath the language there's nothing very new or revolutionary here - actually, in its general shape and tone, this is surprisingly old fashioned theatre for the masses. A solid comedy, but nothing challenging.

Read: for the first time

[centrestagereviews]

Interview: Creative Team Behind The Arc: A Trilogy of New Jewish Plays

The Arc: A Trilogy of New Jewish Plays, a triple-bill of shows by three of the UK’s leading Jewish playwrights, will be coming to the Soho Theatre this August, exploring life’s great moments of Birth (Sunday Times Drama Award winner Amy Rosenthal), Marriage (Alexis Zegerman), and Death (Ryan Craig) through a distinctly Jewish lens. The show is produced by Emanate Productions, which was founded…

[historysisco]

On This Day in New York City History January 20, 1896: Beloved comedian George Burns is born Nathan Birnbaum (January 20, 1896 – March 9, 1996) in New York City to Polish immigrants.

Burns' career started in vaudeville and continued through radio, TV and film. Burns with his wife Gracie Allen were one of the first successful husband and wife duos in media starring in radio and TV shows Burns and Allen and the George Burns and Gracie Allen Show (1950-1958.) Gracie would retire in 1958 and pass away in 1964. Burns through himself in his work, focusing on other TV projects, as well as, theater and stand up.

Burns' career had a Renaissance at the age of 79 when he won the Academy Award for Best Supporting Actor in the 1975 film The Sunshine Boys. He would continue to play up his now loveable and impish character in such films as the Oh God! Series and 18 Again. During his illustrious career Burns won an Emmy, a Grammy, and an Oscar.

Burns lived to the age of 100, passing away on March 9, 1996.

#GeorgeBurns #NathanBirnbaum #BurnsAndAllen #GeorgeBurnsAndGracieAllenShow #CinematicHistory #VaudevilleHistory #RadioHistory #TelevisionHistory #TVHistory #MovieHistory #TheatreHistory #JewishHistory #NewYorkHistory #NYHistory #NYCHistory #History #Historia #Histoire #Geschichte #HistorySisco

https://www.instagram.com/p/Cno0GtbOXE8/?igshid=NGJjMDIxMWI=

[luckys-last-brain-cell]

Pretty upsetting that in this day and age “Romeo and Juliet set in Nazi Germany” is something a U.K. theatre troupe has deemed acceptable to put onstage.

What makes it even worse is the decision to make the Montagues, generally viewed as the more reasonable and less archaic family of the two, fucking Nazis. Romeo is Hitler’s Youth. Juliet is a Jewish girl. Juliet, a child who is offered up as a child-bride to a much older man for financial benefit, is being portrayed as Jewish.

And that’s before you even touch the new subtext of Romeo killing Tybalt. There is no way to depict Tybalt’s death as a terrible accident when the character killing him is a Nazi and Tybalt is Jewish.

I’m disgusted. I hope they reconsider this disgusting production.

[wrenofwvnds]

march, march, march of

the falsettos..stickers!

this is for the gay musical theatre fans (me) 🏳️‍🌈

u know the drill, these will be up as individual stickers on my redbubble asap! again, if anyone wants to buy me a cricut so i can print them myself, i’d be v happy to accept 🫶🏻 i also meant to export the lineart so it could be a flash sheet but i merged the line art and then closed procreate before i realised 🤦‍♀️ anywho, im gonna try and edit it on photoshop and then i’ll post that too!

i’m having so much fun making more sell-able art and i really feel motivated by it. i think the combination of getting into tattooing and going to the queer market at the lgbtq+ centre in london lost month, has inspired a new wave of marketable art within my ~practise~. i’ve seen first hand how happy art can make people, just from being at the tattoo studio doing my apprenticeship, so i feel inspired to make illustrations that will also bring people joy!

i did a load of stuff to sell in 2020 but it didn’t do well so i felt very disheartened. but right now, i think i have a wider understanding of what commercial art can be - and that you can do it in a way that still feels authentic to yourself as an artist. so that’s what these stickers are! things related to my special interests that hopefully a lot of people will also enjoy :)

i totally recommend falsettos as a musical and am finding it very interesting to research! musical theatre is such an interesting medium and i love seeing how people have utilised it to tell important stories through music. falsettos covers themes around the AIDS crisis, jewish identity, homosexuality, divorce and family. it’s a very human story and the music is great!

[centrally-unplanned]

This was a very good video - i never looked into this subject, but I totally bought what everyone said! That there was some "partially artificial" mid-atlantic accent that early Hollywood standardized in its actors for prestige purposes. He does a great job of going through how the majority of that is fake - Hollywood had no standard accent, most actors spoke their own or changed it up for roles, and so on.

The rub of it is that the past was just very different from the present in how linguistics functioned. America had much more diverse accents, not just by region but class - elites cultivated their own accent intentionally. And the intentionality was hard-won - we don't have diction classes in school today, but in the 19th century you were taught how to speak, rigorously, which allowed such diverse accents. Theatre actors in the US were also mainly doing British works, and so a british-style "theatre accent" was also commonly used in those communities that complemented the Northern Elite accent that is the actual "mid-atlantic".

And the final rub is that Hollywood was just a crazy cultural melting pot; before the movie era California was population-wise tiny. Then a bunch of jewish finance types from New York City moved in to found studios, they brought New York actors with them, and then English actors, and then international actors! It is truly amazing watching him show other YouTube videos where people highlight Cary Grant as the archetypical "mid-atlantic faux-british" accent ~mandated by the studio~ and... he's fucking british! He was born in Bristol! That is just how he talks.

I will say the age of YouTube drivel has been a huge boon for creators like these. All of the misinfo stems from the badly cited Wikipedia article - so you could make a video where you show quotes from siad article and how they are false. But because there are always dozens of videos of people who just regurgitate Wikipedia articles in video form, you can instead show them and create beautiful montages of misinfo with their own diverse accents. Way more engaging, truly blessed to have them.

[heliza24]

So I think we should talk about the Holocaust imagery in the trial

Because it was really powerful, and part of what made the episode so impactful. It’s no accident that the writers set this part of the story in a city still scarred by WWII. The vampire trial is a twisted funhouse mirror of the actual atrocities of the war, and thinking of it that way helps illuminate its cruelty. It also helps name the specific undercurrents of that cruelty– the ableism, the racism, and the way in which the coven vampires view themselves as superior.

The whole idea of the trial as a play, where Claudia, Madeleine, and Louis are merely props, made me think of the plays that were put on at the Buchenwald concentration camp. The prisoners there were forced to produce theatre as a way to convince the outside world that the Nazis were treating people “humanely”. This farce of course gave the Nazis cover to continue committing horrible acts. The coven is forcing Claudia, Madeleine, and Louis to put on their play, and they’re doing it in a way that will allow the human audience to excuse the prisoners’ suffering as fake. And that gives the coven the freedom to enact as much cruelty on their prisoners as they would like. And of course being forced to perform, being embarrassed, is also a part of the punishment.

The way that Louis, Claudia and Madeleine were snatched out of what they believed to be a happy and peaceful life and transported straight into a nightmare also makes me think about Kristallnacht in some ways. I am half Jewish, and the granddaughter of Holocaust survivors. My grandmother was arrested during Kristallnacht. So I have a lot of personal family history that colors the way that I view this part of the show.

I’m also disabled, and I’ve already written a bit about how this show approaches eugenics. I was actually really happy to see the eugenics undertones made explicit during the trial, as it left no room for doubt about the connection between the great vampire laws and Nazi eugenics rhetoric. “The Dark gifts must never be given to the crippled, the maimed, or to children” was displayed prominently as part of the projections. Claudia has always been coded as disabled because her body is “wrong” and “weak” (written about so well in this meta by @once-delight) but her status as a disabled person was stated plainly as part of the text in this episode, both when Lestat says he “told Louis. Fourteen forever. She’ll be a cripple” and when Santiago says that “Claudia’s defect caught up with her” when she started committing her killing spree in New Orleans. It cannot be understated how much Claudia’s status as disabled person influences the coven’s desire to murder her. The fact that she is happy, strong, and loved despite being turned so young is a direct violation of the coven’s world view, and is therefore a challenge that needs to be put down. Around 250,000 disabled people were killed during the Holocaust, and that’s not to mention the forced sterilization done to disabled people and the cruel experiments that were done in concentration camps to prisoners without their consent. Crucially, the idea of eliminating disabled people and perfecting a humanity without “defects” was an essential part of the Nazi philosophy. And I think you can see that echoing through the vampire trial as well.

Obviously another way that the Nazis were trying to create a perfect humanity was through the elimination of anyone who was not the correct race. We don’t have any canon Jewish characters in IwtV, so we don’t have a one to one comparison to history in that way. But race absolutely plays a huge role in the trial. It does not feel accidental that two of the three prisoners are Black, and that the “star witness” (however coerced Lestat may be, the adoration that the coven shows him is real) is blond and blue eyed. The way Santiago describes Lestat, as having “ancient blood in his veins” and a “godlike strength” calls to mind the Nazi belief in perfecting bloodlines and creating an Übermensch- the perfect Aryan man. And although Madeleine is still executed, she is treated more gently by the coven, kept in a fog of hypnosis and given the opportunity to escape death. I can’t help but think that she was given those privileges at least in part because she is white. This also puts Armand in an interesting position, and maybe helps explain at least some of his motivation in collaborating with the coven. He’s not Black, but he is a person of color, and that may add some legitimacy to his fears that the coven may turn on him. (There’s also the interesting fact that earlier on in the show, Nicki calls him a slur used against Romani people. Armand is not Romani, he left India long after the Romani people migrated to Europe. But it’s interesting that in seeking to place his brownness, native Europeans default to describing him as Romani, since the Romani were also one of the main targets of the Nazis). Obviously there is a lot of hidden calculus going into Armand’s decisions here. But I do think it’s interesting to add race to that equation. I do hope fans of color will write more about the racial dynamics of the trial, since I am white and would love to learn more about this aspect of the story from them.

I’m still mulling over what I think about the part of the episode where Lestat embarrasses the homophobic heckler in the crowd, but it did serve to remind us of how marginalized all of the main relationships would have been at the time (queer people: another target of the Nazis) and how fresh the horrors of WWII are on everyone’s minds.

The absolute highlight of the episode for me was Madeleine’s decision to choose dying with Claudia over living without her. This is such an incredible conclusion for a character who began her arc as something of a Nazi collaborator. I know some fans were troubled by this aspect of Madeleine’s character, but it never bothered me, even with my own personal connection to the Holocaust. Madeleine’s will to survive, her outcast status, and her willingness to cling on to love, even if it isn’t morally pure, made her the perfect match for Claudia. And this episode showed us the payoff of that setup. Here she is given the chance to collaborate again, to move towards the acceptance and love of horrible people that will allow her to survive. But now that she’s tasted real love with Claudia, she can’t go back to that way of living. She can’t throw her lot in with the Nazis again. So she puts Claudia first, the first and only person to ever do that. Everytime I think about it I start crying again.

Ultimately it was the last image of the episode that really hammered home the Holocaust parallels for me. Claudia, reduced to ash. Claudia, reduced to her yellow dress. Just like the incinerated victims of the Holocaust. Just like the piles of shoes and other personal effects at the Holocaust museum. We don’t get Claudia’s final words to Madeleine, or the final words of thousands of real life victims. We just get the dress, we just get the shoes. We have Anne Frank’s diaries, just like we have Claudia’s. Two girls that will forever be trapped in teenagerhood. But those diaries end before the camps, just like Claudia’s end before the trial. 

I’m not sure if either of the writers of this episode are Jewish, but from the behind the scenes clips I know that Hannah Moskovitch was on set as they were filming this episode in a producer role. She talks a lot about giving Claudia a chance to be defiant and angry, and as @bluedalahorse pointed out to me, that’s a very Jewish way to respond to oppression and tragedy (Hannah is half Jewish just like me). Claudia does not go gently into that good night, and I’m really grateful for that. As we go forward I’m going to try to remember her fight, and not the final image of the ash and the dress, as I think about her.

[thetisming]

Broadway has turned into something commercialised and all about money, rather than stages for stories to be shared. people only care about how much money shows make, but people never give new shows a try so amazing new shows that tell important stories and production and soundtrack and actors close. if there's not a big tv (specifically tv, people don't care about actual BROADWAY legends anymore) name for the media or it's not a revival people don't care. new musicals that tell historical stories that shouldn't be forgotten close after a few months, no matter how amazing the story or score or set or actors are. Broadway isn't about the heart anymore, it's about money and big names. it's barely even for theatre people.

Lempicka is closing and i am devastated for so many reasons. Harmony already closed earlier this year.

Tamara de Lempicka was a famous painter. she was married to a rich man, and originally painted their daughter or landscapes and things like that, but she eventually painted Rafaela -- her girlfriend. she painted her mainly naked and they loved each other. she was a bisexual painter, and more than that a brilliant painter, and she is being forgotten. she was part Jewish, too. she fled to Paris with her husband, which is where she met Rafaela.

there's a musical about her. it's closing on May 19th. it opened officially on Broadway on April 14th. both this year.

The Comedian Harmonists were a band. they were an internationally popular German band between 1928 and 1934. 3 of the 6 of them were Jewish. Nazi Germany started in 1933. you can probably piece together what happened, but i'll tell you anyway. they were separated and erased. they were not forgotten, they were erased. Nazis destroyed almost all of their recordings. the Harmonists never saw each other again. their names were Ari Leschnikoff, Harry Frommermann, Robert Biberti, Roman Cycowski, Erwin "Chopin" Bootz and Erich A. Collin.

there was a musical about them. it closed on February 4th, and opened officially on Broadway on November 13th (2023).

do not let Tamara or the Harmonists go forgotten. listen to Lempicka and Harmony. research the people. find bootlegs of the musicals if you can. learn about them. teach about them. please, don't let people forget about them.

this isn't about the musicals closing, these are about important people being forgotten and erased from history. please, don't let this happen.

[fitzrove]

Ethan Freeman, Hass and the original production of Elisabeth

Recently, @behindthemirrorofmusic shared an interview clip from her radio show with me (thank you so much!). In it, Ethan Freeman (original Lucheni) talks about, among other things, Hass and the criticism the number has gotten over the years.

Dannii: Several Jewish fans of the show have said it's a rather triggering song and makes them feel uncomfortable - making them feel that Lucheni is turning against them. Did you think about that or does this raise any feelings in you? Ethan: Ah, no. Lucheni is a cynic, but he certainly did not ally himself with the fascistic transition that happens in the course of that number, as it begins to look into the future and towards the growing demonization of Jews in the Elisabethan world moving towards the period of the Nazis. Again, as Che is with the Peronistic fascism [in Evita], Lucheni looks at it with bitter cynicism. I can see people being uncomfortable, but the scene and the number were designed to make everybody uncomfortable [laughs]. And the Austrian audience, who at the time had to - and perhaps to a bigger extent even now still has to - deal with its fascist and antisemitic past... That number was always met with a kind of deathly, breathless silence. Sometimes applause at the end, but first it was always this reaction of "[gasp] This was us!". And that's what the number was there for. Obviously, Harry Kupfer, the director, was a tremendous antifascist, and so he directed the number to hit very hard. I remember we performed the show [one night] and Jörg Haider, the leader of the ultra-right party in Austria at the time was in the audience of the show - and he walked out after the number! I knew I had done my job when I heard he had walked out. Because the number points a finger at exactly the kind of ideology he seemed to purvey. So... As a Jewish person myself, I want to show the world its ugly reflection. If it made me uncomfortable in any sense, watching the Jewish character getting beaten up in that scene, it's because it's supposed to make people feel - "oh, this is not good". I think good theatre is for people with strong stomachs, and if people are extremely sensitive to that sort of thing, then they have to figure out how to deal with it. I don't think for any reason that that [scene] should not be in the show. Because it was a reflection of the history of that time - but not only that time, obviously.

(Interview by Dannii Cohen, September 10, 2023. Emphasis mine. Transcribed from the first episode of the new series of Behind the Mirror of Music. Source)

[girlactionfigure]

“Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me.”

Chagall’s feelings for his beloved wife resonate with anybody who has ever truly been in love. He openly adored his wife and she adored him right back. Bella was Chagall’s muse, the vision behind his seminal paintings of characters floating around in a blissful state.

From the moment they fell for each other in 1909, Marc Chagall and his wife, Bella, seemed to share a particular way of seeing the world. Bella was a talented writer and her description of their first encounter is like a Chagall painting in words: “When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes … long, almond-shaped … and each seemed to sail along by itself, like a little boat.”

Famously, he often depicted himself and Bella flying together, as if their shared joy had such physical force it countermanded the law of gravity itself.

The Chagalls’ story is also remarkable because they experienced so much 20th-century history first-hand. In 1911, leaving Bella in Russia, Marc made it to Paris, then the centre of the modernist movement happening in western art. He soon added something revolutionary. “Under his influence, metaphor made its triumphal entry into modern painting,” André Breton, who credited Chagall as the father of surrealism, later said.

Marc returned to Vitebsk in 1914 to marry Bella, and they were trapped in Russia by the outbreak of the first world war. They moved to St Petersburg, and found themselves ringside spectators to the Russian revolutions. Then, for a brief, heady moment, the avant garde became the new establishment in Russian art and Marc was invited to be commissar of visual arts. Bella sensibly advised him to say no, but he accepted the offer to start a new art school in Vitebsk. Official opinion, however, quickly hardened about what was proper proletarian art, and Marc was forced to resign from the school. Apart from a brief, joyful stint designing sets for the Moscow Yiddish theatre, he now found his work unwelcome in Russia.

He, Bella and their five year-old daughter, Ida, left Russia in 1922, never to return. They watched in horror from afar through the 1920s and 30s as the Jewish homeland of their youth was systematically destroyed first by the Communists then by the Nazis. Bella had long neglected her writing to support Marc in his painting, but during the last few years of her life in exile in New York she was moved to write a lyrical memoir in Yiddish, Burning Lights, about her childhood in Vitebsk. In 1944 she died of a throat infection that would now easily be cured with antibiotics.

Rabbi Yisroel Bernath 

[thebetawolfgirl]

Back To You

Pairing: Timmy x Reader

Warnings: Mentions of drug use and smut.

A/N: Grab a snack and a hot beverage and cozy up with this one.

Back To You

She had seen the photos when she landed back in LA, of Timmy in the pool with Eliza. He looked high as anything and absolutely awful. Eliza clearly had him smoking the strong stuff, and she had been trying to contact his agent Mark for two days straight with no success.

She was in her kitchen just wiping down her units when she got an urgent knock on her door. She opened it and gasped as she saw Mark standing there with a terrible looking Timmy before he fell against her wrapping his arms around her tightly and burying his face in her neck.

‘Y/n. I’m sorry.’ He mumbled tearfully.

She held him against her tightly and set her glare on a sheepish looking Mark.

‘I want him to stay with you for a while, maybe take him somewhere-‘

‘Oh trust me I will be taking him away from here and I won’t be telling anyone ESPECIALLY YOU and those parasites you call his PR team!’ She growled at him laying Timmy on her couch and returning her glare on Mark.

He looked down shamefully ‘I didn’t think she would get him so high. He smokes weed with Scott sometimes-‘

‘NOT THIS MUCH!’

After she kicked Mark out of her house she called her older brother to come for them and take them to the lake house she inherited from her grandfather. She packed a suitcase for both of them and woke Timmy up just as Josh drove into her driveway, Timmy was still kind of out of it so she and her brother had to walk him to his pickup and put him in the back seat.

She and her brother drove to the pier silently, although Josh knew his sister was fuming. She had been trying to get in contact with Timothée’s agent for two days to demand he get him away from Eliza. She was a beautiful woman to be sure, but she was also well known to be antisemitic and very anti-Jewish. Or so y/n had heard from many people.

They arrived at the pier and thankfully it was quiet so they got everything onto the boat and then helped Timmy on and under the well furnished deck, y/n closed the door from the outside and sighed.

‘You need to do something about this y/n.’ Josh whispered so as not to be overheard. ‘They can’t keep dumping him onto every greedy celebrity who wants a piece of him. He’s still figuring this world out, this industry. He needs to stand up to them and just tell them no more.’

‘I know Josh!’ Y/n sighed again leaning against the door closing her eyes. ‘I know I need to tell him to set boundaries with his management. But like you said he’s new to this industry. He grew up in New York and around the theatre. And he’s worked his ass off to get where he is now, and he’s always afraid he doesn’t deserve it. He’s so self conscious about his talent. He overthinks every little detail.’

‘And that’s what drew him to you, he’s not like all the other assholes you’ve met in Hollywood. He’s real. And he’s down to earth.’

Josh looks at his sister as she smiles and nods.

‘Maybe this break will give you both the courage you need to finally get together and make it official. Put us all out of our misery.’

She scoffs and shoves him.

‘Get off my boat, I need to get going before it gets dark.’

‘Take care of each other.’

He jumps off as she begins to move out of the dock and sail off towards the mountains that held the large family lake house.

The house was surrounded by a large lake and hidden within even bigger mountains. On the outside it just looked like a family of huge mountains so it was the perfect place to hide a beautiful lake house in the middle of a small island.

Y/n tied the boat to the dock and took the cases into the house first then came out to get Timmy. He was a bit more awake when she went downstairs and she smiled at him as he looked around him.

‘Hey sleepy head, ready to go inside?’

‘Where are we? Last thing I remember was falling into your arms then passing out.’

‘Well after a… talk with Mark we decided it would be better if you and I went on a little break, just until you get back on your feet.’

He nodded and got up slowly and followed her outside, it was getting dark out so there wasn’t much to see but the lights from the house, so they went in and she instantly got him something light to eat then he just wanted to go straight to bed.

The next morning just as the sun was beginning to rise Timmy woke up feeling a lot better after some much needed rest and got up looking for y/n. He found her outside on the front porch and finally saw his surroundings and was in complete shock at the beauty around him. Y/n had never taken anyone here before, this was her sacred place, a sanctuary for her to escape the madness of Hollywood. The fact that she chose to bring him here to recover was everything to him. He walked over and sat down beside her before crawling onto the bench and lay his head on her lap sighing when she began to play with his hair.

‘Did you sleep well?’ He nodded closing his eyes contently.

‘Thank you for bringing me here. It’s beautiful.’

She smiled brushing his curls from his eyes. ‘I thought it was time to share my sanctuary with you. And there’s no better place to heal than this place. No phones, no crowds of people. Just the water and the fresh air.’

‘It’s perfect, thank you. The fact that you trusted me with this means everything to me!’

She smiles and leans forward kissing his temple as they watched the sun rising together.

After they went inside she cooked him breakfast, all of his favourites. Homemade bagels, ham and onion omelette and a bowl of oatmeal. They ate together in peaceful silence then they watched movies. Timmy turned the tv off then and they talked about where they were.

‘I don’t want to do the PR thing anymore, I’m too tired now. I’m so tired y/n. I just want to come home to you at the end of every night and wake up with you every morning. I just want it to be you and me.’

She pulled him against her running her fingers through his hair holding him tightly as he buried his face against her neck.

‘We will talk to Mark when we get home, we will end this once and for all then it can just be us. I promise.’

He nodded against her shoulder breathing her in.

He pushed her back landing on top of her resting his hips between her thighs and nuzzled her neck, shivering as she ran her fingers down his back from his shoulders to his lower back, he arched against her body as her fingers dipped into the curves of his spine and bit down on her shoulder before moving his head slightly to capture her mouth in his and sighed contentedly into the kiss as he began undressing them both. He tore the t-shirt over his head and tossed it aside as she removed her hoodie, and deepened the kiss opening her mouth more for him.

They removed and tossed their bottoms to the floor and he slowly slid into her groaning against her mouth, she gripped a fistful of his long hair as he began moving his hips against hers slowly to start but picked up his pace until he was rutting into her as she kissed and nipped his lips.

He gripped his fingers into the headboard behind her head and began ramming into her harder and faster letting his head falling against her shoulder breaking their heated and sloppy kiss as she clung to him pulling him closer against her panting heavily, he let go of the headboard and wrapped his arms around her waist pulling her against him hearing their skin of their hips meeting in loud slaps, he whimpered and moaned into her neck as she grabbed his shoulders and dragged her fingers down his back again reaching the dip in his lower spine that made him completely lose it and caused his body to convulse on top of her before melting against her. It made him twitch and pant, once he actually ripped the bedsheets apart. Her fingers running down his spine her nails scratching him slightly did otherworldly things to him he couldn’t explain. It made him choke out a gasp and made the air leave his lungs.

He gave one last deep thrust before they both came and he was able to breathe again, he trailed his lips down her neck to her shoulder blade while gently biting her skin as they came down from their high covered in a thin layer of sweat.

He rested his head against her collarbone as she ran one hand through his damp hair and the other down his arm their lower bodies tangled together in the sheets, she moved her hand up his shoulder and stroked his face lightly with her fingers, before he took her hand and pressed them to his lips and parted them as he nibbled the skin on her fingertips.

She smiled and giggled feeling his teeth graze her skin.

‘Stop it. If you’re hungry go downstairs and check the fridge.’ She mumbled in to his hair kissing the top of his head.

He grunted and continued his trail down to her wrist and sucked the pulse point there making her gasp and grip his hair tugging gently just enough to pull him back.

He was obsessed with her skin. Even when they started out as friends. He could live on her body alone. She smelled like heaven and tasted even better. When he needed to be calm she would try giving him a bottle of the perfume she wore, but that didn’t work. It was HER. Her own smell. It was like a drug to him. That’s why even though in those pool pics in the papers with him and Eliza they looked cozy when actually every time Eliza came near Timmy and he was holding like that he was ill. It took everything in him not to kiss the woman’s neck and not throw up.

But now he was back with y/n his beloved y/n. He begged Mark to take him to her, begged on his knees and Mark thought he was high as Hell, but he just needed this here right now.

He kissed a trail between her breasts tasting the dried sweat there and wrapped his arms around her waist to pull her closer and buried his face against her neck sucking on the skin lightly before laying down with her and falling asleep again.

@gatoenlaciudad

@kteezy997

@lixzey

@mel-vaz

@tchalamess

@tchalamss

@natnatj0-8

@lavendarhearts

@ducktapebar

@pmak2002

[confusedjewishnoises]

One of my best friends was living in Israel during October 7th last year and lost two really close relatives. This saturday I had to write some words for a ceremony at out tnua. I couldn't, with the death of 6 hostages being so close I couldn't find the words I needed to say. She did, and with this i'm reminded of how strong our people are, how strong she is and how fucking sad i am that she had to become so strong and write this

Hoy hace 11 meses empezó uno de los dias mas largos de la historia de nuestro pueblo, un dia que todavia no termino.

La tradicion judia plantea etapas del duelo, etapas en las que uno tiene permitido tomarse su tiempo para duelar, pero tambien etapas que no nos permiten quedarnos estancados en el duelo.

Esta semana, segun la tradicion judia, termino el periodo de duelo, esta escrito que este dura 11 meses.

Pero como puede terminar el periodo de un duelo que no termina?

Como puede terminar cuando todos los dias hay nuevos ataques y nuevas noticias?

Como puede terminar cuando todavia hay 101 personas secuestradas?

Como puede terminar cuando el gobierno sigue decidiendo exponer estas vidas?

Hoy hace 11 meses empezo una pesadilla que aunque la tradicion quiera, todavia no termina.

Exigimos un acuerdo que permita la liberación de todos los secuestrados, que vuelvan a casa ya!

(translation)

English translation:

11 months ago today, one of the longest days in the history of our people began, a day that has not yet ended.

Jewish tradition proposes stages of mourning, stages in which one is allowed to take one's time to grieve, but also stages that do not allow us to remain stuck in mourning.

This week, according to Jewish tradition, the period of mourning ended, it is written that it lasts 11 months.

But how can you end the period of a mourning that does not end?

How can it end when every day there are new attacks and new news?

How can it end when there are still 101 people kidnapped?

How can it end when the government continues to decide to expose these lives?

11 months ago today a nightmare began that, even if tradition wants it, it still does not end.

We demand an agreement that allows the release of all those kidnapped, that they return home now!

This is in honor of the 6 hostages murderer last week, of the 101 hostages who are still held in Gaza, including two children aged 20 months and 5 years; of every civilian death; of the Nova victims, of my friend's aunt and uncle (a theatre director and an art teacher, two peace activist). In honor of everyone who died and lost someone during this 11 months in hell. During this long lasting mourn

[boycottthechosen]

Boycott the Chosen

We are a community of fans calling for likeminded others to boycott The Chosen as a result of the response (or lack thereof) to the ongoing humanitarian crisis in Palestine. We were all excited for the new season. Many of us were planning to attend theatre screenings of the premier. But we cannot support a show about the life of a revolutionary Palestinian man when its creators won't speak up for the Palestinian people. We are asking fans to

1. Boycott the series. This involves not attending theatre screenings, refunding tickets where possible, and not watching season four.

2. Delete The Chosen app

3. Donate to our fundraiser for Medical Aid Palestine. We are not expecting many donations, but every little helps

Simon Peter is fundraising for Medical Aid for Palestinians (justgiving.com)

Approximately 1,200 Israelis were killed on October 7th. Since then, approximately 25, 000 Palestinians have been killed. If you as a Christian were disturbed by the violence on October 7th you should also be appalled by the ongoing violence against the innocent civilians of Palestine. If Jesus were alive in Palestine today he would be in the middle of a warzone, facing displacement, famine, and death. It is unconscionable to profit from the life of a Jewish Palestinian while ignoring the ongoing violence.

Blessed are the poor in spirit,

for theirs is the Kingdom of Heaven.

Blessed are those who mourn,

for they will be comforted.

Blessed are the meek,

for they will inherit the Earth.

Blessed are those who hunger and thirst for righteousness,

for they will be satisfied.

Blessed are the merciful,

for they will be shown mercy.

Blessed are the pure in heart,

for they will see God.

Blessed are the peacemakers,

for they will be called the Sons of God.

🇵🇸🙏❤️

Follow us on Twitter https://twitter.com/boycottchosen

[historicity-was-already-taken]

Hello! I'm currently a graduate student working on my thesis. I'm hoping to make it a study in the overlap (both geographic and cultural) of the Yiddish Theatre and Queer communities of turn of the century New York City. I know that is not your forte specifically, but I wondered if you had any contemporaries with specializations in either of those areas? Thank you so much for your time, and Shabbat Shalom!

I have colleagues who come close to those areas, but no one who does exactly what you're hoping to look for.

I did, however, do a lot of brainstorming regarding resources and archives. My former place of work, the American Jewish Historical Society (AJHS), has a great Yiddish Theater Poster collection, while the YIVO Institute, which collects materials relating to Yiddish-speaking Jewry is likely to have quite a bit in the way of relevant collections.

As for queer communities (and this is just what I'd do if I was hoping to work in the spaces you described), I suggest grabbing a copy of Gay New York by George Chauncey and checking out which archives he used while writing it; you could email him if you're looking for more specific information.

These are just places to start and I know you didn't ask for my take on these, but it's the reference archivist in me.

@tinderbooks any thoughts?

ETA: @thecaptainsarcasm @tinderbooks replied: National Yiddish Theatre Folksbeine has been around for over 100 years. https://nytf.org/. I’m not sure what kind of archives they have or are able to keep but they are certainly an organization whose history (and contemporary work) is worth exploring. Oh and of course you should look at the modern play INDECENT by Paula Vogel. Which tells the history of the Yiddish play GOD OF VENGEANCE. The cast was tried for public indecency when they presented the English translation in New York. The story is about a Jewish girl who falls in love with one of the prostitutes in the brothel owned by her father.