by Carrie Brownstein

(I've Had) The Time Of My Life?

The Oregonian newspaper recently published a list of area high school prom themes. On this Friday I thought would share them with you.

Burns High, Burns: "A Night in Vegas"
Catlin Gabel, Portland: "A Trip to the Stars"
David Douglas High, Portland: "A Black and White Affair"
Lakeview Senior High, Lakeview: "Mardi Gras"
Oregon City High, Oregon City: "Masquerade Ball"
Sunset High, Beaverton: "Into the Sunset"
Bend Senior High, Bend: "A Night in Hollywood"
Madras High, Madras: "A Midsummer Night's Dream"
Astoria High, Astoria: "Come Away With Me" (Norah Jones song)
North Salem High, Salem: "Under the City Lights"
Corvallis High, Corvallis: "Old Hollywood -- The Golden Age"
South Medford High, Medford: "A Night to Shine"
Gresham High, Gresham: "Rumble in the Jungle" (They held it at the zoo)
Jesuit High School, Portland: "Jurassic Prom -- 65 Million Years in the Making"
Tigard High, Tigard: "Diamonds Are Forever"
South Eugene High, Eugene: "Bollywood"
Lake Oswego High, Lake Oswego: "Starry, Starry Night"
Southridge High, Beaverton: "Don't Want to Miss a Thing" (Aerosmith song)
Aloha High, Beaverton: "Red Carpet"
Columbia River High, Vancouver: "Time After Time" (Cyndi Lauper and Quietdrive song)
Century High, Hillsboro: "Once Upon a Dream"

Without a doubt, my favorite theme is "Jurassic Prom--65 Million Years in the Making." It makes it sound like the members of the Jesuit High School prom committee were some of the first humans to walk the earth. After all, they had ostensibly been planning this special night for many millennia. Amazing! In contrast, "A Night In Vegas" just seems like a recipe for disaster.

I was also surprised to see Aerosmith and Cyndi Lauper as two of the writers behind this year's prom theme songs. In 2008? Is prom one of our only traditions immune to contemporary trends in music, culture, and technology? Wouldn't Usher, Fall Out Boy, or Gnarls Barkley be timelier? Or is prom the ultimate form of nostalgia, wherein kids reenact traditions and traditional roles long since abandoned or transmogrofied, so that the themes are in fact a commentary on the staleness, retro-ness, or novelty of the dance itself? I could not say for sure.

My own Senior Prom was theme-less and held on a boat on Lake Union in Seattle. The DJ never bothered to show up. The captain had two CDs that he played in a round over the boat's PA system--NIN's Pretty Hate Machine and Legend: The Best of Bob Marley. Somewhere between "Head Like A Hole" and "Three Little Birds" I got partially drunk in the bathroom. I've never listened to either CD again.

What I do find interesting about prom is that it is one of the few moments in your life when a song not chosen by you comes to define who you are as both an individual and as a member of a community. And the song becomes part of your story, whether you want it to or not. It's not merely some friends or a couple having their special song; it's a song that momentarily embodies you and your small segment of the population, a generation signifier even, at least for a single night. And it's the song that ends the long soundtrack of your youth and you didn't even get to decide on it. That is a lot of power for one silly little song.

Or maybe you didn't go to prom and you saved yourself the embarrassment.

If you remember your prom theme song, feel free to share.

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On an entirely different note, and as some of you know, composer Earle H. Hagen, who is probably best known for writing the theme song to The Andy Griffith Show died on Monday, May 26th. The story goes that Hagan had never whistled before in his life, but when the TV execs asked for his idea, he wanted it to be something simple. He wrote the tune in an hour.

In honor of Hagen, and if you want to have a song stuck in your head all weekend, click here.

3:51 AM ET | 05-30-2008 | permalink | comments (78) | e-mail post | trackbacks (0)

 

Only Visiting This Planet

About a week ago I received a CD in the mail from a fantastic local Portland label called Arena Rock. The contents of the package did not meet my expectations at all. I tore open the padded envelope prepared to read about a young, up and coming Northwest band, full of promise, surrounded by a nascent buzz, on tour with an already sure thing but on the verge of fleeting greatness themselves. (You know the story, I'm sure). Instead, what I found in my hands was a Larry Norman anthology replete with liner notes from Norman himself and a thick booklet of lyrics. I admit to not being wholly familiar with Larry Norman. I knew he was in a band called People! in the late 60's, that he and another member left the band when the rest of the group converted to Scientology, and that he wanted their first record to be called "We Need A Whole Lot More of Jesus, And A Lot Less of Rock n' Roll" (it ended up being called "I Love You"). But I didn't know much about his solo records or the fact that he is considered the father of Christian music.

I've spent the last few days immersed in Larry Norman-land, which is a more bizarre and contradictory musical world than maybe even Frank Zappa's or Bob Dylan's. For one, there are less filters. His lyrics have the straight-talking appeal of someone like Fred Neil meshed with the child-like sensibility of Brian Wilson. Norman verges on the poetic, the mystical, and the metaphysical; and he was a shrewd observer of political injustices. His ruminations are non-conformist; they are words of an outsider, and of the conflicted.

Listen to Norman's "I Am The Six O'Clock News" written in 1968 from the album 'Rebel Poet, Jukebox Balladeer: The Anthology'. His label at the time, Capitol, refused to put this song out as a single. For many years, it was the most requested song on military bases.

Another reissue that came my way (actually, I think this is the first time most of these songs have seen the light of day) is by Bum Kon on Smooch Records/Maximum Rock 'n' Roll. Bum Kon were an all but unheard of early 80's hardcore band out of Denver. In 1983 they released their only 7" single, Drunken Sex Sucks. (Ostensibly the Colorado take on "Too Drunk Too F**k" by The Dead Kennedy's).

Listen to Bum Kon's "Nancy Reagan Fashion Show." (Would hardcore have flourished under anything but the Reagan administration?)

What interests me more than Bum Kon's music--which sounds like teens thrashing about, trying on anger and angst but only barely masking a celebratory fearlessness, each song is a smirk--is that the CD unearths a small piece of history heretofore unnoticed. There are thousands of Bum Kons from countless towns from every decade. We all know these bands. They are not the underrated but the under-the-radar. They are the missing pieces to a puzzle, the reason that a guitarist from a famous or semi-famous band came upon a certain sound, or how a singer decided on their affect or outfit. They are artists like Badfinger, Silver Apples, 13th Floor Elevators, Jackson C. Frank (Paul Simon was a huge fan, for instance), Anne Briggs (Robert Plant was influenced by her voice), the Melvins, or Big Star. They are the bands in your cities that never put out an album, that played two shows and then broke up but left a well of influence that everyone rushed to drink from. Or they did put out albums, but someone else came along at a different time, was more poppy, better-looking, or, most likely, just plain luckier.

In regards to this topic, I think of the great Quasi lyric, "better to be a has been than to be a never was." Yet there seems to be an in-between category that is worth unearthing as well, and that is the barely was and the barely were.

Feel free to shed some light on those bands from your towns, or on artists whose brief or relatively quiet existences unleashed an uproar.

(Pictured below: Bum Kon. Photo by Patrick Barber.)

4:02 PM ET | 05-26-2008 | permalink | comments (39) | e-mail post | trackbacks (0)

 

Road Trip

I made a list of a few of my favorite road trip songs for the main NPR music site. You can check that out here.

Just curious, have any of you started driving less on account of gas nearing $4 a gallon? Here in Oregon, the usually crowded coastal rental market has slowed due to people not wanting to spend the money to get there. And those music festivals we discussed in the last post tend to be a ways out of town. So, gas prices are certainly a consideration.

Maybe I should have made a walking or bicycling list instead of a driving one.
(Though I tried biking with an iPod once and found it too dangerous.)

Drives or no drives, have a great Memorial Day weekend.

12:25 PM ET | 05-23-2008 | permalink | comments (42) | e-mail post | trackbacks (0)

 

Festival Fever

It seems that every day I read about an upcoming summer music festival or concert series. From the impending Sasquatch Festival (George, Washington) to Treasure Island (San Francisco), Siren (NYC), Rock City (Detroit), Rogers Picnic (Toronto), Suoni (Montreal) SummerStage (again, NYC), Fuji (Niigata, Japan) Melt! (Ferropolis, Germany), and Soundcity! (Liverpool), and that's only half of them. One could ostensibly spend their entire summer--from Memorial Day to Labor Day--following their favorite bands around the world, working on their tan, eating Elephant Ears, finding curious new places to get tattoos and piercings, and waiting in line for thirty minutes to use a Port-A-Potty.

Ahhh, outdoor music festivals. Love them or fear them? It is tempting to sing their praises when one sees the list of bands. The National and M.I.A?! Death Cab + MGMT + YACHT+ Spoon + The Roots + a band from the '80s reuniting for the third time?! It's like your favorite iPod playlist come to life.

My first summer music fest was in 1991 when I went to a new festival called Lollapalooza. That was followed the next year by the inaugural EndFest (hosted by 107.7 FM, Seattle's alt-rock station). For the latter, I slept in my car at the Kitsap County Fairground with some friends the night before the concert. By 2 pm the next day I was riding the crowd for the first and last time in my life. And I'm trying to block this next part out but I'm pretty sure I was wearing a purple and black Cat in the Hat hat (somehow popular in the NW back then, I swear).

In deciding to see a festival these days, aside from the line-up, a big part of the draw is the festival setting. Castle, pirate ship, barn, or mountaintop equals yes. Expo Center, mini-mall, or dusty-field-with-faint-smell-of-manure is probably a no. The setting cannot be underestimated. After all, you are basically trapped in one location for 10 to 12 hours.

Though ostensibly there for the music, I am often distracted by a hacky sack or beach ball, a liquidy pile that is either lentils or vomit, or something unseemly going on under a blanket. Additionally, I worry about all the barefoot people and how dirty their feet have become. If they don't put shoes on before entering the bathroom I will have to go home. In other words, the music becomes background noise to a circus of grossness.

Therefore, what I find hardest about music festivals is trying to preserve that sense of awe over and over again, to be awake and aware enough to find that one special moment in each set, or at least in most of them, to cull enjoyment from the broader experience, to feel that I am part of the experience, that it's not about proximity to the stage or how good the band is but about the fact that I'm among thousands, collectively listening, collectively being. At least that's how I want to feel. Unfortunately, to really love outdoor music festivals you have to love both: the music and the menagerie.

So, do you?

3:14 AM ET | 05-22-2008 | permalink | comments (58) | e-mail post | trackbacks (0)

 

Re-Learning How To Brave The Heat

Early last week I was still wearing my winter coat around Portland. It was 55 degrees and mostly rainy. By Friday we had beat all previous heat records for this time of year; the temperature hovered around 95 and remained in the upper 80's throughout the weekend. It was purely by coincidence, but the drastic change in weather seemed to usher in a series of galvanizing events, as if it were not the sun but some sort of fire upon us.

On Friday I went to see a live performance of Voices of a People's History of the United States (based on the book by the same name, edited by Howard Zinn and Anthony Arnove.) I knew nothing about the event beforehand, only that a friend had secured me a ticket and a seat in the front row, and that Eddie Vedder would be performing a few songs. I drove down to the venue, the 1st Baptist Church, arriving as the performers were walking on-stage. These days, it is rare to approach something or someone without expectations; no written preview, no word of mouth recommendations, no clip off of YouTube to provide visual clues. When I am taken by surprise, the experience makes me feel refreshingly naive, unaware; it gives me a sense of wonder and awe; that life and art and events can unfold despite our best efforts to know what happens beforehand. It was with this sense of amazement that I witnessed Friday's readings. The reenacted speeches--by radicals, agitprops, dissenters, and activists of past and present--came to life as if happening in that room at that moment.

Below is a brief excerpt from Eugene Debs' incredible 1918 court speech, as performed in Portland by actor/teacher Eric Levine:

They have always taught and trained you to believe it to be your patriotic duty to go to war and to have yourselves slaughtered at their command. But in all the history of the world you, the people, have never had a voice in declaring war, and strange as it certainly appears, no war by any nation in any age has ever been declared by the people.

And here let me emphasize the fact-and it cannot be repeated too often-that the working class who fight all the battles, the working class who make the supreme sacrifices, the working class who freely shed their blood and furnish the corpses, have never yet had a voice in either declaring war or making peace. It is the ruling class that invariably does both. They alone declare war and they alone make peace.

Yours not to reason why;
Yours but to do and die.

That is their motto and we object on the part of the awakening workers of this nation.

If war is right let it be declared by the people.

The audience responded with tears, applause, and verbal affirmations, moved both by the words and the delivery. What felt most intense was how many of the speeches and songs--by John Reed, John Brown, and Bob Dylan among others--could have been written today (though this very fact filled me with a sense of futility as well, as in 'why is the refrain still so much the same?') And I couldn't help but wonder, despite cries from the audience in approval of ending the war in Iraq, who among us would risk personal harm, jail, even death (as these figures from the past had done) for a cause? Yet I did not leave the church feeling inert but instead inspired. As a side note, it turns out that many of the people at the event were there to see Viggo Mortensen aka Aragorn from Lord of the Rings. It made me happy to think that in exchange for a picture with the actor after the show, these fans had to sit through two hours of fiery speeches. Maybe this should always be the price we pay for frivolity, after all, bribes often work: One hour of history lessons equals one minute with your favorite star. Or, you must watch five documentaries or read two novels before you get to watch American Idol.

Below is a clip of poet Staceyann Chin performing a speech by Cindy Sheehan. This piece ended the reading portion of the event in Portland and was met with a standing ovation. This video is from a different performance.

Later that night I went to see Quasi at the Hawthorne Theatre. The band was the perfect complement to the Zinn event. Singer/keyboardist/guitarist Sam Coomes has never shied away from politics in his lyrics and the duo is a perfect analogy for lively conversation and debate: a combative meshing of ideas and sounds, of coherence and cacophony, discord and harmony, always willing to take the listener to the brink of agitation before easing up and delivering a moment of bliss.

Lastly, on Sunday, Barack Obama held a rally at Portland's waterfront. Over 70,000 people attended, a record number for his campaign. I rode my bike downtown and merged with a crowd of unfamiliars. My friends were far behind me in the audience or way towards the front and I floated in the middle, feeling perfectly content to experience the event on my own, mostly because I was hardly alone at all. I admit to getting chills when the Obama family took the stage, the crowd surging and cheering and allowing ourselves to imagine a new set of possibilities. Certainly that's been the part of me, of us, that needs rebooting when it comes to politics: optimism, and the will to fight.

Below are photos from the event.

The first photo was taken from my phone, the next four were taken by Chelsey Johnson, who was clearly quite close to the stage, and the last photo is by Chris Carlson/AP.

Oregon's primary is tomorrow, May 20th.

2:12 PM ET | 05-19-2008 | permalink | comments (29) | e-mail post | trackbacks (0)

 

Making Crazy

It's no secret that music lyrics permeate pop culture, expanding, shaping, and changing the lexicon--whether momentarily or forever, expressions finding their way onto T-shirts and into movies, becoming inadvertent fulcrums for ad campaigns, sports team rallying cries, and personal anthems. This pattern of appropriation happens almost seamlessly. Maybe there's a slight irritation at its onset. But once it has become mainstream we often forget its source or even secretly acknowledge the brilliance of the lyricist. Possibly it's the way that language absorbs these new words so organically that makes the process benign. It feels less like appropriation and more like invention. But the innocuousness of this process is partly due to the fact that people aren't necessarily singing these lyrics or words; they are speaking them, or wearing them on their clothing.

So, what about those lyrics, those catchphrases from songs, that have become inextricably tied to melody, so much so that when someone utters the word or phrase in conversation it only takes a few seconds before someone else busts out the tune? This phenomenon is far more pernicious and annoying: words ruined by songs, or words ruined by songs as sung by our friends. Take for instance the word "ironic." I can't even count the number of times that someone has uttered this word and it is closely followed by the Alanis Morrissette tune. Other words or phrases that seem to inspire spontaneous singing: "Makin' Love"--this can lead you to any number of songs, from "Cecelia" to "Feel Like Making Love," to "Making Love Out of Nothing At All". All which prove that maybe people shouldn't say this phrase very much in the first place. Sometimes it's the rarity of the utterance that inspires the singing. Like the word "Flash," which will illicit someone to sing the Queen song maybe one out of ten times. And, for a while, any mention of "Crazy" was followed by an impromptu version of the Gnarls Barkley tune. "Crazy" is an interesting one because it changes associations every few years. From Ozzy to Prince to Beyonce, etc. Often, it's not the words themselves but their delivery. For instance, "Damn," when stated with a certain intonation, can bring about one of the worst examples ever, as in "Damn! I Wish I Was Your Lover" by Sophie B. Hawkins. (Apologies to anyone who is now humming this tune.) Lastly, there are song lyrics that add a strange, almost surreal association to certain words; the other night in a sushi restaurant we were serenaded by "Africa" on tinny speakers. How wonderful for the continent of Africa, I thought, that a Google search of that word brings up Toto in about two pages.

Not all the songs have to be annoying. In fact, sometimes the singer or band will have given new life to a word. "Nevermind," for example, went from a flippant or dismissive response to bearing the weight of an existential crisis once Kurt Cobain uttered it. Same with "I'm A Loser," (Beck). Instead of a literal statement of self-pity, it suddenly embodied a generation. Yet despite being from great songs, these phrases also cause melody to rise from within us until we are forced to let it out.

So, what words or phrases from songs have you been the victim of? Either by self-inflicted wounds or as inflicted upon you by the voices of friends or co-workers? And what words that are associated with songs are certain give you the insatiable urge to sing?

1:51 PM ET | 05-14-2008 | permalink | comments (97) | e-mail post | trackbacks (0)

 

Days, Be More Than All We Have

Welcome back to the working week. Here is a second "mix."

I must admit, I was a bit bewildered to read comments that expressed surprise that the previous mix was so heavy on the rock. I suppose it just reflects the disparity between perceptions and reality.

Here, then, is a less heavy mix. I am trying to take into consideration the delicate and sensitive ears of some MM readers. Actually, this mix is heavy as well, but in a different way. Intensity, after all, has very little to do with volume.

Here's a version of the list with cover art and purchase links for the CDs. The audio files are also the kind you can add to your custom playlist.

Townes Van Zandt: "Waitin' Around to Die"

Cody Chesnutt: "Upstarts in a Blowout"
Judee Sill: "Jesus Was a Cross Maker"
The Small Faces: "Up the Wooden Hills to Bedfordshire"
The Undertones: "I Don't Know"
Freddie McGregor: "Bobby Babylon"
The Libertines: "The Good Old Days"
Pylon: "Read a Book"
Wire: "The 15th"
Television: "Days"
Jackson C. Frank: "Blues Run the Game"

An interesting tidbit: This mix was supposed to have the Grateful Dead on it, whose music I really love, but they refused unless we promised to do a piece on them on All Things Considered. In addition, we would need to run a feature on The Dead on the site. Here's a sentence I've never written: Someone needs to take a bong hit and chill out. Just a simple "no thanks" would have sufficed. Are The Dead really in need of publicity? Because I swear there's a dancing bear sticker on every third car I see in Portland. And now I've written a paragraph on them anyway, for free, not even in exchange for a song. Doesn't that count?!

Clarification. The Grateful Dead were not involved with the decision regarding the requested track. It was the band's label who would not give permission for the track to be used in its entirety. The label also suggested that it might be easier to get permission if we did a piece on the band on All Things Considered and on the NPR website

But back to the mix.

These songs were originally compiled on a rainy day a few weeks ago, with no promise of sun. So, they might sound better to your ears under gray skies. The mix could easily be called "The Underdogs." Many of these artists never gained recognition while they were around (or alive) or still don't get the widespread attention they deserve (Pylon, Van Zandt, Frank, Sill). Some of these tunes are culled from the band's less popular albums, namely the Television, Wire, and Undertones songs. I love "Days" as much as anything on Marquee Moon and, in my opinion, Wire's 154 is a better and more challenging overall album than its two groundbreaking predecessors. (Though the three albums together form one of the best trifectas in late 70s music.) Lastly, Small Faces are simply incredible and always make me happy and I'm still surprised that more people don't seek them out.

Enjoy.

1:08 PM ET | 05-12-2008 | permalink | comments (61) | e-mail post | trackbacks (0)

 

All Themes Considered

Who doesn't love public radio theme songs? Who among us hasn't transposed the "All Things Considered" theme onto guitar, air-drummed along with the exotic beats that accompany "The World", or done jazz hands every time the "Fresh Air" music kicks in?

It was Portland's collective love for NPR (or sheer nerdiness) that inspired much laughter when comedian DJ Douggpound came through town with Tim and Eric and played his mix culled from the sounds of public radio.

Here is DJ Douggpound's mix. Play it loud in the office; it is sure to impress you friends and co-workers. It might also make great date music:

And check out DJ Douggpound's other work here.

Lastly, on this Friday afternoon, feel free to share your favorite or least favorite radio theme songs.

Have a good weekend.

10:34 AM ET | 05- 9-2008 | permalink | comments (20) | e-mail post | trackbacks (0)

 

Classy and Classical

I'm sure many of you have already read the story about how violinist Phillippe Quint left a violin worth $4m in a taxi cab outside of Newark Liberty International Airport. The taxi driver, Mohamed Khalil, got in touch with Quint and returned the violin the next day. As a means of thanks, Quint played a private 30-minute concert for Khalil at EWR on Tuesday.

I must say, I find this display of gratitude quite touching.

I wonder what the equivalent would be if, say, ZZ Top left their platinum beard trimmers in a taxi? Acoustic "Legs" outside the Continental terminal? A private performance of "Pearl Necklace?" It just wouldn't be the same.

Watch the clip of Quint's performance here.

2:30 PM ET | 05- 7-2008 | permalink | comments (7) | e-mail post | trackbacks (0)

 

Dynamic Duos

This past weekend I saw two duos perform. One was Tim and Eric of Tim and Eric Awesome Show and the other was Mecca Normal.

A friend introduced me to Tim and Eric's work a few months ago. Their show is on Adult Swim though I've only seen their videos online. They just finished up a sold out tour of the US. Not sold out in the sense that you can get in line the night of the show and still get a ticket, but sold out weeks in advance. Sold out to the point where there are scalpers and people offering a lot of money for extra tickets. When I showed up at the Baghdad Theatre in Portland to meet my friend, he was waiting in a line three blocks long. The guy behind us spotted Tim looking out a backstage window and said, in all seriousness, "Look, there's Tim. Wow, I just saw a real life rock star." (The term "rock star" now applies to chefs, clothing designers, interactive media whiz kids; and probably also to hair dressers, dogs, Judd Apatow, and presidential candidates. I think it's actually more difficult to find someone who isn't a "rock star." For some reason I wish the same thing would happen to the word "hippie.")

Watch two videos from Tim and Eric:

As a live performance, Tim and Eric Awesome Show is one of the more exciting events I have been to in a long time. It's a mixture of stadium rock, performance art, Vaudeville, Beckett, and social commentary. They dissect life into thin sheets and then extract the absurdity from the minutiae. The microscopic lens with which they view the world makes for painful, awkward, and sometimes ridiculous comedy, but in its strangeness are also the truths that make it funny. Each moment of the show is carefully constructed, from the characters entrances and gaits, to the music accompanying the movements. The overall effect is a surreal and frenzied spectacle.

Watch two more Tim and Eric Awesome Show videos:

In a completely different setting--this time in the woods of Battle Ground, WA--I saw an intimate performance by Mecca Normal. Though the Vancouver BC musical duo is known for their art rock and politics, they too mix frivolity with commentary and blend discomfort with ease. Many of the songs they performed on that sunny afternoon dealt with Jean Smith's foray into on-line dating. The lyrics drew laughter from the crowd, they were brilliant poems dealing with her misadventures in love (a Rottweiler that insisted on sleeping on the bed, a bedroom door that had to be held shut with a large piece of coral), but the acute observations had dark undertones, an underlying sadness, hints of disconnect and disaster. David Lester is an illusionist on guitar, melodies and guitar lines reveal themselves unexpectedly; they flutter about and then recede. His body seems as much a source for the music as the instrument itself, moving and swaying. The combination of the two performers has always been electrifying, not always easy, but never false.

Watch a video for the Mecca Normal song "Naked And Ticklish". It is one of the online dating songs.

All right, that's all the duo love I have for today. Feel free to comment on your favorite duo or duo moments.

3:40 AM ET | 05- 6-2008 | permalink | comments (28) | e-mail post | trackbacks (0)

 

Listening Devices Big and Small

I've compiled and collaged the first batch of photos. As you can see, the shapes and configurations that transmit our favorites tunes are varied. For many of us, the notions of hi-fidelity and sound quality would appear to matter less than convenience. Our listening devices are based on room size, proximity to neighbors and co-workers, relative to our financial situation, hand-me-downs, outdated, top-of-the-line, compact, super-sized, go-with-the-decor, clash-with-the-decor, and most of all, well-used.

Thanks to everyone who sent in a picture.
Have a good weekend.

3:02 PM ET | 05- 2-2008 | permalink | comments (10) | e-mail post | trackbacks (0)