Showing posts with label CInderella. Show all posts
Showing posts with label CInderella. Show all posts

LA Opera's Costume Rare Tag Sale TODAY ONLY (Cinderella Costumes Included)

Doing some promo footage for the 2015 LA Opera Costume sale for KTLA Morning News
Looking for a Cinderella shoe, or broom? How about a Papageno mask, or a handmade stepsister wig? Today - Saturday March 28th - might just be your lucky day. The LA Opera Costume Shop is having a public tag sale (today only).
 


The LA Opera Costume shop is cleaning house in prep for moving their location and having a rare "tag sale" of about a thousand items worn on stage in numerous productions, including more than a few worn by the world's greats (think Placido Domingo). Fairy tale costumes will be included in the selection of course!
The L.A. Opera's costume shop, pictured in 2013 during the tailoring of outfits for "The Magic Flute," is moving -- so an estimated 1,000 costumes are being put up for sale. (Luis Sinco / Los Angeles Times)

From the LA Times and ArtsBeatLA:
Think late 19th century bustles and flouncy panniers; handmade shoes and masks; military garb and gladiator gear; period wigs and accessories. The items for sale are from productions such as “Cinderella,” "Aida," “The Grand Duchess,” “Lucia di Lammermoor” and “The Turn of the Screw.” Prices start at $25 for complete costumes and $2 for individual pieces. 
One-of-a-kind items such as handcrafted hats, uniquely designed shoes, numerous masks, theatrical jewelry, period wigs, gladiatorial armor and even slave cuffs will be laid out on tables alongside the racks.  Also for sale will be bolts of unusual fabrics and faux fur, as well as buttons, belts, floral hair pins, bustles and panniers. 
   
Costumes available for sale will include items from Aida, The Barber of Seville, The Birds, The Broken Jug, Cinderella, The Grand Duchess, Lucia di Lammermoor, Orfeo ed Euridice, The Queen of Spades, Salome, The Turk in Italy, The Turn of the Screw and Vanessa, among others.
A special “diva rack” will have the high-end items, $1,000 to $5,000, worn by stars such as Jennifer Larmore, Kiri Te Kanawa, Bryn Terfel and Deborah Voigt.
You can see a slideshow of some of the available costumes HERE and

If you're in the neighborhood, go check out the 90 clothing racks at:
330 South Alameda Street in downtown LA (parking lot)
10:30am to 4pm
Saturday March 28th ONLY 

It's a public event and you can browse for FREE!

If you go, don't forget to take your camera. We want to see the goodies please!

Wanted: The Right Shoe (Literally)

I got a little note from eBay UK last week, letting me know the "Cinderella status" of their website.

While I wasn't surprised to hear just how many products were tagged "Cinderella" (over 66,800 - "from tutu-style dresses to blonde wigs") and how many Prince Charming costumes they had sold in the past three months alone (over 1,000) or that somehow over 550 glass slippers have sold in the same time period (no reports on whether they actually fit or not), I was surprised to hear this:

eBay is drowning in shoes, specifically right shoes. They have over 4,100 right shoes available for sale but only 260 left shoes available*, and yep, you guessed it - they don't match.

What the...??

I have visions of people scrolling and clicking through hundreds of eBay pages looking for just the right shoe, or just the right size... and a lot of bare right feet on the part of the customers.


Is that a scientifically provable thing? That you're more likely to lose a right shoe than a left one? And what are people thinking in putting up single shoes for sale? Is there a market for this? (And what are people doing that they have all these right shoes to sell in the first place?!**)

And if you put in the search parameters "just the right shoe" you end up with a host of very fancy right shoe collectibles and displays. Who knew this was a thing?

It also makes you wonder about where a Fairy Godmother might "borrow her magic" from these days. eBay UK thinks she might be going incognito online, or people are being too impatient to wait for her to show up and taking matters into their own hands. This was the publicist's introduction:
As Cinderella hits the silver screen it appears that those who can’t find a Fairy Godmother of their own are flocking to online marketplace eBay.co.uk instead.
It's a different take on Cinderella I never considered, but clearly it's a more common "modern variant" than I could ever have imagined.

Someone is going to have to do a study of some sort - and soon.

My brain goes right from this to the whole concept of shoes being meant for individuals and reflecting their owners. This is actually something they've forensically proven. Shoes worn over time come to take the 'imprint" of the wearer and become unique as a result. It's even possible to identify which shoes belonged to which individual by way of looking at the wear, how the sole and heel were worn down, what the internal shape of the shoe ended up being, even in shoes that were fairly solid.

Shoe manufacturers and designers have known for centuries that shoes tell stories (and some evidence points to over 5,000 years of this). Shoes have something to say, both about where and why they were made, but, more interestingly to me, about the individual wearer and owner.

(If this subject fascinates you, take a look at this article HERE about vintage shoes found concealed in a wall and the history of such a practice. It wasn't the article I was looking for to reference but it will start you on a treasure hunt if you as so inclined!)

Shoes in fairy tales are fascinating too and there are many, many examples that immediately come to mind: The Twelve Dancing Princesses, The Red Shoes, The Cobbler and the Elves, Puss In Boots, The Seven League Boots, The Girl In The Iron Shoes, just to start, and there are whole books on that subject as well.

Take a look at this journal entry from a gifted writer who passed too early:
"Suum Cuique," said Cicero, translating as "To Each His Own." And that is the way with this shoe, designed by his countrywoman Miuccia Prada.
To me this object is as astonishing as anything in nature, so clever in its mixing of color and so sensually pleasing in its juxtaposition of materials, and all pulled together in a mind bogglingly inventive way.
Look at the sleek wet scarlet slick of the top and the ancient Grinling Gibbons curls on the heel. All that gilt and heft on the bottom decorated with tender vines carved with the “loose and airy lightness of flowers.” And then buckled up on top with the little belt that kept Red Riding Hood’s picnic basket with grandma’s gift of wine inside closed up safe and snug.
After I first saw this fashion photo in Vogue magazine I couldn’t get it out of my head for a month. Then I encountered the same image on a smart, stylish woman’s blog, where the shoe was being completely dismissed and utterly ridiculed. The cost! The height! The vulgarity!
One can think of what a shoe will set you back, I suppose, but I prefer to think of all the places one can take you, as Eugene Field did in his nursery rhyme:
“Wynken, Blynken and Nod one night
Sailed off in a wooden shoe -
Sailed on a river of crystal light,
Into a sea of dew… “
So now you see as I do. Or not. Suum cuique, then, but you know I’ll have an excellent view of any standing-room rock and roll stage come fall.
Theresa Duncan, Wit of the Staircase, July 10, 2006 
What we've done to the Cinderella story in the West (in particular) by changing her shoe to glass has changed the emphasis of the story overall, something which I was interested to see explored to some extent in the new Cinderella movie, by the way (more on this with my eventual review).

But if the Prince had figured out who Cinderella was from the individual imprint of her shoe (which would have had to have been worn more than once, and likely not been made of glass), he would have learned a lot about his bride-to-be while searching for her. In that case, if he still insisted on finding her after learning all these details about her and believed more than ever that she was "the one", that would make for a very different story!

It also makes you wonder what you could do if you just had the "right" shoe.

*Note from Ebay Publicist: *Data taken from the past three months (10.12.14 to 09.03.15)
** I probably shouldn't write posts like this after watching shows like Criminal Minds... my imagination just scared me.

Steampunked Cinderella by Goro Fujita

Steampunk Cinderella by Goro Fujita
This was created for a CG artists Steampunk Myths & Legends challenge in 2008/2009 and a few entries turned out to be fairy tales. I ended up posting a few but didn't get to showing this Cinderella one. What better time than when everything Cinderella is new again?

(I cannot quite believe this has been in my draft folder for nearly six years (!) butis a steampunk Cinderella, waiting for her time to come again to finally be seen...)

The artist, Goro Fujita,  decided his steampunk fairy tale heroine would make a better escape in a hot air pumpkin - I really hope she touched down before the last stroke of 12!

Neat how Cinderella and he hot air balloon match. by the way - if you look at the close-up of the dress (just click on the image), you can see gear patterns on her dress (almost like lacy snowflakes).

I liked the original concept of the steampunk coach too, but the pumpkin hot air balloon concept is pretty innovative and fits the genre very well.

You can read the artist's concept for the story in a steampunk world HERE too, and hear the music his brother was inspired to create for it as well (talented family!). I would have liked to have seen something really different with the shoe, (she obviously forsook the standard steampunk lace-up boots for this ball) but I think the hot air balloon might work to distract from the shoe for everyone initially.

You can see the progression of concept to design to final HERE.

Disney Fairy Tale Movie Marathon (aka Princess Movies) on ABC Family This Weekend

HIstorical Cinderella Edit by Camile Eusse
something different - just for fun)
Need to catch up on your Disney (princess) fairy tales? There's a bunch showing on ABC Family this weekend:

Saturday, March 21, 2015:
The Princess and the Frog    - 5pm ET/PT 
The Little Mermaid                - 7pm ET/PT 
Sleeping Beauty                    - 8:45pm ET/PT 
Cinderella                              - 10:30pm ET/PT 

Sunday, March 22, 2015:
Pocahontas                           - 12:15am ET/PT (yes, VERY early/late!)
The Princess & the Frog       - 3pm ET/PT
The Little Mermaid                - 5pm ET/PT
Sleeping Beauty                    - 8:45pm ET/PT
Cinderella                              - 8:30p ET/PT
Pocahontas (again)               - 10:15pm ET/PT

(So we wouldn't expect Anna & Elsa - too soon - but where the heck are Snow White, Jasmine and Rapunzel - three princesses that had their status right from the beginning of the movie?)

Here's the programming pitch:
"Beginning this Saturday, March 21, at 5 p.m. ET/PT, ABC Family will be presenting “Princess Funday.” Princesses of all ages are encouraged to don their tiaras, raise their goblets, and celebrate “girl power” with a princess-packed viewing schedule of animated Disney classics. "
For Saturday that's not a "Funday". That's a sleepover at best. Not sure who in programming plans on having their "princess" up past midnight to watch Pocahontas, (or starting to watch a movie after 10pm on a school-the-next-day night!) but... if you need to catch up on those movies (or want to take the opportunity to DVR them) this is a good opportunity.

And there's a new Disney "Imagicadamy" that's promoting family fun play ideas on the Cinderella theme that have nothing to do with watching - or buying - anything. 

The activities suggested are:

  • Find the Shoe - treasure hunt
  • Wait for Midnight Noon - clothes change dash
  • Scrub the Floor (unless it's already part of their chores!)

You can read the game details HERE.

Article: Discussing NPR's "A Girl, A Shoe, A Prince: The Endlessly Evolving Cinderella"

Cinderella illustrated by Katerina Shtanko
All illustrations in this post are from the book shown above
(via http://www.fairyroom.ru/)
First of all I want to say: GO READ THIS ARTICLE by Linda Holmes for NPR. The whole thing. I want to discuss it a little and wish I could just copy it all and paste it here, but you'll have to do with teasing extracts until you go eyeball the whole piece yourself. It's a wittily written, guide through Cinderella's transformations from one version to another. Still not convinced? It starts like this:
"Woman gives birth to a gourd." 
This is the opening to the description of an Italian variant of the Cinderella folk tale — or, really, a relative of one of its relatives — taken from a book called Cinderella; three hundred and forty-five variants of Cinderella, Catskin, and Cap o'Rushes, abstracted and tabulated, with a discussion of mediaeval analogues, and notes, written by Marian Roalfe Cox and published in 1893. In this version of the story, the heroine is born inside a gourd and accidentally abandoned in the forest — understandable, given that her mother has just brought forth a squash from within her person, and the last thought she's entertaining is probably, "Hey, I'll take that with me." 
Our heroine is discovered by a prince, who finds the talking gourd and takes it home. If nothing else, perhaps it has a future in show business. At some point, she presumably emerges from it — the details offered in the book about this particular folk tale are limited — and she becomes a servant... 

The tale is, of course, Zuchinetta, one of Cinderella's many, many ancestor-cousins. The immediate reaction when I bring this version up? "So pumpkins.. not such a new concept then?" (Perrault, you sly little writer you! Gourd, pumpkin... not such an out-of-the-blue choice after all, was it, Sir?
                            
Cinderella was always a gourd girl... (I know - it almost hurts it's so bad..)

Then Holmes discusses the variation that includes a little chewing out of the relatives... sorry. That's chewing ON relatives.. (yikes):
One begins with Cinderella, her two older sisters and their mother agreeing to a whimsical bet: First one to drop her spinning spool will be eaten by the others. When Mom proves clumsy, the sisters indeed eat her. (A deal's a deal?) Cinderella decides not to eat her mother, but to wait until the killing and eating is over, then bury her mother's bones. You know, out of respect. Fortunately, her mother's bones turn into coins and beautiful magic dresses. It's no fairy godmother, but you don't look your mother's gift bones in the ... mouth, I suppose.
Ba-dum-bump. OK, so Cinderella wasn't always such a "gourd girl". And this isn't the only version in which she does some.. less than "good girl" things.

It's not really that far a leap from bones to an oft-visited grave, though, is it?

But for all the weirdness and downright "heck-no!" factor in the more gruesome variants, Holmes explains how, somehow, Cinderella, the basic story, is still recognizable and remains as durable as ever.
                             
From there she goes on to discuss what a Cinderella story actually is and discusses one of those things I wish more people understood: the great differences in how people use language with regard to fairy tales - something which mixes up a lot of messages. For example, the use of the word "fairytale" (wish fulfillment/idea state) is completely different from the phrase "fairy tale" (a wonder tale) which, now that people are once again looking back to see where these stories came from is beginning to get mixed up with "folktale" (a traditional tale or legend that's considered false or based on superstition) all over again. Holmes discusses how the phrase "Cinderella story" is actually a different entity altogether from discussing "the story OF Cinderella" (or a Cinderella tale-type) and 'why' and 'how' they're an interesting reflection of the time period in which they were made (including all those spins and spin-offs).

All of this is walked through step by step with much humor, pithy historical recaps and some interesting social commentary until she ends up at... Captain America. Yes. The super hero. Like this:
If it's just a rescue of a deserving underdog from an ordinary life and delivery to an extraordinary one, then... to be honest? — Captain America is Cinderella. Lots of our current stories are. What is a fairy godmother, after all, that isn't also present in the idea of being bitten by a spider and gaining the ability to climb buildings? What is that pumpkin coach but ... the Batmobile? And not to return to the tone of cannibalism and murder, but what consideration of unloved pop-culture girls whose evil mothers won't let them to go dances is complete without Carrie? 
Too far afield? Sure. But this is folklore, and it doesn't end, it just takes new forms...

This is why I feel it's important to follow fairy tale news. Not that I will be posting on SpiderGodmother or the BatPumpkin anytime soon, but maybe this will help people understand how some of us see fairy tale connections EVERYWHERE. Sometimes they're overt (I try to put thosein the blog, to point out conscious uses of the tales) but mostly they're not (and sometimes I might nod in that direction as well) but the point is, tales are being told - and retold - continuously. We influence them just as much as they continue to influence us.

How did Holmes get from gourds to pop-culture edginess being (possibly) just another version of another fairy tale? You'll have to go read it, but she ends on one of my favorite subjects. To continue from above (emphasis in bold is mine):
It isn't as if folklore goes up to 1900 and then stops, and everything after that is "pop culture." The production is different and the financing is different, but the appeal of stories that overlap and wind together, and the appeal of stories told and retold in different forms in different voices and variations, is not only a function of greed. It's also a function of instincts to tell and share and revisit stories you've heard before, not because they're new, but because they're not.

Now go read it all. It makes you feel extremely glad (and possibly a little ahead of the curve), to know that we love one of the most cultural defining and describing (and predicting!) subjects of all time: FAIRY TALES.

Review: "Disney's 2015 Cinderella: A Safe Story but the Shoe Does not Fit" by Jennifer Culver


Disney's 2015 Cinderella: A Safe Story but the Shoe Does not Fit
Review by Jennifer Culver 

Cinderella opened  amidst controversy about Cinderella’s waist. Was her waist slimmer via CGI? Does this impossibly thin waist continue to send messages to young women about unattainable standards of beauty? With the clamor regarding Lily James’s waist, an interesting tidbit went largely unnoticed: Cinderella’s shoe did not fit. Costume designer Sandy Powell admitted that the glass shoe designed for the film fit no one, including Lily James. Like the shoe, much about Cinderella’s character does not fit her surroundings, which could actually be a good thing. 

But don't expect a whole lot from the "quiet revolution" Branagh claims he's making with this film. He presents a safe retelling that sticks close to it's source, the 1950 animated Disney film. There are subtle changes that do make a difference, for instance how diverse the ballroom scene is in terms of ethnicities, but for the most part, the story is the same; the talking animals used for comic effect, the bumbling Fairy Godmother, even Cinderella meeting her Prince ahead of time isn't "new". The portrayal of Cinderella as “underdog survivor,” a trait Zipes notes* regarding Cinderella retellings since 1899, and a prince who has “more democratic” leanings, meeting Cinderella earlier in the film, these are things we, for the most part, expect to see.

With The Walt Disney Company having already created two popular direct-to-video animated sequels that portray Cinderella as a far more rounded out character, while still being the same girl, this film seems even more conservative in many ways. 

A standout difference, however, is the portrayal of the stepmother, played dramatically by Cate Blanchett. She eavesdrops on conversations, blackmails dukes, and appears omniscient at times. When she delivers her backstory, told in the style of a fairy tale, her desperation to survive and secure a decent future for her daughters overwhelms all other, crueler aspects, yet the film does not fall into the trap of excusing them.

Throughout the film, Cinderella finds herself uneasy yet she remains in her subservient situation in order to “cherish” the home her parents loved. When confronted with the chance to claim a future with the prince, the narrator tells the audience that coming down the stairs means Cinderella takes one of the biggest risks any of us can take, “to be seen as we truly are.” 

Maybe Cinderella does not fit because of her outlook. She sees the world “not as it was but possibly could be, with a little bit of magic.” Sure, Cinderella still needs help to escape her situation, but she does not need help to improve her outlook. Fueled by the promise to her mother to have courage and be kind, Cinderella lives on her own terms no matter the dress she wears, an attitude that can fit any movie-goer of any shoe size. 

Branagh intends to be subtle and show strength through kindness, something that should endear Cinderella to us even more, but one has to wonder if this message isn't a little lost amidst the stronger impressions handed to us by the very marketing campaign pushing us to see it in the first place.


* Zipes, Jack. The Enchanted Screen: The Unknown History of Fairy Tale Films. New York: Routledge, 2011. Book.

Jennifer Culver works as a Digital Learning Specialist while finishing her dissertation. Her study focuses on the rhetoric within fairy tale adaptations in film. She enjoys continuing the tradition of sharing fairy tales with her children and godchildren.

Family Theater: "The Brothers Grimm & A Showgirl" & "Cinderella Italiano"

Despite the implication in the name, The Brothers Grimm & A Showgirl is a family theater production and has a short run starting TONIGHT. Pantochino Productions Inc ("ridiculously entertaining") is an award winning professional non-profit family theater productions company specializing in family friendly musical theater with a large dollop of fun.

From the New Haven Register:
The show features spoofs and goofs of favorite fairy tales such as Snow White, Little Red Riding Hood, Rapunzel and Sleeping Beauty. In the play, the Brothers Grimm arrive to perform their stories and are taken by surprise when a sequined and feathered Showgirl appears and helps tell the tales in her own special way.

More information can be found on the Facebook page HERE and at the Pantochino theater company website HERE. You can see some photos via BroadwayWorld HERE.

The company is also staging an intriguing production titled Cinderella Italiano. Cinderella Italiano begins on April 24th, 2015.
                   

On "Cinderella" Costume Practicality and Altering Oneself To "Fit"

Sandy Powell - Queen of Cinderella Costumes (siting on a prop from the costume display)
Perhaps things will change after the movie is in theaters and everyone who wanted to see it (or see the Frozen "sequel" before it), have seen it but for now, the strongest impressions of Cinderella are all about the costumes.

Three time Oscar winner, Sandy Powell is the costume designer for this movie and I have to say the sneak peeks and close-ups are indeed stunning (not things I would wear but the craftsmanship is clear).

But it's the teeny waist controversy that's bugging people out a bit. No matter how independent and strong this Cinderella is compared to her (Disney) predecessor, the fact that star, Lily James couldn't comfortably eat solid food while in her corset, shouts far louder to the public that ideal look and measurements are still the deciding factor for what makes an ideal woman.

This, of course, fits well with the theme of the step sisters doing their best to squeeze their foot into the glass slipper, in order that they will become the chosen bride. The Grimm's version is pretty clear on just how far the sisters may have gone, and currently, the new designer "glass" slippers by famous brand designers all show a slim fit shoe in which there was only one design that was under 4 inches (I may be being generous - perhaps none were), not to mention an inbuilt requirement for having feet that are well manicured and bunion, vein and sweat-free.

Oh, and in case you were wondering? Foot surgeries: still popular.

What a colorful society this is! Pity real life isn't so much.
Looks are everything in this film - everything is designed to shine, glow, be full of color or drama and everything is about as perfect as possible. Even the blue dress featured in every Cinderella commercial, was designed to look perfect while Cinderella was running, as well as standing and dancing.

Funny thing is, it turns out that when Lily James had to run she wasn't wearing those Swarovski crystal heels at all, but running shoes. Well that just makes a little too much sense, doesn't it?

If Cinderella lost a shoe because she was desperately loosening her corset and slipping into something more comfortable to run in (or resorting to bare feet) that would actually be quite a statement. Can you imagine? It would change the whole conversation....

I thought I'd share a few other notable pieces of trivia on this shoe and fit business as well:
Powell is very particular when creating designs that the under garments are as close to authentic as possible.
“I want to dispel the myth that corsets are uncomfortable,” Powell says. “Corsets are uncomfortable if they are made badly or if they don’t fit right. If they are made to fit properly, your squeezey bits — like your waist — get pulled in properly and it shouldn’t push on your rib cage. All that it does is that it makes you aware of your posture.”
 
It took about 20 minutes to get James into the costume, including lacing up the corset. 
The corset didn’t hurt James, but there was a side effect Powell hadn’t anticipated. Richard Madden, who plays the Prince, noticed during dance scenes with Cinderella that if James ate anything while in the corset she would have some pain. They would have to stop so it could be loosened.

R
ead more here: http://www.fresnobee.com/2015/03/07/4413028_sandy-powell-dresses-cinderella.html?rh=1#storylink=cpy
FTNH Interrupt: Hang on a second - how do the phrases "didn't hurt James" and "have some pain" work simultaneously?! Even if you take this as generously as possible how can a corset that "doesn't hurt you" coexist with a corset that makes your body object if you eat?! OK - two cents over, back to it:
...James was able to wear comfortable running shoes because the gown covered her feet completely. She never wore the glass slippers that prove so important to the tale.
Powell designed the slippers based on an 1890s shoe she saw in a museum. The 5-inch heels gave the shoes a modern look that was still suitable for the fairytale. She had casts made of the shoes, which were sent to a company that created the slippers out of cut crystal.
 
The shoe is made up of three pieces of crystal fastened together. The shoe was only used as a prop. Scenes that show the slippers were added via computers after the filming was completed.
When asked about the cut crystal shoes, James smiles and says they didn’t fit her feet. She immediately realizes that she’s ruined the fairytale ending and adds, the shoe wouldn’t fit anyone’s foot.

R
ead more here: http://www.fresnobee.com/2015/03/07/4413028_sandy-powell-dresses-cinderella.html?rh=1#storylink=cpy
Well isn't that ironic?

And I'll just leave this last bitfor your reading pleasure:
Most of her work for “Cinderella” went as Powell planned — except for a small issue with the Fairy Godmother design. Helena Bonham Carter would only play the role if the character had wings. 
Bonham Carter had to put up with a lot for the costume to work. Her dress is filled with lights and batteries to make her shine. That’s why Powell was finally willing to add a small pair of wings to her look. Director Kenneth Branagh says Bonham Carter joked that every day there was a man to turn her on.

Read more here: http://www.fresnobee.com/2015/03/07/4413028_sandy-powell-dresses-cinderella.html?rh=1#storylink=cpy
This might be the only case in the whole movie where the costume was made to "fit" the person. Even Prince Charming was faced with having his "codpiece" discussed and er, managed (please tell me they didn't CGI him into a Ken doll). Not even the boys were getting away with being 100% come-as-you-are. So in the case of the Fairy Godmother (and Helena Bonham Carter) the costumes had to "fit" the wearer, rather than altering the wearer to fit the costume (what a headache I'm sure, but in principle I say Bravo Helena!).

I'm not sold on the movie yet. I can't see anything particularly revolutionary about it that Ever After didn't already do (and much, much better) but those costumes really do look amazing.

Between those and Cate Blanchett (who apparently reads all sort of fairy tales to her three boys, and not just the boy ones but the girly ones too) I'm thinking I may have to do my fairy tale duty and go see this. Anyone want to go with me? I have a feeling I'm going to want to chat about it after over drinks, no matter how good or bad it is.


(Source: fresnobee)
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