N13

Latter Day

Sounds like you are pandering for him. Are you his agent?

Calum Scott This cover brings tears to my eyes. Worth watching the whole thing. He is adorable!

 

Many years ago - I don't remember the name, how I contacted him or most anything else about him personally. But......I had a very good massage, of course in the nude. Near the end he removed his shorts and proceeded to straddle my head pushing his ass into my face. I did what came naturally and gave him my first rimming job. Much to my surprise I fully enjoyed doing it. It was a surprise introduction to a new additive to my sex life.

Latter Day

This in my opinion totally negates the idea of what a higher cost escort should be. An escort's job is to provide a sexual encounter. A good escort will provide more. i.e. the illusion that they are enjoying the client and the experience. The higher the rate, the more the requirement to give a reasonably satisfying experience TO THE CLIENT! What the client looks like should make no difference as long as the client is clean and non-threatening.

This in my opinion totally negates the idea of what a higher cost escort should be. An escort's job is to provide a sexual encounter. A good escort will provide more. i.e. the illusion that they are enjoying the client and the experience. The higher the rate, the more the requirement to give a reasonably satisfying experience TO THE CLIENT! What the client looks like should make no difference as long as the client is clean and non-threatening.

https://rentmasseur.com/MasseurJeremy
 
Taking a chance and seeing him tonight.

Oh well.
I'm working toward the plan of making sure that the last check I write before I die bounces.

You're always going to receive requests for (cheaper) massage appointments, regardless of where they saw your listing, especially if you mention massage in your ad, and even if you don't.
 
If you plan to escort for years then one solution is to spend some time and money training in massage. After that, list yourself on massage sites, and give massages (at the lower rate). 1. It's extra money. 2. It ultimately increases your escort business. How? If the client both likes you and wants more of you he'll hire you for the escorting appointments going forward. If he's satisfied with the massage, well you have a new massage client and that's good too.

I have a copy of a live performance from Iconic Arts. The quality is excellent. LOVED the production. Surprisingly, I found Harry Hadden-Paton to be an improvement over Rex Harrison's Henry Higgins. It is the first production that I have enjoyed since I saw the original road show with Anne Rodgers in 1950 something in Los Angeles. The others were all disappointing. (Except the movie!)

https://www.xvideos.com/video40959019/hot_sexy_massage

Pretty hot, but had to turn off the chitchat

I agree with all that have been mentioned before and add:
 
dirty socks/shoes
Pets in the room
Other people in the house/apartment (if getting a massage in his home)

Number one for me is the phone...any use at all....texting, emailing, talking, etc.

In no particular order:
1. Bad breath
2. Disposable massage covers (feels like toilet paper covers, and sticks to your skin)
3. The use of baby oil
4. Toilet paper or paper towel offered post-massage
5. Dirty environment (i.e. clutter, visible junk, dirty bathroom, etc.)
6. Music that’s not relaxing
7. Loquaciousness during the massage (won’t be able to zone out)
8. Being short-changed on time
9. Bad hygiene
10. No massage skills at all

Unprofessional masseurs with NO massage talent, who think they can charge outrageous hourly fees based solely on their hot looks. They open the door, strike a pose, put you on the massage table set up in the living room, show NO massage skills at all, and feel charging $180/hr for a quick rub and tug is justified since they are so hot. They do a lame 40 minute hour and rush you out the door afterwards, thinking it is all okay since they are so good looking.

Matt Bomer with a side of Armie Hammer

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.

HATED this movie. The cinematography is a total rip-off of the Italian cinema of the 1950's and 1960's. The only ones that this can be considered "innovative" by are people who have never seen anything by Fellini, Antonioni, DeSica, Visconti, et.al. Since the vast majority of critics loved the movie and found the cinematography so fresh, I can only assume they are people who have never really researched movies or are 'me too' poseurs.

We met and spent our first night together on the Sunday after Thanksgiving. So the Sunday after Thanksgiving is it. We never celebrate our actual wedding anniversary.

We met and spent our first night together on the Sunday after Thanksgiving. So the Sunday after Thanksgiving is it. We never celebrate our actual wedding anniversary.

Guess my sleep apnea mask doesn’t count.