hornytwells

hmmm looks very hot, would also like to know

I would stay away. He got very unpleasant very quickly over text exchange, the simple reason being I could not see him IMMEDIATELY, and when I asked about scheduling on another day in the same week he got abusive. There was a good deal of negative feedback about him on here, hence the name changes.

See my comments above

what a bummer..... altho I prefer to host anyway if that was the issue

Skurril it seems we like the same types! Again both on my list.....but so far havent tried

Love his look and pics, would love to hear from anyone with experience?

She cancelled tonight

it is human nature to desire that which we can't have.....no?

It is always a dilemma when guys you dont know pm and ask for details about masseurs. I feel if you give out the info then there is a chance they will demand from the masseur and say :"Oh I heard that you do this" etc. I am usually pretty trusting when approached for info, and I try to gauge from the wording if the poster is genuine, but even so I feel a little uncomfortable disclosing things that could potentially harm a masseurs reputation, or breach their trust. I always suggest that you do your research but go with little expectations, treat them with respect etc and take your chance. They are not escorts.

I wish he would visit NYC (I know we have great choices, but he is SO my type)

will pm you, and thanks for the heads up!

Mine too, I would say he is the best and my fav masseur ever

I get that, which is a good point-it's just that I feel we are supposed to be moved by this Soliloquy. Also, although Billy is a complex character, aren't we supposed to feel some sympathy for him? These lyrics don't make that easy, at least for me. Am not saying the lyrics are at "fault" just that I find my response to them is at odds with my response to the music

was referring to the lyrics I quoted, not his entire oeuvre, altho I will never be as a big a fan of Hammerstein's as a lyricist. "like a lark who is learning to pray" for example. I know it was a different time, but also sometimes he can be overly sentimental for my taste. I love Rodgers and Hart more, but its just individual taste, and disagreement is good if it creates interest and debate

Hmmm I agree about Rodgers, but Hammerstein's lyrics leave a lot to be desired sometimes. "she won't make a sissy outta him!" My little girl is half again as bright as girls are meant to be"

it's funny, because I am a Wesley fan I dont see the resemblance, but I guess it is a type?

The other guy is Wesley Woods, not sure who Sam Stone is, as I can't find anything about him online?

Thank you-that was what I was trying to do!

have found it: https://rent.men/SeanBenjaminDC

exactly: https://previews.123rf.com/images/discovod/discovod1510/discovod151000223/47750758-actor-drag-queen-dressed-as-nun-on-white-background.jpg (sorry, still haven't figured out how to just post the image!)

Is there a new link for him?

I recommend it-as well as other things, Kevin Slater is very smart funny and sexy-one of the best!

So unlike the poster above, there was no HE? is it a "mileage may vary approach" or has he changed his style?

Yes, and also there is that really interesting scene where they replay his abusive moments and then interpret what he was really thinking. I think the book of Carousel is always problematic, and the character of Billy entirely unsympathetic. I feel this new production, which I have seen 6 times now (for professional reasons) does nothing to help redress this, or cast any angle on it. Julie's justification for Billy hitting her (oh you were unhappy and not working) doesn't cut it. there was almost no tenderness shown-in the opening scene he threatens 2 women with a "smack in the mouth". I think it is Rodger's best score ever, but am not such a fan of Hammerstein.

Another review EW REVIEWS Broadway's Carousel revival doesn't work in the modern era: EW review Julieta Cervantes BREANNE L. HELDMAN April 12, 2018 AT 07:00 PM EDT WE GAVE IT AC Some Broadway musicals are timeless. Carousel is not one of them. Director Jack O’Brien’s new revival of Rodgers & Hammerstein’s 1945 smash stars several of the hottest actors currently gracing the Great White Way (Jessie Mueller and Joshua Henry, for starters), features the work of a hot young choreographer in Justin Peck, and includes a number of classic songs, but none of that can make up for the show’s one key problem: The story is Just. Plain. Bad. After a very, very long “Carousel Waltz,” we’re finally introduced to millworker and “queer one” Julie Jordan (Mueller) and her friend, Carrie Pipperidge (Lindsay Mendez). Eventually, bad boy carousel barker Billy Bigelow (Henry) comes upon them, and he and Julie simultaneously lose their jobs and flirt until they sing “If I Loved You.” Then they kiss and walk offstage to get married. Time jumps three months and Julie is defending Billy to Carrie — who still hasn’t married Mr. Snow because she’s sassy yet practical — for hitting her. Just making sure you caught that: Julie defended Billy hitting her. Because he’s unhappy. Because he doesn’t have a job. I won’t go much further into the story but suffice it to say that while I recognize that this show was written at a different time, and it takes place at the end of the 1800s, the revival is made for modern audiences now living in the #MeToo era, and this production makes no effort to tell the tale through a fresh lens. Billy continues to make poor choice after poor choice — even hitting a second key female character — but he gives one final speech at the end, realizing he did it all for love, and all is forgiven, right? Right? It doesn’t help that three-time Tony nominee Mueller (and winner for Beautiful) and two-time nominee Henry (who also played Aaron Burr in Hamilton on the road) are devoid of chemistry and egregiously miscast. That said, while Mueller’s talents are mostly wasted, Henry sounds terrific in every number, especially “Soliloquy,” where Billy muses about his unborn child (but you can only really enjoy the performance if you can ignore the problematic nature of most of the lyrics which includes such lines as, “His mother can teach him the way to behave but she won’t make a sissy out o’ him” and “My little girl is half again as bright as girls are meant to be”). Renee Fleming, however, is as fabulous as Julie’s Aunt Nettie as you’d expect from the famed opera singer — this production marks her first role in a Broadway musical — and her energetic “June Is Bustin’ Out All Over” and passionate “You’ll Never Walk Alone” are show-stopping highlights. Mendez (Significant Other, Wicked), too, is a standout as Carrie, and gives her character a depth and knowingness lacking from the other performances. Peck, who is the youngest-ever resident choreographer at the New York City Ballet, deserves some credit as well. The dancing takes center stage in this production, and it’s one of the best things about it. A tip of the hat, too, goes to his fine troupe of dancers, who also pull double-duty and sing as chorus members. This revival of Carousel does have its strong points, but a real nice clambake it’s not. C