BenjaminNicholas

Yes, it’s Johnny V and he escorts. He’s based out of Chicago.

And then there's this...
 

I'm sorry - as a musical theatre musician myself, I can't let you get away with that. You know full well that musicals these days are written for sound design - the balance between the stage and the orchestra is 100% controlled by the sound board op. With many shows now, the orchestra isn't even in the pit, or even isn't in the same BUILDING as the show - they may be playing in another room somewhere. So don't tell me about overeager orchestras. Those of us down in "the pit" often have zero control about how we're being heard by the audience.
 
Now, I'm not blaming the board ops across the board - sometimes the producer or director is dictating a certain quality/voulme of sound that they want as a final result, and sometimes it actually does no good to tell them that the sound isn't balanced right - they hear what they hear and they want what they want and that's how it is. But when every performer - actors and musicians alike - is miked, the ultimate balance relies on the mic levels, not the degree of "overeager" players.
 
If a show is done in an unmiked space (as is often the case in smaller regional theatres), THEN you might be able to complain if 'the band is too loud" - but don't you dare blame the musicians if it's a miked show.
 
But what you should keep in mind, of course, is that the nature of a heavily edited and micromanaged/mixed studio recording is always going to be different than the balance that you hear in an actual theatre. That's actually not the fault of the live theatrical performance, more that the "perfection" one hears on a cast album is very artificial.
 
End of rant.

And then there's this...
 

And then there's this...
 

Regardless of the industry, I've found that when someone truly enjoys what they do, the quality is naturally better.

Lol no one actually answered your question and someone went on a tangent about their oral skills but...shocking.
 
I was once working in Toronto and had arranged to meet a client, who to my surprise was very friendly via text and elaborated on his wants very thoroughly (better than most). He communicated he did not hire often but “the apps” were time consuming and frustrating.
 
Closer to our agreed meeting time he asked if he could bring a bottle of wine. So naturally I was a little taken back and felt indifferent about the meeting because truthfully guys, sometimes after working a full day, you just don’t have a bf-experience left in you and it’s easier to fulfill a simple 1-hr request. But I was a tad stressed and it was freezing so I said “fuck it, why not?”
 
When he arrived, this statuesque 6’2 Persian man opened the door. Beautiful dark features, perfectly groomed, big full lips and incredible eyes so I immediately went from thinking “oh god here we go” to “ohhhh.” We sat and had wine and he said he was very nervous (as was I at this point) and he wanted to take things slow. I could tell that his track record with men was not a good one because he continued communicating insecurities about himself, which I found appalling sitting in front of such a beautiful man. We tried to play a little but he wasn’t the most experienced bottom which was a shame because I really wanted in. And to be quite honest, I seldom bottom for clients but he could have definitely slid in me. His kissing was also impeccable.
 
We were together several hours and he asked if we could spend more time together and that we could go get more cash together. I told him not to worry about it and he ending up spending the night with me. I think we slept in each other’s arms until he had to leave for work in the AM.
 
Never saw him again. Contacted him when I was in Toronto a few months later but our schedules didn’t align.
 
I always get a little hot when scruffy daddy types that are bigger than me book me, as well as men from the Middle East. I encounter hot clients often, especially now being based in Europe, where I find the client base is much younger.

And more of the same fetish here:
https://www.companyofmen.org/threads/military-guys-in-socal.145163/

Or a business opportunity

Clearly, this is a fetish for you.
 
https://www.companyofmen.org/threads/straight-guys-vs-gay-guys.143199/

Clearly, this is a fetish for you.
 
https://www.companyofmen.org/threads/straight-guys-vs-gay-guys.143199/

Clearly, this is a fetish for you.
 
https://www.companyofmen.org/threads/straight-guys-vs-gay-guys.143199/

Clearly, this is a fetish for you.
 
https://www.companyofmen.org/threads/straight-guys-vs-gay-guys.143199/

Clearly, this is a fetish for you.
 
https://www.companyofmen.org/threads/straight-guys-vs-gay-guys.143199/

Nice to see you out from under your bridge

http://www.15MinutesMore.com/blog

Consider he may be in a relationship with someone in Waco

Never confuse pretty gift-wrapping with solid, time-tested technique.
 
Some of the best sex I've had was with guys who were normal, everyday gents.
 
On the flip side, some of the worst sex I've had was with the 'hottest' looking guys. They were entirely too self-aware to just let go and give into it.

Never confuse pretty gift-wrapping with solid, time-tested technique.
 
Some of the best sex I've had was with guys who were normal, everyday gents.
 
On the flip side, some of the worst sex I've had was with the 'hottest' looking guys. They were entirely too self-aware to just let go and give into it.

NYTimes re-reviewed the new cast today and deemed it very worthy.
 
Review: ‘My Fair Lady,’ Illuminated With New Stars
Theater’s calling card is that it’s live, but there’s plenty of counter-evidence. Big musicals are often Exhibit A, with their massive machinery, thin books, prerecorded segments and timed-to-the-second routines. Don’t pause with emotion or put your foot amiss lest you fall behind the click track or get run over by a kick line.
All the more satisfying, then, when a musical not only lives in the moment but also changes and grows over time. Such is the case with the revival of “My Fair Lady” at the Vivian Beaumont Theater — still evolving with new stars after 10 months and $50 million in sales.
Upon its opening last April, it was already a plush and thrilling production, befitting Lincoln Center Theater’s tradition of treating classic musicals as both spectacle and living text. While honoring Lerner and Loewe’s 1956 original, the director Bartlett Sher had reframed the story of Henry Higgins, the phonetician who sculpts the bedraggled flower girl Eliza Doolittle into a lady; it became instead the story of Eliza Doolittle, a determined flower girl who, with the bully Henry Higgins as her chisel, sculpts herself.
It is still that story, in outline. But with four replacement principals now fully in place — Laura Benanti as Eliza; Danny Burstein as her father; Christian Dante White as her enthusiastic suitor; and Rosemary Harris as Higgins’s mother — the emphasis has changed in ways that are no less illuminating for being incremental.
 
Ms. Benanti, who says she has dreamed of playing Eliza since childhood, has used the years well to develop an interpretation that makes equal sense of the flower girl and the lady. In each case, she is self-possessed; it is merely the expression of that self-possession that changes. Outside Covent Garden, selling her violets, she is saucy and calculating: She catches Higgins in a lie and quietly memorizes his address. When he compares her voice to that of a bilious pigeon, she responds — not “quite overwhelmed,” as the script suggests — by expertly imitating the bird in question.
Imitation is key to how this Eliza learns; it is not through Higgins’s drumming vowels into her ear but through observation and mimicry of people who are kind to her. And you can see her working to maintain her hard-won knowledge; even while singing “I Could Have Danced All Night,” she tries out her new vowels: “I’ll never knooooow what made it sooooo exciting,” she rhapsodizes, exaggerating her embouchure.
I mean no disrespect to Lauren Ambrose, who originated the role in this revival, to say that Ms. Benanti is a more effortless vocalist; she dispatches her very difficult and wide-ranging songs with glee, whereas in Ms. Ambrose’s performance, getting through them sometimes seemed like a metaphor for the character’s struggle.
Both ideas make for vivid theater, though the focus changes. Ms. Ambrose emphasized the way society limits a poor woman’s development and opportunity; Ms. Benanti emphasizes the way a gift, and the means to exploit it, can lead to liberation.
The show is lighter as a result, which is not to say it’s less compelling. Ms. Benanti’s scenes with Harry Hadden-Paton, remaining from the original cast as Higgins, are very finely observed, filled with the kind of new detail an extended run encourages.
That’s even more evident with the other principal holdover, Allan Corduner, as Higgins’s pal Pickering. Together the two men have developed a delightful meta-narrative from glances and gestures that connect the dots of an underwritten relationship.
[What’s new onstage and off: Sign up for our Theater Update newsletter]
If the newcomers, other than Eliza, do not have as much opportunity to deliver distinctively original impressions, they make pointed adjustments along the margins. Mr. Burstein, following Norbert Leo Butz as the dustman with the soul of a philosopher, drives home the character’s rhetorical intelligence; I heard, perhaps for the first time, the speech rhythms (“I put it to you, and I leave it to you”) that so impress Higgins.
And as Freddy Eynsford-Hill, Mr. White brings a full-throated tenor (his “On the Street Where You Live” is terrific) that complements a giddy, almost unbridled enthusiasm. This makes for less of a comment on effete society, as Jordan Donica’s hilariously twitty take on the character suggested, than a satire on the deracination of love.
But it is the recasting of the smallest principal role that makes the most touching difference, and like ev
erything connected to Ms. Harris’s stage presence, her success as Mrs. Higgins cannot be pinned down. Of course, one is so delighted to see her, at 91, some 67 years after her Broadway debut, carrying on with such aplomb. But it’s more than that. Ms. Harris has found a way into a role that has resisted most previous exploration, and then carried it off with exquisite taste. With little fuss and fewer words, she sketches a woman whose independence and complacency help explain her son’s more toxic versions of each.
When Higgins, distraught over Eliza’s departure, cries, “What am I to do?” she answers sweetly but without undue sympathy, “Do without, I suppose.” She’s not about to waste her time trying to change someone who does not want to be changed.
Wanted and unwanted change are exactly what “My Fair Lady,” like “Pygmalion” before it, is about. I mean change in individuals, of course, but also, as this blooming revival and its success make clear, in society. As such, its portrait of bullies and resistance may never wear thin. At least not this year.

All these questions and chatter between posters who can’t answer these questions, lol.
 
Has anyone actually contacted and chatted with Him? Or just lived vicariously making posts/assumptions here?

Thanks for helping me continue to figure out who to block on RM
 
XO

Thanks for helping me continue to figure out who to block on RM
 
XO