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[K][T] And Family Ch. 08 free porn video
Chapter 27—Media Circus II
Interlude: 25th Anniversary
Cindy:
I said earlier, Aunt Jo used to be punk/goth/grunge, or whatever you call it. Considering what she wears now, it is a bit hard to believe, but I’ve seen pictures and handled the Army boots. The gown she wore to the wedding ball seems to draw the line between before and after. Mom wanted Aunt Jo to look good dancing with men in military uniform. You’ve seen the picture. The distinguished man in dress greens is Gerald, our head of security. Aunt Jo says that she hated him growing up. It doesn’t look like hate in that picture. Gerald gave her away at her wedding.
That wasn’t the only picture from the Ball. Aunt Francine was everywhere, doing everything. One I love is when she led the Irish clog line-dance. You won’t understand that unless you see a video called Riverdance. Another great shot is Edith Dryden dancing with Pedro de la Garza. Pedro’s wife, Angela Molinari is in the background, smiling. Then there is Jason Porter and his fifty dates. I find it interesting that his last dance was with Nanny CC. You can check the time stamps.
Of course, this was a wedding ball. Dad is no one’s Hollywood star, but he did Mom proud. The bride and groom traditionally have the first dance. Mom chose a waltz.
Entertainment Tonight—May 26, Monica Parsons reporting.
ET: I am standing in front of the Richards Estate with Francine Martel. We just attended the marriage of Sean Richards and Sheila Schwartz. Miss Martel was one of Mrs. Schwartz-Richards attendants. How did that come to pass?
Francine Martel: It’s simple. Sheila asked me to.
ET: I doubt you would do this favor for most people. What made you accept in this case?
FM: I’ve known Sheila since she was ten. We trained together for four years. We were even cast together once.
ET: What was that?
FM: It was The Nutcracker. Sheila danced the Sugarplum Fairy, with Susan Farwell as Clara.
ET: Wait. The Susan Farwell?
FM: Is there two? Sheila was fourteen. She had to give up ballet after she matured, but I have known few to compare and none better.
ET: Wow. Is that why you cut your tour short?
FM: Sheila has a special place in my life, but I also knew Ricky, that’s Sean Richards, the groom. We dated in high school. I even knew his sister Siobhan. She’s the tall one in the lavender gown. In the ceremony, she wore a suit and stood with the groom.
ET: Still, you have the reputation of getting out of a hospital bed to make practice, much less a performance.
FM: [laughing] That only happened once and there was no one to cover the part. In this case, it was a good chance to get Diane some exposure.
ET: Diane Franklin, your understudy, will complete the tour. What are your plans now?
FM: Good question. I will be going back to California, but that is unfinished business, not show business. Sorry. No announcements of soon-to-be-shot films. After that, we’ll see. I hear the orchestra. Want to see me dance some ragtime?
Saturday 6:53 PM—[email protected]
Bruce,
Cameras and phones were prohibited at the ceremony. I am stepping out if the wedding reception to text you this. There are dozens of others doing the same. Entertainment Tonight is recording an interview with Francine Martel about ten feet from me. This party is making quite a splash.
On the subject of private suburban redevelopment, I can report good progress. Sean Richards is the spearhead of the project. Obviously, he will be unavailable for some time, but Richards Enterprises lead attorney, Curtis Albrecht, is also deeply involved. He has promised to introduce me to the others. They are all here. Reading between the lines, they will be glad to have a good excuse to leave the dance floor. The reception is a formal ball, with all the trimmings.
On a related note, I would like to request a transfer to the Washington office. I have personal reasons for the move and it will allow me to follow this story closely.
Saturday, 7:17 PM ET–broadway.com/divawatch/martel
Tickets to the Richards/Schwartz wedding were impossible to get, but getting in after the vows proved easier. We tracked down the diminutive star just after she gave an interview to Entertainment Tonight. According to ET’s Monica Parsons, Miss Martel will be returning to LaLa land, but not for a new film. She cited unfinished business reasons.
Does that mean Miss Martel is still pursuing real estate near the studios? Is a move to the left coast inevitable? When we know, so will you. Meanwhile, the diminutive dynamo is the life of this party. As you know, she researches all of her parts, including period dance. That background is coming in quite handy.
Saturday, 7:12 PM—[email protected]
David,
Now that I have seen the event, I completely understand why Immons took the job. The scale was massive and the results were impressive. As nearly as I can tell, the bridal party never posed for anything. Everything was done on the fly and with natural light, though I saw the Maid of Honor carrying a good quality Nikon. She may be giving her take to Immons. At this event, my ten year old could shoot good prints.
Sheila Schwartz, now Schwartz-Richards, could be a tyro or a genius. We will never tell from what comes out of this party. I just wish I could attend the dance.
3:4 Magazine—June edition
How often do we cover weddings? How often do we cover John Phillip Sousa? After all, 3:4 is a dance time, Sousa wrote in 4:4 and 2:2. This is the first I have covered either. Then again, this wedding is quite unusual and Sousa was a genius.
The event drew national attention by using Amish horse drawn carriages. It was a good place to start, but it was just the beginning. The pre-wedding party was memorable, featuring a full sized Merry-go-round surrounded by an old fashioned country fair. The ceremony took place on the water, with the attendees packed on the shore. The Bride wore a handmade linen dress, with handmade lace covering, while the groom’s sister wore a British mens suit and stood next to the best man. I will be telling stories about this for decades.
What does all this have to do with dancing? I’m glad you asked. The reception to the wedding, not counting the carousel, roasted peanuts and lemonade, was a formal ball. 3:4 is the dance beat and this party not only danced, it was to live music. Any music published by 1910 was fair game—classic waltz and foxtrot, antebellum reel and quadrille, early 20th ragtime and tango. The orchestra, led by John Phillip Sousa (portrayed by Dr. Michael Foxworth, see inset photo), played them all.
As a lesson in the history of American party music, the event was outstanding. Dr. Foxworth has written extensively about Sousa and his times. While remembered as a writer and conductor of marches, Sousa was primarily a teacher. After leaving the Marine Corps, he formed the famous band and toured many small communities, playing both his own and traditional music. Dr. Foxworth cited his own band as being indicative of Sousa’s versatility. Prior to the wedding ceremony, the band played Sousa’s martial music, which suited the fair-like atmosphere. During the ceremony, the music shifted to Bach, Handel and Mozart. After a break to change instruments, the same personnel played everything from Strauss to Scott Joplin. So might Sousa have done it a century earlier.
I am not saying that a marching band is our first choice for wedding music, but, in this case, it was a successful one.
New Jersey Architectural Institute Quarterly—July-September
We often refer to the ‘marriage of styles.’ Integrating new ideas into a old structure, or adding an addition to an existing building, is one of an architects most challenging duties, and one of the most common. New Jersey’s rich architectural heritage spans a dozen generations an
d uncounted style motifs. In this article we examine the challenges of renovating four homes built more than two centuries ago. …
Our third study is of the Richards Estate, located in rural Morris county. Originally settled by …
This photo, of a wedding reception, appears to have been taken in the early 20th Century. In fact, it was taken in May of this year. The wedding used a pre-World War I theme, which meshed well with the design of the main house, constructed in 1742 and enlarged in 1795, 1849 and 1967. A portion of the most recent addition is visible at the far left.
Over the years, much of the house has fallen into disuse. The third floor servants quarters have long been empty. More recently the salons and formal dining/ballroom had passed from use. The main house was electrified in 1922, but climate control was not available at that time. Rather than extensively remodel the house, in 1967 Harold Richards chose to add a wing, with all the modern amenities. For most purposes, the rest of the house became vacant.
That changed when C. Sean Richards decided to marry Sheila Schwartz on the grounds. Miss Schwartz loved the old house and wanted her wedding in the period theme, shown in the lead photo. Central to the reception was a formal ball. Remarkably, in spite of generations of idleness, the ballroom was made presentable in less than a week. Understandably, compromises were necessary. For example, rather than use the outdated wiring, light was provided through dozens of battery powered LED lamps. Electrical and data lines were a major part of the renovations.
At the wedding ball, air conditioning was rendered unnecessary by an ingenious ventilation system built into the house during the 1849 enlargement, see diagram 2. …
Saturday, 9:44 PM—[email protected]
Aaron,
I don’t know about Hollywood parties. One of these days I need to go to LA and visit a couple. I do know New York parties and this wedding was a classic—in more ways than one. I gather Schwartz—I guess that’s Schwartz-Richards now—provided the initial concept. The actual project was managed in house, by the groom’s sister Dr. Siobhan Richards. That is a name to remember, though perhaps not in a business context. The work was done by the house and grounds staff, several of the Richards family businesses. Francine Martel supplied costuming, performers and technical assistance.
I understand you have met Martel. There is a story going around that there was a dispute about who was really in charge. According to the story, Dr. Richards picked her up and dangled her, head down, out of a second story window. Dr. Richards is six feet tall and oozes, ‘Do NOT fuck with me.’ You know how small Martel is. It could be true. Interestingly, both Richards and Martel were very prominent at the dance.
On to business. I hope you have something highly portable for this project. The couple is coming to you. They will be changing planes in LAX. The arriving flight is UCommute 6844, departing Hawaiian Air 8922. I spoke with Curtis Albrecht, as indicated in my last email. We have an agreement for an inspection and negotiation. They are bound to confidentiality. We are putting in $10K as a retainer. If they are willing to accept the project, a contract along the lines you discussed with Mr. Richards is anticipated. If the offer is declined, they will not charge the retainer.
Richards Enterprises was willing to waive the retainer. I insisted. If Mr. Richards is anything like Dr. Richards, he will be a handful. On the scale of things, the money is cheap. It generates goodwill and initiates the relationship on a strictly businesslike basis. This is a new player, but not a naive one.
Get what you can throw together and meet them at LAX. They will give you an answer when they return from the honeymoon.
On a side note, Schwartz-Richards’ personal assistant has Hollywood experience. I’ll give the details to Janice. They hired an experienced girl out of Martel’s LA office. She’s in town for the wedding and should be set up by the time they get back. Their level of professionalism impresses me.
Saturday, 11:43 PM—[email protected]
Bob,
I don’t care what you’ve already done. Tear it down. This one is the cover and lead story. It will be the cover and lead story of the year end review. Hell, It may be the cover and lead story of the 25th anniversary edition. It’s a freaking goldmine.
I waited until I had at least one good shot of the bride, see attached. The details of the dress are worth an insert article. If she looks impossibly thin, she is. She used a corset. Even the groom’s sister wore one. More on her shortly. This picture—all the pictures—are 100% natural light. This one was shot using banked reflectors and a dish reflector for the spotlight effect.
The bride’s dress was custom made. All the mens suits and bridesmaids dresses are tailored costumes. Yes, that includes the groom’s sister, who wore almost the same suit as the best man. The work was done by Vivian’s Costume in Manhattan. Both the bride and the groom’s sister were wearing stunning earrings. Miss Schwartz wore emeralds and Dr. Richards wore rubies.
We have covered the preparations for the fair in some detail, so I will only say that the impact had to be experienced to be believed. The carousel in the middle of things—I do mean the middle—was unforgettable. The food and beverage service was nearby, so the activity level was amazing. Food was simple—sandwiches, fruit, cold finger food and fresh baked bread and pastries. Available drinks were beer, lemonade, vintage soda and iced tea. Noteworthy was the ice cream churn, which could be heard all over the yard. The band director let it beat the time, rather than fight it.
The bar, located in the entry foyer, was also noteworthy. Rather than stock a full bar, they served only whiskey, coffee or an Irish Cream made from the whiskey. The only mixed drink of note were whiskey sours. Otherwise it was whiskey neat, with ice (glacial ice was a nice touch), with water, with soda or with coffee. If you wanted sweet, the only option was the Irish Cream. None-the-less, the bar was a great success.
Simplicity was a general theme, underscored by quality. The excellence of the whiskey made the bar a success. Similar things can be said of the smoking porch, which provided pipes and tobacco, and the ladies parlor, which served tea and shortbread. After years of buffets at Tavern on the Green, it was a welcome change.
The Ball is worth a feature article by itself. The imagery of that will take longer, so I will cover it in detail later. Page one will be the bride, who is poetry in motion on the dance floor. Page two will be Francine Martel, who was everywhere. She demonstrated many of the period dances. My generation tends to think we invented line dance, but it is similar to the pre-Civil War reel. Jazz became popular in the 1920s, but Ragtime was a rage before the war. Miss Martel knew and explained it all.
Also of note were the many men attending in military dress. Current military parade uniforms are
very similar to those of a century ago. Naval whites and Army greens contributed greatly to the period feel of the dance. Here again Dr. Richards is significant. Her ballgown might have been made with Army dress greens in mind. The contrast of colors was perfect. She provides an element of humanity, which the divinely beautiful and ethereally graceful Mrs. Schwartz-Richards does not.
Dr. Richards is not particularly attractive, though she photographs well. If you look, the figure control is obvious and there are times her posture lapses or turns stiff. However, those are the exceptions, not the rule. On the whole, she is an impressive figure, handling multiple duties with grace. I recommend a full second article on the supporting people, which Dr. Richards typifies. While she is not the Maid of Honor, she filled many of the roles the MoH
typically handles. As I noted above, she is much easier for our readership to relate with.
There is much more. We will be mining this wedding for years. But, it’s late and I am going to get a drink or two. See you Monday.
Chapter 28—Take Me Out to the Ball
Interlude: 25th Anniversary
Cindy:
I always wanted to have a ball like Mom’s Wedding Ball, but these things need spontaneity. No one my own age wants to do vintage dance, but the vintage dance societies—yes there are such things—tend to be narrowly focused on one period. The wedding ball did a little of everything. Aunt Francine knew an incredible number of them, but not everything. One of my favorite pictures is of Niles, one of Dad’s security people, demonstrating British formal dance with his then future wife Harshini. Aunt Francine’s studious expression is priceless.
Many of my other favorite pictures are of Aunt Jo. She danced with Dad, of course, and with Gerald, with Uncle Lars, but it doesn’t stop there. According to Mom, Aunt Jo was one of the most popular partners at the ball. She knew enough dance to make a good partner, but without the intimidating brilliance of Aunt Francine or the liquid grade of my Mother. In about ten minutes, we are going to clear the floor and you will see what I mean. Even now, Mom has to be seen to be believed.
Sean:
I doubt if I will ever forget the feeling when I saw Jo come down the hall, arm in arm with Sheila and Francine. Jo proceeded to do a number on Gerald and her fellow students, which made me grin like an idiot (Sheila cropped me a picture). For all her accomplishments, that was the first time I thought of Jo as grown up. It was with genuine pride I followed her through the rabbit hole into Wonderland, a.k.a. Sheila’s Ball.
Before I had a chance to adjust, a voice cut through the buzz of conversation. George, my driver, does not talk much. That doesn’t mean he can’t. Sergeants need to be heard, so George knew how to raise his voice. He called for quiet and he got it. Mitchell Gilbert’s cultured voice took over.
‘Ladies and Gentlemen, on behalf of Sean Richards and Sheila Schwartz-Richards, thank you for coming. As you can see our space is somewhat limited. We hope to be able to entertain you all this evening and we request your cooperation. Those who are not actively using the dance floor are invited to use the seating outside. It is promising to be a gorgeous evening. We also request that no food or drink be brought onto the dance floor.
‘Now, since the happy couple has arrived, we may begin the dance portion of of our festivities. Kindly clear the floor so the wedded couple may have room for the first dance. Maestro, at your discretion.’
There was a good deal of shuffling. Many people did not want to vacate the floor, but Gerald’s people were politely insistent. In the comments, I heard repeated references to Youtube, which I found ironic, given the period theme of the dance. It took a couple of minutes, but the floor was cleared. The orchestra announced its readiness with Pomp and Circumstance, which had been played at my high school graduation. I suspected the irony was intentional. Giving the orchestra leader an evil eye, I led Sheila into the center of the floor. It was only when Sheila winked at me that I realized I had no idea what the orchestra would play.
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