FILM REVIEW: Dawson City: Frozen Time (2017) by Bill Morrison

When I was in college and before I ultimately settled on pursuing a degree in Comparative Literature for my Bachelor’s program, I momentarily played with the idea of going to school for film archival. At the time, I was obsessed with silent film and the idea of working to preserve any bit of filmed history I could find was always intriguing to me. This lore surrounding early film is also undoubtedly of interest to filmmaker Bill Morrison, and I previously came to grips with his fascination for old film through his 2004 experimental short Light is Calling. Through a series of frames set to music and violently obscured by what appears to be decay and damage, he nonetheless emits an emotional contemplation of the fleeting nature of life and love, by way of these beautiful prints that are mere notches away from total incomprehension.

Thus, his latest film Dawson City: Frozen Time continues to take us along a different sort of history lesson, all running parallel to the story of the physical art of filmmaking and photography themselves. Essentially, the documentary carves out a vivid history of Dawson City, a historical town located in Yukon, Canada. It begins with the town’s founding at the center of the Klondike Gold Rush in 1897 and its life as a thriving economy (along with its eventual downfall). It ends with the 1978 discovery of more than 500 discarded films buried beneath what used to be the town’s hockey rink and preserved by its own permafrost. Stylistically, it felt much like a Ken Burns-style documentary, though decidedly in absence of the talking heads and voiceover narration. Instead, Morrison chooses to let a vast collection of period-era photographs and film snippets do most of the talking, likely an homage to the lost method of storytelling through picture alone, a method that defined the silent film era.

As a history lesson, this is all pretty fascinating. I have had pretty much no knowledge of this town (growing up near Los Angeles, the Klondike Gold Rush was often ignored in school in favor of its California counterpart), and Morrison does a terrific job at detailing its unparalleled importance to the history of the Americas at the turn of the century. The pacing is decidedly languid, and while the middle does drag for a bit more than I would’ve liked, most of the film is just too mesmerizing to look away. For folks like me who are absolutely enamored with the silent film aesthetic, this one is a feast for the eyes – something about these countless lovely images scrawled with a century’s worth of its own decay and damage is both inexplicably sad and undeniably poetic. I can’t deny, though, that while the images on display are certainly beautiful, the haunting score by frequent Sigur Rós collaborator Alex Somers elevates this to some truly breathtaking levels.

As much Dawson City: Frozen Time is a straight-forward documentary, though, it also reflects in its own way how the role of these films, not unlike the ones eventually dug up by excavators, became vital to the town’s downward spiral. One of the first lessons actually given by the documentary is how nitrate film is made, as well as its reputation for being extremely flammable. The movie begins with a breathtakingly beautiful montage of the film being created in a factory, from the mixing of chemicals to the flattening and cutting away of the solid product itself. The creative process may be a mystical one, but relevant to nitrate film in particular are its destructive properties, noted in the frequent mentions of how many buildings and factories of Dawson City were burned down from accidents involving nitrate film, even taking lives with it at times. While the town thrived in capital for as long as it can, the film ironically became a consistently dangerous presence in its own ways. This also, of course, highlights how much of a miracle it was that so much film survived the town’s treacherous history in the first place!

However, just as important to the scope of the town’s history are the details that are left unspoken. The film mentions both William Desmond Taylor and Roscoe Arbuckle as having their origins in Dawson City, yet decidedly leaves out their famously tragic fates after making the move to Hollywood. Moreover, among the successful businessmen to strike gold in the town was German immigrant Frederick Trump, who would go on to found what would eventually become The Trump Organization, a name that just brings a chill up my spine. And finally (maybe most importantly), the documentary at the start of the narrative and only briefly touches upon the displacement of indigenous First Nation people to make way for the sudden influx of miners to the North. I do wish that this final point was touched upon a bit more, as it seemed sadly unfair to ignore such a large group of displaced people in such a way. Nonetheless, these curious omissions do show that despite the overwhelming positivity that highlighted the prosperity received by Dawson City, its undeniable that a dark streak is ever-present.

There was so much I loved about this film that drew from my love of silent film as a whole. It felt like a compelling resurrection of a timeless, unique bit of history, though never quite delved into “love letter” territory that documentary filmmakers often do but rarely do effectively. Although much about its pacing is slow and dreamy, there are some occasionally arresting bits of editing that call to mind the wild, naive energy that so many of these older films tend to possess so organically. Honestly, the only part I could say that I was genuinely bored by was when it recalled the gambling conspiracy scandal of the 1919 World Series. Although I understand that the discovery of never-before-seen footage of the game was one of the most paramount finds of the lot, I just found it a dull, needless attempt to fill up time – although I’d blame my own personal disinterest in baseball rather than any fault in the film’s part. In any case, the Alice Guy-Blaché callout more than made up for it!

Though I think what I loved the most about Dawson City: Frozen Time is its continued demonstration of Bill Morrison’s uncanny ability to use the physical medium of film as an introspection of history, time, and the human experience itself. Most emphasized here are the fleeting memories, the ones that gradually disappear as the folks who experienced Dawson City’s early days leave this world forever. It was a town that was as defined by its shiny commercial affluence as it was its continual destruction and rebuilding – until one day, it ceased to be rebuilt. Its not unlike the activity of watching a silent film, marked by pronounced moments where the frame reminds us of its age, marking the edges with static and cigarette burns. At that point, the art of watching becomes a chance to live in the moment, to appreciate that this work of art is currently the best shape it will ever be in again, and to cherish this second while it still lingers in the dark room. Unless, of course, someone actually does light a cigarette and the delicate strip of nitrate spontaneously combusts – almost like it never existed in the first place.

Posted in Uncategorized | Tagged , , | Leave a comment

Every Hot 100 Number-One Single: “Hello, Goodbye” (1967) by The Beatles

Oh look, another Beatles number-one single! Considering that they have the greatest amount of number-one singles of any other artist in history (twenty!), I have a feeling that we won’t be saying “goodbye” to these four British lads anytime soon. This song is the group’s fifteenth Hot 100 chart-topper, and it stayed at that spot for three consecutive weeks at the end of 1967 and the start of 1968. The best part about covering this track, though, is that it reveals another dimension of this internationally popular band that wasn’t immediately prevalent with “Can’t Buy Me Love”. Indeed, this single marks our introduction to the psychedelic side of the Beatles, at least through this challenge.

This single comes off the US release of the Beatles’ double-EP Magical Mystery Tour, which is also the soundtrack album of their 1967 film of the same name. Essentially, the songs off this album were meant to further build off the innovative sounds and themes presented in their groundbreaking album of the previous year, Sgt. Pepper’s Lonely Hearts Club Band. The best way I could describe Magical Mystery Tour (the album, since I have yet to watch the film) is as sort of a lesser Sgt. Pepper’s – the dreamy sonic structure and erratic, often improvised instrumentation is all there, but the songs are far less hard-hitting and memorable. Still, like basically any Beatles record, it’s worth a listen, especially since this is easily the group’s most strange era.

“Hello, Goodbye” specifically was the band’s first single release since the sudden death of their manager Brian Epstein. It was composed through a spontaneous word association exercise between Paul McCartney and assistance Alistair Taylor. Thus, although this song is credited toward Lennon-McCartney, it is first and foremost a McCartney composition. One of the most immediately notable aspects of this song is its lyricism, composed entirely of a series of words and their antonyms: “You say, ‘yes’; I say, ‘no’ / You say, ‘stop” and I say, ‘go, go, go”… You say, ‘goodbye” and I say, ‘hello'”. It’s simplistic and really quite silly, but the melody is instantly accessible and catchy. With its marching beat and simple sing-song chord structure, it wouldn’t be surprising to find yourself singing along after the chorus’s second go.

Specifically, McCartney has noted the song’s specific theme of duality, with his belief that dualities – such as light/dark, man/woman, etc. – are the core meaning to the world, and this song aims to emphasize “the more positive side of duality” (his words in quotes). Honestly, while I understand the intention on boiling this overarching theme of duality into its simplest parts, I am not fully convinced that this is a positive take on the phenomenon of opposites. Sure, George Martin’s production is bright and sunny, which definitely brings about that connotation of bliss and joy – but the lyrics themselves seem to merely state that opposites just exist, in neutral terms.

There are quite a few Beatles songs I genuinely love, but “Hello, Goodbye” just isn’t one of them. The B-side, on the other hand, is the John Lennon-penned “I Am the Walrus”, which I genuinely think is one of the strongest tracks on all of Magical Mystery Tour. Apparently, Lennon was pretty pissed about the label deciding upon McCartney’s single as the A-side on this record – and in this case, I’m on his side. While “I Am the Walrus” is delightfully weird and surreal, “Hello, Goodbye” just feels blandly commercial, especially when placed next to any of the Sgt. Pepper’s tracks the band had put out only a year prior. Had it been the other way around, we would have been talking about a very different single right now. As is, though, I wouldn’t miss giving this a listen, but I would hesitate before adding it to my collection.

Posted in Uncategorized | Tagged , , | Leave a comment

Oscar Thoughts: Best Actor

Now for another one of the major categories of the Academy Awards: Best Actor! This is one of the most sought-after awards at the ceremony, along with Best Actress, Best Director, and, of course, Best Picture. In lieu of any hesitation, let’s jump right into this one.

Timothée Chalamet in Call Me By Your Name as Elio Perlman

With Chalamet’s nomination, he has already made history as the third youngest Best Actor nominee ever, and the youngest since Mickey Rooney in 1939’s Babes in Arms. Although the Academy tends to honor older, more seasoned actors for this award, I’m not gonna lie – I’m really rooting for this kid. Call Me By Your Name deals with such delicate, sensitive themes that could have really caused its downfall had it not supplied the right performances. Thankfully, Chalamet gives us all that and more. His emotional depth (especially his insecurity) felt so true and realized, and his depiction of the awkward, painfully inexperienced Elio just stole my heart. I wanted to reach out and protect him from his inevitable heartbreak so, so badly. It takes a truly top-tier performance to make me feel for a fictional character in such a way, and Chalamet definitely succeeds in that respect.

Daniel Day-Lewis in Phantom Thread as Reynolds Woodcock

Obviously, Daniel Day-Lewis is pretty much the definition of the type of seasoned actors that often win Best Actor. This is his sixth Oscar nomination to date and if he wins this year, it would be his fourth time gaining the title of Best Actor. This would make him the only actor to achieve this feat four times and no one else comes close! It probably isn’t too far of a reach, though, to surmise that this nomination may not have happened had he not announced his retirement earlier last year. In any case, given that it is Daniel Day-Lewis we’re talking about, of course this is a great performance. I do think that many of the strengths here come with his well he plays against Vicky Krieps, the two of them pushing, pulling, and intertwining with one another to create an intoxicatingly derange love dynamic. As for Reynolds Woodcock himself, he is a blatantly insufferable character I truly love to hate, and Day-Lewis perfect this role with not only superb line-reading, but also more subtle gestures, pauses, and facial expressions. In other words, exactly what I was expecting.

Daniel Kaluuya in Get Out as Chris Washington

And with Daniel Kaluuya’s nomination, even more history has been made! Specifically, he is only the second Black person of British nationality to be nominated for Best Actor. A couple years ago when I finally got around to Black Mirror (I was late in the game), I was completely taken about by Kaluuya’s breakthrough performance in basically the only episode of the show I truly enjoyed. I’m glad that Jordan Peele also saw some potential in him with casting him as the lead for his debut feature, because he was one of the most important factors in the film’s concrete anxiety. Apart from so much of the general aesthetic that made Get Out creepy and disturbing as hell, Kaluuya created such a great protagonist who was easy to sympathize with, making the horror with which this film is saturated all the more realized. It’s actually pretty amazing that Get Out got as many nominations as it did, but the most amazing part is that the usually stuffy Academy voters actually felt to honor a horror performance in the way they did. That’s incredible! And Kaluuya more than deserves the honor.

Gary Oldman in Darkest Hour as Winston Churchill

I saw someone post on social media somewhere that the decision to nominate Gary Oldman this year is the symbolic final breath of a dying Oscar voter… and I couldn’t even  imagine conjuring up a better analogy for this. If there is anything impressive about Oldman as Churchill, it’s the makeup and prosthetic effects used to emulate his likeness. It’s impressively accurate and doesn’t look at all tacky or cheap! The performance, though… snore. I mentioned in my post on the Best Cinematography nominees that I am so, so tired of World War II movies, so I guess I was setting myself up for failure here. However, it’s also plainly obvious that they only snuck this nomination in as an attempt to finally get Gary Oldman his goddamn Oscar. There’s nothing at all exceptional here – it really just comes off as a kind of good Churchill impersonation, but without the emotional resonance or intriguing delivery to keep it very interesting at all. It’s an Oscar bait performance at its most eye-rollingly obvious.

Denzel Washington in Roman J. Israel, Esq. as Roman J. Israel

Denzel Washington is one of the greatest living actors (maybe one of the all-time greatest?) and has such an impeccable ability to carry the weight of an entire film on his shoulders, regardless of quality. I didn’t quite get on board with all the scathing reviews that Roman J. Israel, Esq. received – though its ideas were undeniably half-baked, it’s fine for what it is. Of course, so much of what made it even slightly watchable is Washington himself in his best performance in quite some time. Yes, even better than Fences. His depiction of the titular protagonist makes for quite an interesting character, and the best part is just how natural and organically he plays it off. He can get cartoonish at times, sure, but he also never fails at elevating above the material he is given – which, admittedly, isn’t always good. Still, there’s no denying his electrifying screen presence and it’s definitely prominent here. It’s not a film that will even be remotely remembered in five years or so, but it is yet another impressive performance for Washington to add to his catalog.

As far as the winner of this award is concerned, I would love, love, love to see Daniel Kaluuya take it come Oscar night. Realistically, though, I know that this very likely will not happen. Regrettably, I’d say that Gary Oldman probably has the best chances here – this performance is just the type that would win in this category, and he’s definitely been due for receiving one for quite some time. I wouldn’t like it… but whatever. I’d also say that the next best chance would be for Timothée Chalamet to win, given the universal acclaim his performance has gotten. However, his age and the fact that this is only his first nomination do lessen his chances considerably… but a girl can dream!!

Posted in Uncategorized | Tagged , , , , , , | Leave a comment

Oscar Thoughts: Best Foreign Language Film

I think for me (especially in these days), most of the fun with Oscar season comes from discovering the films that are honored that lie on the more alternative currents of the category layout. Everyone pays attention to the Best Picture nominees and all the acting categories, but I find that the most fun comes from the Best Short Film categories (Live Action and Animated, especially), Best Documentary Feature, and – yes – Best Foreign Language Film. There’s always usually at least one film in this latter category that I find myself loving so, so much. And that’s certainly the case with this year too! More below.

An Fantastic Woman (Chile)

There’s nothing I can say about this film that Willow hasn’t already summed up so perfectly, but I’ll give a few of my own clumsy thoughts anyway. The shining beacon in this film is Daniela Vega, who contributes some of my favorite moments of nuanced emotion that I’ve seen in any film all year. Moreover, there are quite some really lovely, arresting imagery that elevate the movie beyond its simple storyline. The main issue, though, is how the film chooses to navigate its protagonist’s experience as a trans woman, which often don’t work as well as it thinks it does. Early in the film, for example, the script explicitly avoids mentioning Marina’s birth name, which would have been a refreshing turn had they not spoken it in full later on. There are also scenes where the camera lingers over her partially nude body in ways that come off as othering. Maybe under the supervision of an actual trans director this would have been a more humanistic, true-to-life portrayal, but as it stands it feels a lot like the kind of film liberal Oscar voters would nominate to make themselves feel good about achieving the bare minimum in seeing trans folks as people.

The Insult (Lebanon)

Sadly, The Insult also seems to fall into the camp of films that people only root for to feel better about themselves. If it sounds like I’m bitter, it’s probably the Three Billboards effect taking its toll… but I digress. On paper, the concept of The Insult isn’t too outlandish: a simple disagreement escalates to violence between two warring classes due to either side unwilling to back off their case. The film attempts to paint a vivid picture of the conflict between Lebanese Christians and Palestinian refugees, but in the process it simplifies this extremely complicated issue to such unrealistic plainness. The thesis statement of this film leans on little more than, “violence is bad… on both sides”. There’s so little nuance in the delivery of its courtroom narrative and the general message is so damn generic and unchallenging. What would be truly radical would be to not manufacture such a broad moral stance and actually create an explicitly pro-Palestinian film without worrying about alienating the right viewers. But I guess that’s asking for too much. For what it’s worth, though, there is some nice camerawork here and the performances from its two leads are incredibly compelling. The rest can just go away.

Loveless (Russia)

Ah, now here comes one of my biggest cinematic weaknesses: slow, languid Eastern European films that are depressing as fuck. Although I much prefer Andrey Zvyagintsev’s previous film Leviathan and especially his earlier The Return, this one also pushed the right buttons for me. Set to the tune of a variety of lovely, chilling establishing shots, this one follows the sudden disappearance of a child and the terrible people who are affected by this happenstance. Even though this is, stylistically, the kind of film I tend to obsess over, this didn’t do much for me. I found myself really struggling to care about any of these characters and the narrative itself seems to spiral into plain, bland apathy very quickly. There are scenes that seems to point at some semblance of political and social commentary (especially re: the war in Ukraine and heightened significance of smartphones), but it never does anything very useful with these scenes. And although Zvyagintsev has never been the best at crafting female characters, they seem to be at their absolute worse here. I’m sure the fact that this film made me feel as empty as it did only proves its success, but with the exception of its cinematography, I didn’t find it very fulfilling in any way.

On Body and Soul (Hungary)

I felt like this particular film was only nominated as a joke. It’s easily my least favorite of the nominees in this category, and I knew it would be from the first twenty minutes or so. It’s too bad though because, once again, this is the only nominee from a female filmmaker and I wish I could support all women directors… but this just sucked! Essentially, two employees of a slaughterhouse discover that they have the same dream each night and thereby attempt to recreate a relationship of their own amongst difficult circumstances. I’ve seen this film described elsewhere as an unusual, peculiar love story of sorts, but I just found it boring and a bit distasteful really. The female lead clearly is in no position to assert her agency in a romantic relationship, certainly not with a man who is relatively neurotypical; their relationship comes off as cold, unfeeling, and just plain manipulative. I didn’t care for a single individual I was watching and the whole experience felt as pointless and sterile as its script, performances, and cinematography. It’s just a totally drab film, one that will surely be forgotten after this Oscar season ends. I will always be bitter that this shit got nominated while BPM was not even shortlisted.

The Square (Sweden)

Yep – this is the one nominee from this category that I unapologetically enjoyed and even kind of loved! Ruben Östlund’s previous film Force Majeure was such a hilariously scathing takedown of masculinity, I couldn’t wait to watch how he’d perform a similar critique of the art world. I certainly was not let down. Clocking in at nearly three hours in length, The Square throws a whole bunch of ideas like tomatoes at the screen, all strung together by a relatively flimsy plot. This film is the definition of the parts being greater than the whole, as I have so many images and moments from this film practically seared into my memory even though I tend to struggle to explain what it’s actually about. It takes so many twists and turns it becomes impossible to predict what’s about to happen next, and it remains hilarious throughout! After a while, it’s wise to just sit back and enjoy the ride – because, boy, what a ride. If it seems like I’m being vague with this description, there’s a reason. Like the previous year’s Toni Erdmann, this is kind of lengthy comedy that is best going into knowing as little as possible. This is probably the most surreal, batshit crazy satirical nosedive I’ve seen any film take and I’d watch it five more times if possible!

Up until about a month ago, I predicted that The Square would have this award in the bag. It did win the Palme d’Or, after all! Nowadays, though, it really seems like A Fantastic Woman is the new favorite for this award. Not only does it have all the obvious elements of good filmmaking that voters love (pleasant cinematography, good acting, a satisfying ending), but the social issue at its core (“transphobia is bad, guys!!”) is one that is presented as easily consumable and agreeable for a general audience. I would still be delighted if the Academy recognized an actual unique, creative film in this category – like The Square – but on the bright side, A Fantastic Woman winning would maybe give Daniela Vega the international recognition she wholeheartedly deserves. There’s a good side to everything!

Posted in Uncategorized | Tagged , , , , , , | 1 Comment

Every Hot 100 Number One Single: “Don’t Forget About Us” (2005) by Mariah Carey

Looks like the latest theme for this Every Number-One Single challenge is “slow R&B ballads about heartbreak with polished, dance-pop production sung by hugely prominent female performers”. I swear, though, that this song coming right after “Take a Bow” is nothing more than mere coincidence by way of my randomizer. It’s debatable over who is the bigger deal in this particular instance, as both Carey and Rihanna are among the most successful artists of all time… but we’ll save that debate for another day.

In all honesty, no matter how much detail I get with this particular review, it’s only telling half the story – because I’ve got it all backwards here! In order to understand the success of this song, it’s important to remember that Mariah Carey’s previous number-one single, “We Belong Together”, was a much, much bigger deal. Earlier that summer, it placed at the number-one spot for fourteen non-consecutive weeks, the second-longest length for any song at the top, and is the top song for 2005 as a whole. Thus, when Carey re-released her hugely successful tenth album The Emancipation of Mimi (from whence “We Belong Together” came) and announced “Don’t Forget About Us” as the first single from this Ultra Platinum Edition, fans were quick to point out the heavy comparisons between the two hits.

In this case, though, lightning seemed to have struck twice, and “Don’t Forget About Us” eventually became Carey’s seventeenth number-one single. It stayed at the top spot for two weeks that winter, becoming both the last number-one single of 2005 and the first of 2006. I’ll save a solid overview of “We Belong Together” for when I actually get around to it in this challenge, but for now I’ll mention that there’s one crucial thread that ties that song to “Don’t Forget About Us”, inevitably leading to its success. That thread is producer Jermaine Dupri, who gained much acclaim for his work on Mariah’s hugely popular track and returned to produce this one as well.

Dupri is an producer from Atlanta who has his beginnings in the late 80s and the early 90s, notably for working with acts such as Kriss Kross, Lil Kim, and Da Brat. It was during this time that he worked with Carey for the first time, for her track “Always Be My Baby” – given that she was still in her early stages of superstardom, this track – yes – topped the charts! In the decade leading up to The Emancipation of Mimi, Dupri worked on and off with Carey but also collaborated with a number of other up-and-coming artists. Notably, he was a factor in elevating Usher to fame and fortune as well, producing his early tracks “You Make Me Wanna”, “My Way”, “Nice & Slow”, and “U Got It Bad” (the latter two being number-one singles), as well as cuts from his more mature album Confessions, including “Burn”, “Confessions Part II”, and “My Boo” (all chart-toppers). The point to be made here is that if you’re a young R&B starlet yearning for the spotlight, the chart success, and all the Grammys, Jermaine Dupri is the guy for you.

For the most part, the majority of Dupri’s productions that top the charts are in the mid- to low-tempo R&B ballad category, though there are many exceptions (like “Grillz”!). Unfortunately, though, as evident by some of the Usher songs mentioned, there’s also a tendency for many of his similar tracks to sound nearly indistinguishable from one another. Indeed, this is probably the main qualm to be had with “Don’t Forget About Us” – listening to this one side-by-side with “We Belong Together”, its hard to ignore the extreme similarities in the smooth, polished backing instrumental, both interpolating heavy bass with more delicate handclaps. Even Mariah seems to be playing by the same handbook in both, opting for softer vocals in the early verses, building up into intensity until exploding in her signature emotional delivery in the final parts of the song.

And yes, just like the song that came before, “Don’t Forget About Us” tells the all-too-familiar story of heartache following the breakup of a passionate relationship. And it’s very clear in this particular song that the speaker isn’t taking it well at all, fully enamored in intimate memories with no desire to just let them go (“Late nights, playin’ in the dark / And wakin’ up inside my arms”). These feelings are definitely familiar and I’m sure I’m not the only one who thinks so. I guess I’m just not a fan of how meek and pathetic she comes off in this narrative, especially since she’s made it clear that her ex-lover has moved on (“They say that you’re in a new relationship / But we both know nothing comes close to what we had; it perseveres”). In the bridge, she even goes as far to insult the new woman, fully committed to the idea that she was the best he had and nothing else could improve upon it (“And if she’s got your head all messed up now, that’s the trickery… I bet she can’t do like me; she’ll never be MC”).

It’s at this point where I’m fully convinced that this song is little more than a lesson in masochism. There is little sign of emotional growth, only endless pain and jealousy. To continue to draw parallels with my previous review, there is little sign here of the pompous empowerment of “Take a Bow” or “Irreplaceable”; in fact, this song has more in common with the icy heartbreak of Ne-Yo’s “So Sick” (which I will get to eventually). Overall, though, “Don’t Forget About Us” feels like little more than “We Belong Together Part 2”, both lyrically and stylistically – though even the lyrics don’t quite measure up in this respect. Nonetheless, Carey mentions in the song herself that this is a “first true love”, which could very well explain the confused emotions and instability. This doesn’t always make for the most pleasant listening material, though. For now, at least, I’ll stick with “We Belong Together”.

Posted in Uncategorized | Tagged , , | Leave a comment