Come Sit On My Wall

By request per Brock. Damien got quite popular since he did some songs on the movie Closer. I'm not a fan of the whole album, just about five songs.

The lyrics I found say "story of O." The album's entitled "O" but I'm not sure that's what he says. I thought it was "old." I'm probably missing something, though.

Download mp3: Damien Rice - Amie.

Amie

Nothing unusual, nothing strange
Close to nothing at all
The same old scenario, the same old rain
And there's no explosions here
Then something unusual, something strange
Comes from nothing at all
I saw a spaceship fly by your window
Did you see it disappear?

Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me
Nothing unusual, nothing's changed
Just a little older that's all
You know when you've found it,
There's something I've learned
'Cause you feel it when they take it away

Something unusual, something strange
Comes from nothing at all
But I'm not a miracle
And you're not a saint
Just another soldier
On the road to nowhere

Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me

And Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me

Scattershot

Ah, 4th of July weekend. Nothing like a Holiday Weekend to help me make some headway on my script. Pounding out some crucial scenes for the second half of Act II in my script, I spent any free time I could muster yesterday and today writing out 10 pages of material. The scenes I ended up getting down were some of the more difficult I’ve had to write, including one very intense confrontation scene.
I should add that I’m positive once I go back and rewrite my material I’ll find plenty of mistakes to cramp up over, but for the moment I’m reasonably satisfied enough to push forward at least 10 more pages by tomorrow. Act II is running long…I’ll cut it down in the final draft.

So I called FotoKem and the processing on The Subject is done. All that’s left is the telecine. After the film gets back to me I’ll begin the arduous process of editing. Actually, I’m really looking forward to the editing for this film, as I have a million ideas I want to try and accomplish. One of the things I wanted to make important in this film was the Foley and overall sound. That’s never really been a heavy focus in the past, but I want to get creative with it this time around. I can picture setting an entire mood with some particular sounds. I know that I’ve always ended up just laying down music to my films, in essence making them music videos, but this time I really want to focus on the sound effects.

I added the Criterion Collection and The City on Film Daily to our collection of links on the right hand side of the page. Why? Well, Criterion made it to the list because we’ve been talking very heavily about movies lately, independent, artistic and foreign films in particular, and I’ve realized over time that they have one of the finest collections of cinematically important films. They also publish a number of interesting film articles. The City on Film got a link because, well, that’s a very frequently updated blog. And since I wanted to make sure we keep updating our site with new material, I decided to add that. I should get his new CD and review it.

Speaking of reviews, my next major one:

Going by the trailers and commercials, it isn't going to be anything like I thought it would be, but I've read some surprisingly good reviews. I'll still give it a shot.

5 Good Spielberg Films

I may not have particularly enjoyed War of the Worlds, but Spielberg has had his fair share of good movies. More recently he delved into less accessible subject matter. While this may have turned much of his audience off, I found some of these newer films to be among his most enjoyable. And of course, he still has a hefty back-catalogue of remarkable films that continue to inspire filmmakers worldwide. Everyone has the capacity to make something truly astounding. Just to let you know that I have no real bent against this guy’s work, here are five of my personal favorite Spielberg films.

Catch Me If You Can: Spielberg’s definitive capper movie. Based off the real life story of con artist Frank Abagnale Jr., this film tracks the manhunt for Abagnale from two opposing points of view: Abagnale’s own and that of his hell-bent pursuer, Carl Hanratty. With a sharp sense of humor and a clipped pace, “Catch Me If You Can” is not particularly stunning or epic, but it doesn’t have to be. It’s merely an exercise in both tone and pace.

Jaws: Spielberg did manage to deliver a film that was told through the eyes of intriguing and engaging characters. His finest hour at this form of storytelling was Jaws. Known as the film that revolutionized his career, Jaws works on so many levels. But what remains most impressive about it is its strong cast of characters. We’ve got the smarmy marine biologist, the guilt-ridden police chief and a crusty old seaman. These three characters, strongly opposed in background, morality and personality, pushed the film forward towards a remarkable climax. Even if Spielberg could have gotten the mechanical shark to work, it wouldn’t have given this film the same brilliance.

Indiana Jones and the Raiders of the Lost Ark: George Lucas may have initially conceptualized this story, but the actual direction of the piece owes its significance to Spielberg. Much like a Lucas film, Raiders of the Lost Ark places its focus on the cornball theatrics of pulp comic heroes and adventurous escapes of daring do. The film’s hero Indiana Jones finally gave Spielberg an outlet to discard all his ideas he had in homage of James Bond. What’s more, it gave him his own franchise of films to successfully capitalize off of.

Close Encounters of the Third Kind: Brilliantly understated in its execution, Close Encounters of the Third Kind succeeded in giving us an alien film that hinged on the miraculous wonder of Spielberg’s very active imagination. Told in part by the frantic performance of Richard Dreyfus, and the oddly detached narrative of the U.S. Military, Close Encounters used a drawling pace to gradually reveal the alien beings to us. To this day it remains timely and tasteful.

Minority Report: Minority Report was a film that was lifted off a story by Philip K. Dick and retold in film noir perspective. Featuring Tom Cruise and Colin Farrell in what may be his only tongue-in-cheek performance; Minority Report toyed with the idea of what it would mean to give up your privacy in return for a guaranteed kind of safety. Although Spielberg may not have pushed this concept as strongly as he could have, the film still features a tight narrative plus several interesting plot devices. Its vision of the future is also delightfully dark; abound with dancing cereal boxes, convicts stored away in tombstone like chambers, and police nightsticks that induce vomiting.

War of the Uninspired

On the day of October 30th, 1938, men, women and children fled their homes in terror because the nation was being attacked by the greatest threat humanity had ever faced: an enthused imagination.

The stimulant? A fictional a radio broadcast.

Spielberg on set

Yes, these people, caught up in a fit of sheer terror, had no intergalactic invaders to blame for their loss of control, just Orson Welles. The legendary auteur (at that time a member of the famous Mercury Theater) caused real pandemonium with his now infamous broadcast of “War of the Worlds” all because of a little acting ability and plenty of imagination. Ingeniously weaving his adaptation of the famous novel through a series of mock news reports, Welles managed to capture a personal level of terror that is often felt by each and every one of us whenever malevolence strikes.
Now, Steven Spielberg has attempted to capture that same feeling with his own adaptation of War of the Worlds, and it’s safe to say that while he may have created an entertaining film, he’s failed in the same arena Welles excelled in.
I honestly don’t think it’s unfair to criticize Spielberg in this regard; he tries several times throughout the film to capture that same sense of human terror, but he never quite succeeds. Instead of giving us 5-star generals and a hard-boiled war president as the film's leads, he builds the story up from the human point of view by introducing us to a shattered family in the form of Ray Ferrier, his daughter Rachel and his son Robbie. But despite this fundamental effort to capture terror where it is most strongly felt, Spielberg can’t help but fall back on his old tricks.
Yes, Spielberg may filter the story through a torn family but he also giddily shows us the aliens as soon as opportunity arises. (These aliens, by the way, are so formulaic in design that I’d just as soon see one walking down the street than be terrified of it.)
Herein Spielberg drops more cash on fancy computer effects for the alien war machines then Welles probably spent on all of his films combined. These alien war machines, or tripods as the film insists we call them, are truly terrifying when shadowed away by smoke and haze. But more often then not, Spielberg ruins the illusion by giving us plenty of crisp snapshots of the blasted things. He tries to be coy, but he just can’t do it. There’s one point in the film where Cruise’s character meets up with a gang of greedy, story-driven reporters who show him footage of the tripods attacking. M. Night Shyamalan tried this “secondary source” technique with great results when he showed us an alien captured by a video camera in Signs. In reality, that shot was probably just a guy in a rubber suit captured by an actual off the shelf video camera. Yet that’s why it was so chilling! Spielberg’s “footage" looks more like an ILM test model for the tripods.
Elsewhere in the film, Tom Cruise busies himself as usual by acting proficiently enough to carry the story along, unhindered by his recent media shenanigans; I honestly had no problems simply letting him fall into his roll. Along with Cruise we have Dakota Fanning, the prodigy child-actress who does a fantastic job of acting terrified (and since that’s really the only emotion she can effectively convey, this story is a perfect showcase of her abilities), Justin Chatwin who pulls off a sufficient performance if nothing else, and Tim Robbins who gives us something mildly besotted considering how little he had to work with. But, for a film that was touted to be built on a foundation of standout characters, there are no real standouts in the entire piece. True, the first half does a fantastic job of giving us the human characters we desperately need...then the second half throws them completely out the window.
The final flaw is a tone that is far too blatantly “dark!!!” to be effectively enjoyable. Instead of letting the atmosphere of the situation set the tone of the film, we’re given graphic moments of people vaporizing into dust or getting their blood sprayed across the land. Sure, it’s dark as heck, but not terribly inspired.
Spielberg should be praised for his visual accomplishments; that goes without question. And the visual effects beheld in the film are crafted most exquisitely. But these kinds of films simply aren’t Spielberg’s territory anymore. He used to own the blockbuster. Now, with a new generation of filmmakers leaving their imprint, it feels like he’s riding on the coattails of younger visionaries. We expect Shyamalan to swipe tricks from Spielberg, not vice versa.

After all the computer generated trickery, high paid actors and media scandals, Welles still owns the legacy for this story, all because he had a little acting prowess, some ingenuity, and of course, plenty of imagination. Let me know when Spielberg gets his back.

Report

Sorry it's been quiet around these parts lately. I haven't felt terribly interested in posting. Kudos to Gabe for all his MP3 posts. I look forward to them every week. They've kept this place alive.
Not much to report...finished a new short screenplay entitled His Big Night (maybe I'll put it up soon)...might have a part in it for Gabe, possibly Mr. Summers and a few others (if they're interested)...dunno yet. It's actually act II of a three act film. Gotta see how the planning stages turn out before I plan on filming it. I'm also gearing up to revise Wildlifeless for the 35mm contest. Unless someone wants to pair up with me to write something for that thing, I'll submit my revised edition.
The shoot for The Straight Man was great by the way. Easily one of our best films. It also has some of Josh's finest cinematography, and I truly feel that the rest of us helping on the film made the whole thing go smoothly. I won't say much about it though because it's under wraps right now. Anyway, keep your eye out for that.

Cya,

-Brock

Letting the pineapple turn

Sunday night after the jam session at Joshua’s house, Marco, Josh and Angie, and myself sat down and watched Wong Kar Wai’s seminal hitman piece “Fallen Angels” (or as it is known in the East, “Duoluo tianshi”). This was the first time I saw the piece and I have to say that I was quite impressed.
According to Josh, this film is a direct follow-up to Kar Wai’s own Chunking Express, and as there are numerous similarities between the two, the connection is palpable. For instance, a main character in this film, He Zhiwu, claims to have lost his voice after eating an expired tin of pineapple. If you’ve seen Chunking Express, you will recall that one of the film’s characters, He Zhiwu, collected and ate tins of expired pineapples. While there is no direct connection between the two characters in either film’s narration, it’s still a curious reference.
Anyhow, I was most impressed by this film because of several reasons:

One of the finer performances.

1. It’s structure. It’s clear that Kar Wai’s films have a unique structure all their own. Most often this is achieved through his improv shooting, which often leads to him piecing a story together (literally) in the editing room. He followed through on this style in Chunking Express, but I have to say that I felt like his attempt here was considerably more effective. The story really had a unique structure and style of editing. Whereas it was unique and workable in Chunking Express, here it was the defining drive behind the film.

2. The spine. This story really had a strong spine that followed through from beginning to end. Although much of it was probably improv, toyed around with and left unsure until the moment of editing, there was an unmistakable sense of direction to this film. It established a strong beginning and delivered with a strong end. And each character had a line of development that they followed throughout the film, sometimes to heartbreaking results. This was well done.

The film's token conflicted hottie.
3. The atmosphere. If this film succeeds especially well in one particular area, it succeeds in creating a suffocating, vivid, strung-out atmosphere. With every scene set entirely at night, this film never lets up for a moment on the enclosed, overwhelming harshness of the city. Everyone is either crammed away in a dingy little apartment, an ice cream truck or a restaurant that barely has enough room to stand up in, let alone sit down. (Most of the time, this seems to be achieved with a telephoto lens, which never lets up on the actors) Someone commented on IMDB that this establishes a proficient commentary on the backlash of modern life, also known as “The Walkman Syndrome”. A key sequence in the film, showing a main character spacing out while a terrible fight breaks out behind her, underscores this theory perfectly.

I enjoyed Chunking Express, but Fallen Angels is a film that I would watch again and again. It may even be a film I wouldn’t mind adding to my own collection.

The Blood That We're Made Of

A little Mates of State for you. This band simply consists of a couple. The lady plays organ and the man plays drums. I love the organ in this song.
Download mp3: Mates of State - Ha Ha.

Ha Ha

I can't tell what kind of life I've led today
All that's known is what's debatable again

Oh, I can't see where you are
Where is the problem?
Squared-off, all bother
We're not to blame

And I can't see the darker wood
Squared-off, all bother
Where is the problem?
We're not to blame

I can't tell what kind of life I've led today
All that's known is what's debatable again

And I imagine I will see you there
You will have long flowers in your hair
I imagine I will see you there

This is the blood that we're made of
So tell it like a chronicle

Who's dancing all around?
Let's give it to me, give it to me now

And I imagine I will see you there
You will have long flowers in your hair
The telegram said: are you gonna call our way home?

I imagine I will see you there
Can't you hear the laughter in the air?
The telegram said: are you gonna call our way home?

And I imagine I will see you there
I know it's stout but it's shallow
I'm not aware
The telegram said: who rejuvenated your eyes, boy?

This is the blood that we're made of
Go tell it like a chronicle

We're dancing all around
Let's give it to me, give it to me now

This is the blood that we're made of
Go tell it like a chronicle

Step to the Left, Baby

Get down, a la funky. This week's song you can dance to. Do it.
It's OK, nobody's watching.
Download mp3: Tony! Toni! Tone! - Tell Me Mama.

Couldn't find lyrics for this one and I'm not about to type them up. They're pretty discernible, though, so enjoy.

Wanted: Mid-90's alt rockers

Is he crazy or something?

I Feel Them Drown My Name

This week's song is late, because Cox is lame. I had to put it somewhere else.
Know the amazing vocal range that is Jeff Buckley.
Download mp3: Jeff Buckley - Grace

Grace
There's the moon asking to stay
Long enough for the clouds to fly me away
Well it's my time coming, i'm not afraid to die
My fading voice sings of love,
But she cries to the clicking of time
Of time

Wait in the fire...

And she weeps on my arm
Walking to the bright lights in sorrow
Oh drink a bit of wine we both might go tomorrow
Oh my love
And the rain is falling and i believe
My time has come
It reminds me of the pain
I might leave
Leave behind

Wait in the fire...

And I feel them drown my name
So easy to know and forget with this kiss
I'm not afraid to go but it goes so slow

Year 2

Since we talked it up at the party last night...here's some teasers.

Rehearsing Disasters

This week's song comes to you from the Owls. It's the same members that made up the influential Cap'n Jazz, minus Davey, who went from Promise Ring to Maritime.

Everyone Is My Friend
i know what i have to do and do it. i know what i have to do and do it. but don't know what it is until it's done. i know it must be rough, you're so much smarter than your friends. come clean in jokes. integrity in tennis shoes. waiting thinking how'd i like to be call waiting. territory mutinies horizon. disease teaches immunity. a promise implied can't be broken. and even now in the sunlight with grapefruit juice and coffee bound and bountied to winter without end would you two like each other or are you too alike? i know what i have to do and do it. i know what i have to do and do it. but don't know what it is until it's done. i've been inventing you and continue inventing you. may we all make it home safely. i know it must be rough, you're so much smarter than your friends. rehearsing disasters and forecasting all your needs. i dance early then got shy and had to go home early. the mirage will fade as it unfolded. the plot's defamed it's own voltage. a promise at the time can't be beat. and even now as the snow is opening it's whole in pieces and wets each grieving hold of last year's trash it's not impossible to think of you thinking of me. may we all make it home safely.

Bandito's Way, Part Dos

I hadn't gotten around to posting a link to Bandito's Way until now. There it is. Keep in mind it's my first real editing job. A little sloppy.

It made the Screen Wars showing, along with The Visitor, and Arizona Citizen. Yes, Matter of Chance is dominating this genre.

Such a Pity

Album Review: Make Believe

For the last few weeks, I’ve been on pins and needles over this new Weezer album. To borrow a paradigm from fellow blogger Jeremy, I was afraid I might get lured back into an old relationship, only to have my heart broken all over again. The mixed reviews surfacing over the band’s latest venture only served to complicate my feelings about the allure of a new Weezer album. Trust me, you’d be confused too. On one hand, we had the renowned pretentiousness of Pitchfork decrying the album in a blatant hail of disgust, and on the other Rolling Stone, who seems to be giving every new Weezer album 4 stars in an effort to make up for initially panning the dark masterpiece Pinkerton.
With such extremist opinions, I ultimately decided that I simply had to get it and decide for myself.
I think that I can now confidently say that the album resides not in the extremes of either side, but squarely in the middle. It isn’t brilliant, true, but it doesn’t forsake human kind like some would have you believe. And in fact, the album might become much stronger over time. But for the moment, I’m placing excruciating standards upon it, simply because I refuse to let another mess like Maladroit pass.
Actually, I thought Weezer was delivering the next Maladroit when I first gave Make Believe a whirl. The reason why I was led to this suspicion was because of the atrocious album opener, Beverly Hills. I swear, the only thing I can think of when I listen to that song is a mental picture of the horrid music video filmed at the Playboy mansion. No wait…I also think to myself, “Spike Jonze used to direct videos for these guys. And the songs were good too”.
Beverly Hills isn’t a good song. It’s the exact kind of crap publications like Rolling Stone would have you believe is good. They take one listen to it and declare, “Weezer has found the spine of the Blue Album once again!” The thing is; Weezer’s promotional machine would have us believe they found the spine behind The Blue Album way back with the Green Album (and again with Maladroit). Realize that if this were the case, there wouldn’t be any issues with Weezer. But it isn’t the case, because Beverly Hills is a festering pile of musical excrement. It’s brilliant in the Abercrombie and Fitch sense, and as a result, I wouldn’t blame you if you turned the album off right at this point. Weezer deserves it for serving up this shame.
If you did turn it off however, you’d miss the next song, Perfect Situation. And what a crime it would be to give up at this point, because if any song from Weezer’s current output can truly claim to recapture the spine of golden days, Perfect Situation is it.
There it is, out of nowhere. Crashing in with those memorable jagged guitars and the sorrow of Rivers Cuomo. Years of songs like Island in the Sun and Keep Fishin’ would have us believe that the world is a beautiful place rife with opportunity and good times. Just sit back, enjoy your friends, and kick around a few balls on the beach. The sheer façade behind those songs is sickening. However, the raw unmasking behind Perfect Situation becomes so utterly brilliant because of their previous diabetic misfires.

Let me calculate a good song for you

Yes, Rivers Cuomo, tells us that life isn’t peachy keen. He still hasn’t found a soul mate and as the years dwindle on, he probably won’t. Sure, the lyrics aren’t all that brilliant. In fact, compared to the underhanded lyrical play of Pinkerton, they’re rather glib. But here’s the thing: I believe these lyrics more then any other he’s written since Pinkerton. And when he entreats us, “Though I can’t satisfy all the needs she has, and she stars to wander, can you blame her?” we truly feel for him. This is Rivers at his finest. He’s finally acknowledging that he’s the hero to legions who claim to feel the exact same way he does.
Then the album continues on with the clever, if not terribly resounding, This Is Such a Pity. No complaints can be found here, assuming you don’t have a bias against Synth in your Weezer songs. Let’s hope you don’t, because they repeat this theme a few times to some interesting results. But like I said, it’s nothing brilliant. It’s just unique enough to keep you interested. And it’s far more engaging to hear Rivers tell us about how girls see him as a fascist pig then it is to hear him tell us there’s plenty of fish in the sea.
The album stays strong with Hold Me, another almost reclaimed Blue Album track, before it falls prey to the mediocre Peace, which sounds just like every other track playing on MTV at this moment. In fact, I’m sure Peace will go over quite well with that crowd. Rivers isn’t here to entertain them though, because he’s been doing that for the past 4 years. He’s here to reclaim the fans he’s so earnestly alienated. And sadly, this is where the album makes a near-fatal mistake, because he follows this lazy track with the inexcusable We Are All On Drugs, a song so poorly conceived that it should have never been spoken of outside of the studio. Yes, this song is so terrible that I almost stopped listening right then and there. Clearly, it’s trying to be clever.

It isn’t.

The word play in this song is so pathetic that it’s hard to imagine it was written by the same guy who once made inquires about how his female fans masturbate seem profound. The silliest moment has to be when “I want to confiscate your drugs, I don’t think I can get enough” seems to blare out of nowhere, promptly followed by a roaring solo. My ears can’t decide what they want to bleed too, the music or the lyrics.
Thankfully, he picks the album back up with The Damage In Your Heart, another fine, brooding track that doesn’t let us forget what Rivers is still capable of. “One more time, I have crossed the line, now you won’t be mine anymore”. The mantra of forgiveness thus continues. The album manages to get in a few more solid punches before the end. Freak Me Out in particular takes the cake for being the weirdest song on the entire album. In fact, the combination of synth and a very Beach Boys sounding harmonica is just enough to put a smile on my face.
The album could end a champion if it would only deliver a final track worthy of the ranks of Butterfly and Only in Dreams. Sadly, this was not to be. I actually don’t care to keep listening after Freak Me Out; that is the true ending of the album.

Ultimately, Make Believe is the disc Weezer should have delivered in their comeback years ago. It’s sharp and concise, and each song, good or bad, flows so well into the next, that the entire piece carries a true sense of unity. And the most amazing thing about this album is its ability to prop itself up should it accidentally fall down. You may find yourself disgusted by Beverly Hills or We Are All on Drugs, but take heart in the fact that the album rectifies itself with something more winning on the next track.
Now here’s the hard part: Make Believe still doesn’t reclaim the former glory of Pinkerton or The Blue Album. And this is a shame, because it tries so hard. This is the first time Rivers tried to achieve what his fans always wanted him to. The worst thing however is that it’s far too late. Had he attempted something like this back with Maladroit (or even better, The Green Album) he would be able to walk away with a shred of awe. Instead, we get the sense that he didn’t care to try something like this until his fan base prompted him (repeatedly) to. Make Believe is a sincere album, but it would be far better if he had done this right off the bat instead of jerking us around for years with meaningless ditties like Dope Nose.

Oh well. Let him go cry about it. If he does, maybe the next one will be even closer to Pinkerton.

Try Again

"Work Crazy," behind the scenes is now on the MOC website. It worked for me there but not from Cox. Stupid Cox.

I'll Be Your Impressario

It be known to many a people that The Casket Lottery is one of my favorite bands of all time. So, this week's song will be by one of the bands that inspired them, Kill Creek. Download now.

Kelly's Dead
Let's decide on a price you can sell me out to the world for
and I'll pretend if I'm forced to, by shame
I deny your desire to make good with a silicone heart-throb
I'm gonna leave this religion someday
And if I start drinkin' now, by midnight I'll start thinkin' how,
it's alright now, Kelly's dead It's alright now, Kelly's dead
It's alright now, Kelly's dead and I'm forced to criticize
I can't bury her by myself. I can't carry this no more
Let's agree on a way you can screw me up for the long term
and I will send you a letter someday
I rely on your life to make mine worth dying to live for
Kelly waits for me to follow her down
I get so upset by the little things and all the change that brings
I don't need anything. Well you can dominate my scenario
and I'll be your impressario
all I can say is you don't know me well

Moral. Bank. Hole in Wall. Favors for favors. Fond, but not in love.

I was waltzing around looking at Criterion Collection DVD's the other day, and I stopped, mid-browsing to ask myself: Where is my Meeting People Is Easy Criterion DVD?

Where!?!

Possible features:

Disc 1

original film
original film with audio commentary by grant gee
original film with audio commentary by Radiohead
original film with audio commentary by panel of music critics from rolling stone, nme and other magazines

Disc 2

MINI FEATURES

"Hunting Bears", new grant gee documentary on the post-OK Computer atmosphere
series of radiohead music videos
series of web broadcasts held by the band during the kid a, amnesiac and hail to the thief sessions
interview with grant gee
special behind the scenes on editing meeting people...

I need to stop wishing for things I'll never get.

Also, since we've been arguing the merits of Voice Over, I thought I'd post this nice little feature on the criterion website about voice over in film

Brock Lipton or James Brown?

Check it out, yo.


Kevin Ross 

What the...!?

Throwin' Down

Yeah, my baby throws gang signs. What of it!?