Saturday, December 29, 2012
Thursday, December 27, 2012
The Documentary - Somewhere Between
By Matthew Hilburn
Since China enacted the one-child policy in the late 1970s, tens of thousands of Chinese children, mostly girls, have been adopted around the world. Since 1989, over 80,000 have been adopted in the United States alone.
Four of these adoptees are the subject of the new documentary, “Somewhere Between,” in which filmmaker Linda Goldstein Knowlton chronicles the lives of Chinese-American teenagers as they struggle to find themselves. Haley, one of the subjects, jokes at one point in the movie, “I’m a banana. I’m yellow on the outside and white on the inside.”
Knowlton says her interest in the topic stems from her own experience adopting a child from China, particularly after she and her husband joined a one-year reunion of families who had also adopted children from China at the same time as they did. “I really wanted to explore identity and how my daughter would develop her identity, growing up in a transracial family,” she said.
Adolescence was particularly intriguing to Knowlton because “there is a part of it where all you want to do is stand out. Then all you want to do is fit in.” “I thought it would be a very intriguing place to start, to talk, to see what it would be like to be adolescent in a transracial family,” she said. “Instead of going to talk to experts, parents and all that, I realized there were thousands and thousands of girls experiencing adolescence that were adopted from China.
So I thought I wanted to go talk to the experts, and have the film be from their point of view.” The film follows Haley, Jenna, Ann and Fang, all typical American teens except for having been born in China. Over three years of filming, the four meet with other adoptees, some go back to China to reconnect, deal with stereotypes, all in a universal quest to find their identity and a sense of belonging.
The four come from different backgrounds, representing urban and rural, diverse areas and homogenous ones. Jenna, for example, attends the prestigious Phillips Exeter Academy in New Hampshire, while Haley is deeply Christian and home-schooled in Nashville, Tennessee. “I wanted each of these girls to represent in a way for this whole big group,” Knowlton said. “But there is no one way to feel about being adopted. No one way to feel about being born in China. There’s no one way about being a teenager.”
She added that there is a range of how much the subjects think about being adopted, how much they think about birth families, how much they struggle or don’t struggle with their identities and racial stereotypes. Both Haley and Fang, for example, nurture their connections with Chinese culture, each going back to China regularly. Fang, who has been back every year since she was adopted, has a more unusual experience, as she was adopted at the age of five, not as an infant. Knowlton accompanied her on one trip during the filming.
“To see things through her eyes and see how in her lifetime, China has changed and what she’s observed about it was fascinating,” Knowlton said. “Going back to Kunming, where she was from, and for her to say ‘oh wow, it is so built up.
This wasn’t old China. It isn’t the China that I remember.’” Haley helps keep connected to China through a charitable organization her family set up, which helps children who are still in orphanages by providing medicines and other supplies, Knowlton said. Yet Haley also has a uniquely American dream.
Hers is to be the first Chinese-American to perform in the Grand Ole Opry, a weekly country music stage event in Nashville. The filmmaker said exact numbers of orphans in China today are hard to come by, but she did say there are orphanages, better known as social welfare institutes, all across the country.
“They are not always talked about,” she said. "Some of them have got much more public attention because they are now where elderly people are living. They are like old age homes a little bit. They have also turned some of them into schools for some of the older kids that aren’t being adopted.” Despite the numbers, Knowlton said adoption is harder than it was just a few years ago.
“There is now a much longer wait,” she said. “For my husband and I, from the day we filled out our paperwork until the day we held our daughter in our arms, it was fourteen months. Now people waiting about four or five years for a healthy child.” Knowlton said there are two main factors driving this trend. First is the rise of the middle class, which means more people can afford the fines for having a second child. Second is that China is trying to promote in-country adoption.
“All countries would prefer to have their children to stay in their country,” she said. “I guess they’ve been working toward making that work.” “Somewhere Between” has garnered many positive reviews. “I’ve had Caucasian men come up to me after a screening and say ‘I’m not adopted, and my children aren’t, and I’m clearly not Asian or a girl, this film is my story,’” she said. “I’ve had a range of people say to me either the first or second generation immigrants say this is my story.”
At a recent screening in Kunming, China, Knowlton said one young man said afterward that he, too, felt “in between” because he comes from a rural area but had to go to the city for an education and to make money. “I wanted to make this film for a universal broad audience because we are all somewhere between at different points in our lives,” Knowlton said.
“The themes of family and belonging and identity, to me, are the most universal themes possible.” Jenna adds at one point in the film, “I don’t think I could consider myself fully Chinese or fully American. No matter where I am in my life, I’m always going to be sort of somewhere in between.”
Tuesday, December 25, 2012
Thai Seafood Workers Cheated on their Wages
Daniel Schearf
December 24, 2012
SAMUTSAKHON, THAILAND — Thailand this month threatened to deport more than a million migrant workers, most from Burma, if they failed to become documented by December 14th. The deadline came and went without mass deportations, but the pressure underscored flaws in the documentation program, known as nationality verification, and the abuse of migrant labor.
Hnin Hnin Win has worked in Thailand since she was 15 and has been cheated three times by past employers.
They charged her altogether $1,000 for work permits she never received and then terminated her employment.
Since November she works for Talay Thai, Thailand's largest seafood distributor and, though conditions are much better, she is still waiting on her paperwork.
"Without legal documentation, I feel afraid and worried, because I have to run or hide when police come here, otherwise I will be arrested," she said.
In Samutsakhon province, about 200,000 Burma migrants form the workforce for Thailand's seafood processing industry.
Talay Thai manager Suwatanachai Visetcharoen says only 10 percent of his workers are undocumented.
But, he argues illegal workers should not be held to strict deadlines for becoming documented because the industry depends on migrant labor. "Burmese labor or foreign labor is very important to the Thai seafood industry because most Thai laborers will not do this kind of work," he said.
There are two-and-a-half million migrant workers in Thailand, most from Burma, undocumented, and easy to exploit as they are at risk of being deported.
Forewoman Myint Myint Win says seven of her workers lack permits and have to bribe police about $10 a month to avoid arrest.
"We still need to worry about the police. However, my boss has good connections with them. Usually, the police inform my boss about possible police checks in advance by phone. Then, he asks the illegal workers to move or hide to another place," she said.
To prevent abuse, Thailand started a nationality verification program to get foreign workers documented.
But labor activists complain of excessive charges by brokers and requirements for employer backing and workers first returning home.
Migrant Worker Rights Network President Aung Kyaw says they offer legal support but the system itself needs to change. “Migrant workers accept that Nationality Verification is good for them. However, both governments cannot control the exploitation happening in the system," he said.
Labor activists say Thailand needs to simplify its migrant worker policy and enact laws that better protect the workers the country depends on.
December 24, 2012
SAMUTSAKHON, THAILAND — Thailand this month threatened to deport more than a million migrant workers, most from Burma, if they failed to become documented by December 14th. The deadline came and went without mass deportations, but the pressure underscored flaws in the documentation program, known as nationality verification, and the abuse of migrant labor.
Hnin Hnin Win has worked in Thailand since she was 15 and has been cheated three times by past employers.
They charged her altogether $1,000 for work permits she never received and then terminated her employment.
Since November she works for Talay Thai, Thailand's largest seafood distributor and, though conditions are much better, she is still waiting on her paperwork.
"Without legal documentation, I feel afraid and worried, because I have to run or hide when police come here, otherwise I will be arrested," she said.
In Samutsakhon province, about 200,000 Burma migrants form the workforce for Thailand's seafood processing industry.
Talay Thai manager Suwatanachai Visetcharoen says only 10 percent of his workers are undocumented.
But, he argues illegal workers should not be held to strict deadlines for becoming documented because the industry depends on migrant labor. "Burmese labor or foreign labor is very important to the Thai seafood industry because most Thai laborers will not do this kind of work," he said.
There are two-and-a-half million migrant workers in Thailand, most from Burma, undocumented, and easy to exploit as they are at risk of being deported.
Forewoman Myint Myint Win says seven of her workers lack permits and have to bribe police about $10 a month to avoid arrest.
"We still need to worry about the police. However, my boss has good connections with them. Usually, the police inform my boss about possible police checks in advance by phone. Then, he asks the illegal workers to move or hide to another place," she said.
To prevent abuse, Thailand started a nationality verification program to get foreign workers documented.
But labor activists complain of excessive charges by brokers and requirements for employer backing and workers first returning home.
Migrant Worker Rights Network President Aung Kyaw says they offer legal support but the system itself needs to change. “Migrant workers accept that Nationality Verification is good for them. However, both governments cannot control the exploitation happening in the system," he said.
Labor activists say Thailand needs to simplify its migrant worker policy and enact laws that better protect the workers the country depends on.
Friday, December 21, 2012
Not So Fair: Internet Radio Fairness Act
December 21, 2012
Volume 1 Issue 3
> Not So Fair: Internet Radio Fairness Act
> Backstage with Melanie Fiona
> The SX Playlist
> It's Never Too Late!
> Service Providers: Tips & Reminders
> SoundExchange Around the World
> Satellite Radio Royalty Rates Increase
> News & Reviews
> Junior's Must Have Gear: Americana Strikes Back
> GRAMMY Magazine Launches
> SX Events Calendar
A Call to Action
In our last edition of Soundbyte, we reported on the "Internet Radio Fairness Act" (IRFA), introduced by Reps. Jason Chaffetz, R-UT, and Jared Polis, D-CO, and in the Senate by Sen. Ron Wyden, D-OR. The bill would be anything but fair to musicians, and could drastically cut internet radio royalties paid to recording artists and record labels.
Artists Sign Open Letter to Congress
In the November 24 edition of Billboard, SoundExchange sponsored a two page ad that served as an open letter from 125 artists in direct opposition to the Internet Radio Fairness Act. The artists include Common, Dead Kennedys, Missy Elliot, Vince Gill, Don Henley, Billy Joel, Maroon 5, Martha Reeves, David Sanborn, Michael W. Smith and Roger Waters amongst many others. A second ad featuring more than 130 artists also ran in Politico on November 28. View the ad and join these artists in the fight to support the long term value of music.
If you are an artist and would like to join the fight to preserve artists' rights and sign on to future ads, please email press@soundexchange.com.
Ask Congress to Oppose IRFA
The creators of music should not be deprived of the income they deserve.
You're encouraged to let your representatives in Washington know, and tell them not to support the "Internet Radio Fairness Act." Let them know that recording artists and copyright owners deserve more for their creative contributions to the digital music space, not less.
SoundExchange is also asking that you join the organization on Twitter. Tweet #opposeIRFA to help support the long-term value of music.
GRAMMY® award-winning R&B recording artist Melanie Fiona, was born and raised in Toronto, Canada. Her first album, "The Bridge," was released in 2009. That album featured her first breakout song, "It Kills Me," and earned her a spot on the Billboard Hot 100 where it entered the top 50 and peaked at number 43. The song also earned Fiona a GRAMMY award nomination for Best Female R&B Vocal Performance. Though Fiona did not come away with a trophy in 2009, she earned two GRAMMY Awards for Best Traditional R&B Performance and Best R&B Song (as the songwriter) for "Fool for You" performed with CeeLo Green in 2012.
There is a common saying that "music is the soundtrack of our lives." Since music is such a big part of the lives of those who work at SoundExchange, the organization is offering an opportunity to take a glimpse into the musical world of the SoundExchange staff. Check out the Finance Department's favorite artists' channels to stream on Internet radio.
SoundExchange is committed to moving the music industry forward. Part of that mission is ensuring that artists and labels receive the royalties they are due when their music is played in the digital space. In fact, it's never too late to register to receive royalties for your sound recordings. Even though SoundExchange is authorized by law to release royalties older than three years, artists and labels may continue to earn royalties into the future. If your creative work is being performed on a non-interactive digital source that reports to SoundExchange, the organization is collecting royalties for you. The bottom line is that SoundExchange is dedicated to its mission to support, protect and propel the music industry forward. The organization strives to collect your royalties as efficiently as possible and, ultimately, get individuals the money they have rightfully earned.
Digital music services often have questions about how to meet the requirements of the statutory license, and SoundExchange is happy to answer those questions anytime. If you're a service provider and you're not sure how to comply with the statutory license, please contact our Licensing & Enforcement department at 202.559.0555. Below are some common tips to help digital music services fulfill their responsibilities quickly and accurately.
Artists in today's market have a far broader reach to fans around the globe than ever before due to the explosive culture of digital streaming. If you are an artist or label, there is a chance your music is being streamed worldwide. And SoundExchange wants to ensure that as an artist or label, you are receiving your royalties even when your music is played around the world.
One of SoundExchange's member benefits is that the organization will collect your royalties when your music is played in other countries. SoundExchange has agreements with 27 organizations across the globe. Simply by signing up as a member of SoundExchange for free, the organization will take care of the behind the scenes work to get your royalties to you in a single check. Plain and simple.
For a full list of the agreements check here. And be sure the image below here to check out this infographic for a visual of the agreements we have around the world.
The Copyright Royalty Board (CRB) has increased the rates to be paid by SiriusXM for the contributions of recording artists and record labels to the success of its service. Specifically, the initial determination set the rates at 9 percent in the first year, rising to 11 percent in 2017. To learn more visit, the CRB website.
While SoundExchange supports the upward trend that this case demonstrates, the rates for the next term represent a below-market outcome. This is due in no small part to the CRB's application of a special rate standard that permits below market rates for SiriusXM. It is SoundExchange's belief that all radio services should pay a fair market rate for their use of sound recordings.
The organization will continue to fight for the value of music and protect the rights of creators.
John Fullbright: From the Ground Up
John Fullbright just might be the best thing to come out of central Oklahoma since Woodie Guthrie. Just shy of 25 years old, this singer songwriter recently debuted his first studio album, From The Ground Up this past May. The disc exemplifies an innate wisdom that is usually the result of trials and tribulations of love, loss, politics, and religion gathered over a lifetime.
Something from Nothing: The Art of Rap
Rapper Ice-T is considered one of the pioneers of the gangster rap scene. His directorial debut, the 2012 documentary "Something from Nothing: The Art of Rap," co-directed by Andy Baybutt, unveils the creative processes behind the innovators of the hip-hop industry. The documentary does not follow a strict timeline of the history of hip-hop. Instead, it encapsulates the stories and styles of legendary rappers, MCs, and producers, such as Chuck D, Grandmaster Caz, KRS-One, Mos Def, Common, Snoop Dogg, Dr. Dre, MC Lyte, Nas, and Kanye West, in order to illustrate what goes on in the mind of a rapper.
Electric Banjo
Gold Tone EBM electric Banjo
With Mumford & Sons recent release, Babel (now GRAMMY® nominated for Best Album at the 55th Annual Awards in February), it seemed a good time to look into the unique composition that has been hitting our digital airwaves since the group's formation in London in 2007. After the English roots rockers dropped their hit single "Little Lion Man" in 2009, and became ubiquitous on American rock radio in 2010, audiences are now treated to an assortment of familiar, yet unusual sounds from instruments commonly associated with country, bluegrass, and folk music from Europe to the States.
Banjo
Eagle II 5-string
Speaking of banjos, Winston Marshall recently joined the Deering Banjos family of artists, picking up one of the notable manufacturer's newest offerings, the Eagle II 5-string.
Accordion
Roland FR-7x V accordion
Mumford & Sons's keyboardist Ben Lovett has made the accordion mainstream. He's been using the Roland FR-7x V accordion - "V" meaning virtual, as in digital.
Recently, the GRAMMY organization launched their brand new magazine. For more information on the launch, check out the write-up from the folks at the GRAMMY organization:
"Welcome to GRAMMY magazine, a regular publication aimed to entertain as well as inform Recording Academy® members and other music professionals about the activities of The Academy. The Recording Academy doesn't just produce the GRAMMY Awards, it is a year-round advocate on behalf of music people with charitable affiliates that promote music education and provide for the health and well-being of the music community. What we do probably impacts you. We hope you enjoy the current issue, now in a new reader-friendly format."
Volume 1 Issue 3
> Not So Fair: Internet Radio Fairness Act
> Backstage with Melanie Fiona
> The SX Playlist
> It's Never Too Late!
> Service Providers: Tips & Reminders
> SoundExchange Around the World
> Satellite Radio Royalty Rates Increase
> News & Reviews
> Junior's Must Have Gear: Americana Strikes Back
> GRAMMY Magazine Launches
> SX Events Calendar
A Call to Action
In our last edition of Soundbyte, we reported on the "Internet Radio Fairness Act" (IRFA), introduced by Reps. Jason Chaffetz, R-UT, and Jared Polis, D-CO, and in the Senate by Sen. Ron Wyden, D-OR. The bill would be anything but fair to musicians, and could drastically cut internet radio royalties paid to recording artists and record labels.
Artists Sign Open Letter to Congress
In the November 24 edition of Billboard, SoundExchange sponsored a two page ad that served as an open letter from 125 artists in direct opposition to the Internet Radio Fairness Act. The artists include Common, Dead Kennedys, Missy Elliot, Vince Gill, Don Henley, Billy Joel, Maroon 5, Martha Reeves, David Sanborn, Michael W. Smith and Roger Waters amongst many others. A second ad featuring more than 130 artists also ran in Politico on November 28. View the ad and join these artists in the fight to support the long term value of music.
If you are an artist and would like to join the fight to preserve artists' rights and sign on to future ads, please email press@soundexchange.com.
Ask Congress to Oppose IRFA
The creators of music should not be deprived of the income they deserve.
You're encouraged to let your representatives in Washington know, and tell them not to support the "Internet Radio Fairness Act." Let them know that recording artists and copyright owners deserve more for their creative contributions to the digital music space, not less.
SoundExchange is also asking that you join the organization on Twitter. Tweet #opposeIRFA to help support the long-term value of music.
GRAMMY® award-winning R&B recording artist Melanie Fiona, was born and raised in Toronto, Canada. Her first album, "The Bridge," was released in 2009. That album featured her first breakout song, "It Kills Me," and earned her a spot on the Billboard Hot 100 where it entered the top 50 and peaked at number 43. The song also earned Fiona a GRAMMY award nomination for Best Female R&B Vocal Performance. Though Fiona did not come away with a trophy in 2009, she earned two GRAMMY Awards for Best Traditional R&B Performance and Best R&B Song (as the songwriter) for "Fool for You" performed with CeeLo Green in 2012.
There is a common saying that "music is the soundtrack of our lives." Since music is such a big part of the lives of those who work at SoundExchange, the organization is offering an opportunity to take a glimpse into the musical world of the SoundExchange staff. Check out the Finance Department's favorite artists' channels to stream on Internet radio.
SoundExchange is committed to moving the music industry forward. Part of that mission is ensuring that artists and labels receive the royalties they are due when their music is played in the digital space. In fact, it's never too late to register to receive royalties for your sound recordings. Even though SoundExchange is authorized by law to release royalties older than three years, artists and labels may continue to earn royalties into the future. If your creative work is being performed on a non-interactive digital source that reports to SoundExchange, the organization is collecting royalties for you. The bottom line is that SoundExchange is dedicated to its mission to support, protect and propel the music industry forward. The organization strives to collect your royalties as efficiently as possible and, ultimately, get individuals the money they have rightfully earned.
Digital music services often have questions about how to meet the requirements of the statutory license, and SoundExchange is happy to answer those questions anytime. If you're a service provider and you're not sure how to comply with the statutory license, please contact our Licensing & Enforcement department at 202.559.0555. Below are some common tips to help digital music services fulfill their responsibilities quickly and accurately.
Artists in today's market have a far broader reach to fans around the globe than ever before due to the explosive culture of digital streaming. If you are an artist or label, there is a chance your music is being streamed worldwide. And SoundExchange wants to ensure that as an artist or label, you are receiving your royalties even when your music is played around the world.
One of SoundExchange's member benefits is that the organization will collect your royalties when your music is played in other countries. SoundExchange has agreements with 27 organizations across the globe. Simply by signing up as a member of SoundExchange for free, the organization will take care of the behind the scenes work to get your royalties to you in a single check. Plain and simple.
For a full list of the agreements check here. And be sure the image below here to check out this infographic for a visual of the agreements we have around the world.
The Copyright Royalty Board (CRB) has increased the rates to be paid by SiriusXM for the contributions of recording artists and record labels to the success of its service. Specifically, the initial determination set the rates at 9 percent in the first year, rising to 11 percent in 2017. To learn more visit, the CRB website.
While SoundExchange supports the upward trend that this case demonstrates, the rates for the next term represent a below-market outcome. This is due in no small part to the CRB's application of a special rate standard that permits below market rates for SiriusXM. It is SoundExchange's belief that all radio services should pay a fair market rate for their use of sound recordings.
The organization will continue to fight for the value of music and protect the rights of creators.
John Fullbright: From the Ground Up
John Fullbright just might be the best thing to come out of central Oklahoma since Woodie Guthrie. Just shy of 25 years old, this singer songwriter recently debuted his first studio album, From The Ground Up this past May. The disc exemplifies an innate wisdom that is usually the result of trials and tribulations of love, loss, politics, and religion gathered over a lifetime.
Something from Nothing: The Art of Rap
Rapper Ice-T is considered one of the pioneers of the gangster rap scene. His directorial debut, the 2012 documentary "Something from Nothing: The Art of Rap," co-directed by Andy Baybutt, unveils the creative processes behind the innovators of the hip-hop industry. The documentary does not follow a strict timeline of the history of hip-hop. Instead, it encapsulates the stories and styles of legendary rappers, MCs, and producers, such as Chuck D, Grandmaster Caz, KRS-One, Mos Def, Common, Snoop Dogg, Dr. Dre, MC Lyte, Nas, and Kanye West, in order to illustrate what goes on in the mind of a rapper.
Electric Banjo
Gold Tone EBM electric Banjo
With Mumford & Sons recent release, Babel (now GRAMMY® nominated for Best Album at the 55th Annual Awards in February), it seemed a good time to look into the unique composition that has been hitting our digital airwaves since the group's formation in London in 2007. After the English roots rockers dropped their hit single "Little Lion Man" in 2009, and became ubiquitous on American rock radio in 2010, audiences are now treated to an assortment of familiar, yet unusual sounds from instruments commonly associated with country, bluegrass, and folk music from Europe to the States.
Banjo
Eagle II 5-string
Speaking of banjos, Winston Marshall recently joined the Deering Banjos family of artists, picking up one of the notable manufacturer's newest offerings, the Eagle II 5-string.
Accordion
Roland FR-7x V accordion
Mumford & Sons's keyboardist Ben Lovett has made the accordion mainstream. He's been using the Roland FR-7x V accordion - "V" meaning virtual, as in digital.
Recently, the GRAMMY organization launched their brand new magazine. For more information on the launch, check out the write-up from the folks at the GRAMMY organization:
"Welcome to GRAMMY magazine, a regular publication aimed to entertain as well as inform Recording Academy® members and other music professionals about the activities of The Academy. The Recording Academy doesn't just produce the GRAMMY Awards, it is a year-round advocate on behalf of music people with charitable affiliates that promote music education and provide for the health and well-being of the music community. What we do probably impacts you. We hope you enjoy the current issue, now in a new reader-friendly format."
Netflix Revives Old TV Shows by Direct Streaming
By Jeanine Poggi
Stock quotes in this article: NFLX
NEW YORK (TheStreet) -- Netflix (NFLX_) could get into a new business: reviving cancelled television shows.
The movie rental giant officially announced it will bring back Arrested Development, bringing new hope to dozens of cancelled cult classics. Netflix struck an exclusive deal to stream new episodes of the comedy in 2013.
"For the first time in their histories, Twentieth Century Fox Television and Imagine Television will produce original first-run entertainment content for the world's leading internet subscription service, bringing back the acclaimed series to production on all new episodes five years after its cancellation," according to Netflix's press release.
These new episodes are expected to serve as a segue way into an Arrested Development feature film.
Netflix did not reveal which cast members -- Jason Bateman, Will Arnett, Portia de Rossi, Michael Cera and Jeffrey Tambor -- will return to the series. But Bateman Tweeted: "Netflix is gassing up the staircar! I don't think I've ever been happier to wear a pair of khakis."
Arrested Development originally aired on Fox, and while it didn't live up to ratings expectations, the series garnered a cult following during its three seasons.
Netflix is also rumored to resuscitate Comedy Central favorite Reno 911!, but there's been no update on plans moving forward.
>You Said It: TV Shows You Want Netflix To Bring Back
Netflix has been aggressively focused on acquiring television content, recently striking deals for new episodes of The Office and 30 Rock from NBC, and securing exclusive rights to the AMC series Walking Dead. The company is also developing an original series, House of Cards, staring Kevin Spacey.
Of course, it's not easy for Netflix to revive a cancelled show. There are more than several hurdles in securing the rights and talent necessary to recreate a cult classic. But if Netflix is successful with Arrested Development, reviving cancelled shows could be an excellent way for the company to woo back the subscribers it lost following its price hike and Qwikster flip-flop.
Given this, here's a look at cancelled, but beloved, shows that Netflix should consider giving a second chance.
Wednesday, December 19, 2012
Subscribe to:
Posts (Atom)