Lifestyle
Learning a Shared Love Language — One That Includes Signing
Jerald Jerard Creer and Kent Michael Williams chalk up the almost 15-year delay in becoming a couple to a struggle to communicate — one that had nothing to do with Mr. Creer’s Deafness.
Since June 2009, when the two met on a Carnival cruise ship, Mr. Williams had been texting Mr. Creer every few weeks asking for dates. Mr. Creer routinely turned him down. For years, Mr. Williams assumed it was because of his age. “Jerald told me when we met I was too young for him,” Mr. Williams said. (Mr. Creer is seven years older.)
The truth was more complicated.
The friendship that Mr. Williams, now 42, and Mr. Creer, 49, struck up while sailing from Miami to the Bahamas had obstacles from the start. Mr. Williams, an engineer at Cox Communications then living in Baltimore, was traveling alone. Mr. Creer, a social worker, teacher for deaf people and actor then living in Suitland, Md., was vacationing with his boyfriend. Both were part of a group of L.G.B.T.Q. people of color vacationing together.
Mr. Williams remembered seeing Mr. Creer outside the ship’s nightclub a day or two into the trip and feeling drawn to him. “He’s fine,” he recalled thinking.
But he didn’t know Mr. Creer was deaf, which resulted in a stilted conversation. Mr. Creer, who considers American Sign Language his first language, can read lips and make out sounds when wearing his hearing aids. But he struggles to decipher spoken words in dim lighting and loud environments.
“From time to time, I don’t know if my hearing counterparts are adjusting to being in conversation with me,” he said of the stiltedness. That was the case with Mr. Williams. Then, there was the matter of Mr. Williams’s social anxiety. “I’m shy and introverted,” he said. “I’m still trying to figure out why I would have gone up to Jerald in the first place.”
Only two things were clear to both by the time the vacation was in the rearview mirror: One, each found the other attractive. And two, “Kent was very, very shy,” Mr. Creer said.
Mr. Creer grew up in Richmond, Va., with five younger siblings. His parents, Pamela Smith and Jared Creer, discovered his deafness before his first birthday.
By middle school, he was attending events for the deaf community in Rochester, N.Y., where he moved to attend a private school. There, he found his first deaf role models: Rosalie Rockwell, who was a teacher at the school, and her husband, Dale. Both have since died.
“They told me about N.T.I.D.,” he said — the National Technical Institute for the Deaf, a college at Rochester Institute of Technology that trains deaf and hard of hearing students for tech careers, where Mr. Rockwell was a science professor.
At first, Mr. Creer was skeptical: “No one in my family ever went to or finished college.”
But at N.T.I.D., where he enrolled as a scholarship student in 1994, the world opened up. “I met deaf people of all races,” he said. His freshman year, he joined the Ebony Club, a campus group for deaf Black students, but quit because he felt he wasn’t intellectually on their level. Shirley J. Allen, a retired R.I.T. professor and the first Black deaf woman in the United States to earn a doctoral degree, pulled him aside and told him, “Don’t you ever give up.”
Mr. Creer earned two degrees from R.I.T., the first a bachelor’s in his double major, social work and performing arts. Years later, he finished a master’s degree in education. He now works as a drama and theater arts teacher at the Atlanta Area School for the Deaf in Clarkston, Ga.
Mr. Williams grew up in Baltimore with his parents, Darlene Winslow and Kent Williams Sr., two younger half sisters and a cousin he considers a third sister. At 17, he started college at Frostburg State University in Frostburg, Md., to study computer science. But at the time, he was struggling to come to terms with his sexuality. After a semester, he dropped out.
“I had attempted to kill myself,” said Mr. Williams, who was raised Christian. “Growing up in the church, I thought I was going to hell anyway.” (Mr. Creer said that he also attempted suicide during college for similar reasons and survived his depression with the help of his friends from theater, a creative outlet he had been pursuing since early childhood.) Instead of returning home to Baltimore, Mr. Williams moved to Dunnsville, Va., where his godmother lived. To support himself, he worked a series of retail jobs.
In 2003, after three years in Virginia, he returned to Baltimore and got an apartment with a friend and eventually a customer service job at Verizon. By 2009, he was ready to return to college, later earning a bachelor’s degree in information systems from the University of Maryland. In 2010, he moved to Atlanta.
The boyfriend Mr. Creer took the 2009 cruise with broke up with him shortly after they returned home to Maryland. Mr. Creer moved back to Rochester, where he started working as an ASL coach and teacher for deaf people. Heartbreak was nothing new to him, though for years he had tried to avoid it by dating older guys. Men his own age or younger “just wanted to play,” he said. “I didn’t like that.”
Mr. Williams made a promise to himself to keep in touch with Mr. Creer after the cruise, though the odds of an eventual romance, he knew, were against him. He didn’t know ASL, and it was hard to keep up with Mr. Creer’s relationship status. But he remained in the grips of an enormous crush. “I never stopped being attracted to him,” Mr. Williams said. “I made it very clear.”
He did so by texting Mr. Creer at least once a month, letting him know about travel plans and where and when he hoped they might be able to meet in person. Mr. Creer always answered, but usually with an excuse. “He would say, ‘No, I don’t think so, I can’t take the time off,’” Mr. Williams said. “I would say OK and continue to be cordial.” But occasionally they did meet up in cities like Washington, D.C.
Binge more Vows columns here and read all our wedding, relationship and divorce coverage here.
“I’d meet him for a local event or for dinner at some restaurant,” Mr. Williams said. Those visits sometimes turned romantic before they said good night. But Mr. Creer’s pattern of declining his invitations would soon pick up where it left off. “I figured, it is what it is,” Mr. Williams said. “You enjoy what you can get sometimes.”
In December 2023, Mr. Williams made plans to celebrate a friend’s birthday in Manhattan and asked Mr. Creer to meet him there, not realizing that New York is one of Mr. Creer’s favorite cities. In less than a day, Mr. Creer responded, “I’ll be there.”
“I was like, Oh my God, for real?” Mr. Williams said. “I was really happy.” Nervous, too.
At the DoubleTree by Hilton in Times Square, the two stayed up all night playing a conversational card game that Mr. Creer had brought, the couples edition of (The And) card game.
“It was so thought-provoking,” Mr. Creer said. “We answered questions like, What are you hesitating to tell me? What are you afraid of?” Both say they fell in love that night. “We understood each other in ways we hadn’t before,” Mr. Creer added.
That weekend, Mr. Williams finally understood Mr. Creer’s reluctance to accept his scores of invitations through the years. Mr. Creer’s reservations about dating younger men were real. “I was aiming for mature men who understood the struggle of life and who know what it takes to sustain a long-term relationship,” Mr. Creer said.
But there was something else, too. “Kent often goes on trips that I couldn’t afford,” he added. “I was a social worker and was embarrassed that I couldn’t go, either because of my schedule or because of money.”
At the end of the New York birthday celebration, Mr. Williams was ready to carve a path forward as a couple. “‘Are we dating exclusively?’” he asked Mr. Creer. “Jerald said, ‘I think we should. I’m going to make a point of investing in you.’”
Two weeks later, in January 2024, they met in Manhattan a second time. In March, they traveled to London for a friend’s wedding. By then, they were discussing living together in Atlanta. But not marriage. So it was a surprise when Mr. Creer proposed to Mr. Williams at the top of the London Eye Ferris wheel. “It was total disbelief,” Mr. Williams said. His yes brought tears to both.
“I’m deaf in a hearing world, and I’m signing all the time, but Kent doesn’t see me as different from anyone else,” Mr. Creer said. “I love his heart and his compassion and his generosity so much.”
Mr. Williams added, “I fell in love with how genuine he is, the heart that he has. He will do anything in his power to make someone else happy, even at the risk of making himself unhappy.”
In June, Mr. Creer moved into Mr. Williams’s home in Atlanta. On Feb. 28, 115 guests gathered at Kimball Hall in Roswell, Ga., for their wedding, which was officiated by Romell Parks-Weekly, a friend, an L.G.B.T.Q. activist and a pastor at the Sanctuary, a Christian church in St. Louis. Both men were escorted down the aisle by their parents.
The ceremony included two ASL interpreters and a rendition of John Legend’s “All of Me,” both sung and signed for guests. Mr. Creer and Mr. Williams exchanged rings and promised to love each other “today, tomorrow and forever.” Once they were officially married, they jumped a broom decorated with ribbons and rhinestones into the first moments of that forever.
On This Day
When Feb. 28, 2025
Where Kimball Hall, Roswell, Ga.
Bliss and Harmony In the weeks leading up to the wedding, Mr. Creer took to Instagram to express his feelings about Mr. Williams in a series he called “word of the day.” Each day, he taught his followers a new word in ASL, including “forever” and “commitment.” Mr. Williams, who avoids the camera because of his shyness, reluctantly agreed to be part of the “romance” post on Valentine’s Day.
… And Comfort (Food) At a reception after the ceremony, guests helped themselves to a buffet with Southern favorites, including barbecued chicken, beef brisket sliders and mac and cheese. For dessert, after the grooms cut a small wedding cake, red velvet and chocolate cupcakes were passed around.
Bon Voyage The day after the wedding, the couple set sail on their second cruise together to the Caribbean. This time, they shared a cabin.
Lifestyle
Terry Tempest Williams on why women with big ideas get labeled ‘crazy’ : Wild Card with Rachel Martin
A note from Wild Card host Rachel Martin: I met Terry Tempest Williams about 25 years ago at a writer’s conference in Yosemite Valley. I was a young reporter who was there to do a story about how literature was addressing climate change and she made such a huge impression on me. I had never heard someone talk about the natural world the way Terry did and she had a spiritual depth I hadn’t encountered in my life at that point.
To this day, Terry’s writing always reorients me towards what is good, what is beautiful, and what is true. Her newest book is called “The Glorians.”
Lifestyle
Meow Wolf taps famed L.A. animation house for its new Los Angeles venue
For its upcoming Los Angeles venue, experiential art firm Meow Wolf will focus on the art of storytelling, with a specific eye toward skewering our city’s moviemaking magic. To help bring that vision to life, Meow Wolf has entered into a creative partnership with Titmouse, one of L.A.’s most renowned independent animation houses.
The Hollywood-based studio behind popular series such as “Big Mouth” and “Star Trek: Lower Decks” will create animation that will be shown throughout the West L.A. venue, which is on target for a late 2026 opening at the Howard Hughes entertainment complex.
It’s a move that represents a shift for Santa Fe, N.M.-based Meow Wolf. Over the last decade-plus, the art collective has grown beyond its anything-goes, punk-meets-psychedelic roots into an organization with full-scale, maximalist installations in its hometown, Denver, Las Vegas, Houston and the Dallas suburbs. In the past, Meow Wolf kept most of its media in-house.
As part of its larger-than-life participatory art installations, Meow Wolf L.A. will feature a mix of live action and animation, the former filmed by Meow Wolf in its Santa Fe studio. Meow Wolf’s James Stephenson, a senior VP with the company and its creative director of emerging media, said the degree to which the L.A. exhibition will lean into various animation styles necessitated an outside partner. Titmouse’s work, in development by a number of directors with contrasting tones, will be shown on a variety of formats, ranging from cinema screens to full-room projections.
“I really believe in animation as an art form, and I know the Titmouse folks do too,” Stephenson says. “Animation is made by artists. It’s made by artists with their own hands. It’s something that is still very rooted in craft.”
Meow Wolf’s L.A. space is set in a former cinema complex, and will champion its location, taking guests on a journey through a converted movie house and beyond, into a sci-fi-inspired fantasyland with sentient spaceships and a 30-foot-tall mushroom tower. Meow Wolf creatives have spoken of the fantastical movie theater as one that will feature animated, self-aware candy before attendees enter the main exhibition space, making Titmouse’s work some of the first art guests will encounter. Titmouse co-founder Chris Prynoski has said the studio has lined up at least six directors for the exhibit.
An in-progress art installation destined for Meow Wolf L.A. at the art collective’s Santa Fe, N.M., headquarters. The L.A. exhibition will feature animation from Titmouse.
(Gabriela Campos / For The Times)
Titmouse, says Stephenson, is the right partner because “they’re known less for a house style, and more for a house vibe.” Over the years, Titmouse has been behind such diverse shows as “Scavengers Reign,” owning a Jean Giraud influence rooted in French and Spanish surrealism, the lively “Jentry Chau vs. the Underworld,” with an unique color palette that took inspiration from anime and Chinese mythology, the exaggerated comic book feel of Adult Swim’s “Metalocalypse,” and the approachable yet expressive tone of “Star Trek: Lower Decks.”
“Meow Wolf’s vibe is similar to Titmouse’s vibe,” Stephenson says. “It’s artist-first, artist-driven, independent and kinda edgy. They are always trying to find the edge of what’s possible. They try to see how far they can go, and it’s done for fun and in the spirit of taking risks.”
Prynoski says working with Meow Wolf will give Titmouse a sense of artistic freedom it doesn’t always have when delivering content for more traditional Hollywood partners. He says the multi-director approach is a callback to the early days of Warner Bros. Animation, when individual creators put their own stamp on Looney Tunes material.
“I use Bugs Bunny as an example,” Prynoski says. “You’ve got a Friz Freleng Bugs Bunny short. You’ve got a Chuck Jones Bugs Bunny short. You’ve got a Tex Avery Bugs Bunny short. They’re all different versions of Bugs Bunny, and people who are really paying attention can tell which director directed each one. Even though to the layman, these are all Bugs Bunny, but if you lined them up, they are drawing in different styles, sensibilities and techniques.”
Prynoski says that was a centerpiece of his pitch to Meow Wolf, noting that characters will reappear in multiple installations, each handled by a different artist. Meow Wolf L.A., in fact, will be the firm’s most character-driven exhibition, as guests will follow the storylines of three main protagonists throughout the space.
In announcing the partnership, Meow Wolf and Titmouse released an image from an animated work directed by Luca Vitale. It features a key character having a moment with a hummingbird and it’s done in an elegant, slightly anime-influenced style. It’s an image full of movement, reflecting a character in transition with inviting pastels and bold dashes.
“I like that image because I think it captures some of the sense of wonder that we want people to feel,” Stephenson says. “The character is having an encounter with the elusive nature of creativity and reality in a way that makes them have a different perspective of what’s possible.”
Other contributing animation directors to Meow Wolf L.A. include Space Dawg, Felix Colgrave, Alexander Vanderplank and Phimémon Martin, and Jun Ioneda.
Titmouse’s partnership with Meow Wolf will extend beyond the L.A. exhibition. The two will be working on the development of Meow Wolf New York, which is slated to open some time after Los Angeles, and are collaborating on a planned animated series, which Prynoski is spearheading.
Meow Wolf exhibits are the result of sometimes hundreds of disparate artists coming together in a shared space. Distilling that into a signature, singular style for a series could be a challenge. Stephenson pinpoints some guiding principles.
“You really need to feel the hand of the artist,” he says. “You need to feel a DIY aesthetic. You need to feel the materiality. Those are very specific to what we are.”
Lifestyle
Appeals court denies Trump’s request to halt removal of his name from the Kennedy Center
The Kennedy Center on June 28, with its facade signage still covered by a tarp and scaffolding.
Alex Wroblewski/AFP via Getty Images
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Alex Wroblewski/AFP via Getty Images
On Wednesday, a federal appeals court denied President Trump’s request to stop the removal of his name from Washington, D.C.’s Kennedy Center. The signage on the building has been covered with tarp and scaffolding since June 13, but in a court filing last month, the center’s current executive director said that Trump’s name has been removed.
In their decision, three judges from the U.S. District Court of Appeals for the District of Columbia Circuit said that the president had failed to prove that the arts center would be “irreparably injured” without Trump’s name attached to it.

NPR requested comment from the Kennedy Center, but did not receive an immediate reply.
This latest round of court decisions is part of the ongoing litigation filed by Rep. Joyce Beatty, D-Ohio, against President Trump and the board of the Kennedy Center. In a statement emailed Wednesday to NPR, Beatty said: “Today’s ruling again affirms that this administration’s efforts to rename the Kennedy Center were unlawful. His name no longer desecrates this sacred memorial, which belongs to the American people. Now it is time for the Trump administration to accept this, comply with the law, and take the tarps down.”
In previous court filings, Trump’s legal team had asserted that removing the president’s name from the arts complex, both on the physical building and in its digital materials, would inflict irreparable harm in both time and money already spent. In the denial, the three judges — Patricia Millett, Robert Wilkins and Gregory Katsas — wrote that since Trump’s name has already been removed, “a stay would not avert those harms.”
Furthermore, Trump had claimed that without his name attached, future fundraising would be threatened “and [will] contribute to the financial decline of the Center.” In response, the appeals judges wrote: “Appellants, however, have failed to support this assertion with any specific facts or evidence. They offer only the conclusory assertions of the Kennedy Center’s Executive Director that were made in a factually unsupported declaration.” The center’s current executive director, Matt Floca, specializes in physical plant management.

The presiding judge in the case, Christopher R. Cooper, has ordered that the center provide him a status report on the center’s operation and programming before the end of this month. As of Wednesday, the center’s calendar lists a small roster of programs, including outdoor free movie screenings, workshops for children, and five free live performances in July on its Millennium Stage. In the past, the Kennedy Center presented over 2,000 arts and education events each year, including free daily Millennium Stage performances.

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