Here at THE VINYL DISTRICTwe're good consumers. All Mp3's are posted to promote and give exposure to the music and are linked for a limited time. Please download to preview, then head promptly to your local vinyl vendor (or - OK, CD store too) and fork over your hard earned cash. You'll appreciate the piece of mind.
Got something you think we should be listening to or reading? thevinyldistrict (at) gmail.com
It's a long story, with too much nonsense to go into just yet, but I managed to catch Sonic Youth's Thurston Moore on the road in the car in Massachusetts, listening to, according to him, "bottom-of-the-barrel 'Sister' outtakes" with Lee Ranaldo and Steve Shelley. Would have been nice to have gotten the interview nailed down one of the two other times I saw him in the past week, in person, with a digital recorder in my jacket pocket, but hey, the watery, craptacular quality of the cobbled-together Skype recording I have here provides a nice contrast with the pristine audio I delivered with the earlier portions of this series. My bad, sorry.
In any event, I've got about a half-hour's worth of audio to whittle down into some semblance or order and intelligibility. But! Jon's webmonkeys have an excerpt for you. Please enjoy. Think of it as an amuse bouche before the 32-oz. porterhouse.
One of the bits I am immediately trimming out occurs not long after my questions ran out of steam and we both got bored with the whole thing, at which point Thurston decided to turn the tables on me. "Hey man, I wanna ask YOU a couple questions." So here, in full, is the transcript of this "interview," because why not, you will never hear it: TM: Who are all these men in blue pushing me around?
CG: Um, is that a song lyric? I have no idea. Are they cops?
TM: (Pause. Vibe of disappointment hangs thickly in the air.) What's your favorite Crucifucks track?
CG: Oh, man. See that's ... that's not fair, because you've got the drummer in the car with you. It's, um ... I can't really pick one. Can I get the next question?
TM: Who's the most famous music personality you've ever slept with, naked? Besides Tom Smith.
CG: (Sharp intake of air.) Uh ... It's ... This is, um ... Ooh, wow ... I'm a virgin.
TM: You're a virgin?
CG: Yeah, I'm going with that.
TM: Hey, uh, have you ever seen Andrew W.K. naked?
CG: Define naked.
TM: Without the wig.
So there you go, a little taste of the sort of insight and hilarity, &c., you can expect once I edit this puppy down.
Oh, and tomorrow? Nearly an hour's worth of spiel with America's foremost record-collecting badass, Byron Coley.
Until then, cg
P.S. For the record, I have never slept with Tom Smith. (Naked.)
Saturday, April 17, 2010 is Record Store Day as any reader of this blog knows. It's a day set aside to promote the history and longevity of DC's—and the nation's—indie record stores.
Tickets are just $10.00 with all proceeds going toward the overhead for Fort Reno's Summer 2010 Season.
Those of you who patronize one of our local independent record stores on Record Store Day will receive half off the price of admission with the presentation of a store receipt dated Saturday,April 17, 2010. Yesterday Olivia Mancini gave us one of her favorite Fort Reno memories and today Tone's Norm Veenstra chimes in with his:
"Fort Reno, Fugazi, and friends is an easy reference point for many of us to start at I suspect. Been here long enough to have actually seen the "Ice Cream MF show" but that's not unique I would guess. But I always remember running into folks not seen in awhile out on the grass, and having the chance to actually chat, finding out what was new in friends' worlds.
As a band we've only played on that open stage once, or 1.1 times more accurately. And the .1 time is the stellar memory for sure. Collaboration within the music of DC seems to always be happening, and often in a pleasantly low-key way (Chad Clark and Bluebrain and cherry blossoms, for example). While not unique to DC, the manner and constant-ness of how it happens might be...
During the wonderful all too short years that they existed, Tone had a great connection with the duo known as Southkill. We played a number of shows together, often in 'different' spaces, such as Signal 66 in Blagden Alley. Jason & John invited Tone to "back them" for their closing song when they opened up for Black Eyes at Fort Reno in the summer of 2002? 2003? We actually rehearsed it, and all crammed into our tiny 200 sq. ft. Brookland Studios practice space (later used by Q & Not U, most recently by Title Tracks and Justin Moyer.)
We all set up before the Southkill set on the Ft. Reno stage, and then watched them throw down a full set with their wonderful precision and spaciousness. The 'extra' gear brought to 'back' them was set up behind, which the size of the stage allowed for amply - a line of four guitar amps in the very rear of the stage, and drummers Gregg & Andy set up each with one large rock version of timpani, right behind John & Jason.
And then we all got to play — together. Which just wasn't the same as doing a show at the same club together, it was adding a hugeness and density to a sound we already loved, and the feeling of opportunity that an environment - Ft. Reno - existed that enabled something this FUN to happen. I know - it was one song, so big deal right? At the time, it was big to us, because it was outdoors at Ft. Reno, because sound guy Phil didn't mind the extra work, and because it was with friends, being a part of their musical art, it was awesome!"
Pat's a Brooklynite who's orignally from a small hamlet in Nebraska, and his life has taken an interesting bunch of turns; he's a founding member of Opium Taylor (which you can read about here) and the infamous neo-no-wave pinups Liars, after which he went on to form the short-lived n0 things and then T.A.P. with Anna Barie in 2006.
All their stuff, from the cassettes onward, are pretty great, and their LP "Terrific Seasons" was played nearly constantly at Chez Grier for months on end after it came out in 2008. Back then, they seemed to me to referencing the sounds and vibe of early 80s downtown NYC (Sonic Youth/Swans/no-waveish stuff &c) and some Metal Box-era PiL, but somehow with even more spookiness and mystery thrown in. I loved it. And last week? Pat flowed me a track they're working on which takes things on a different path entirely - it's aggressively friendly, in a way, and utilizes sonic events that could have all come from drum machines and synths circa 1985, but which have nonetheless been arranged in a way that creates something more or less totally hyper-modern. It's witty, knowing, cool, and - for those of you who like to dance - extremely, extremely danceable. Which, to me, makes them even weirder, in a good way. "This is not one for the streets," he told me. "(It's) one for the club."
I interviewed Pat over Americanos at a coffee shop in Park Slope, Brooklyn. It's Ground Zero for the Maclaren stroller crowd, so I apologize for the screaming kids, etc., you'll hear at several points. Hey, it was either interview him outside, or do it inside the coffee shop and risk earning the almost certain annoyance of the 250-pound barista and the layabouts pretending to blog on their Mac Airbooks.
Topics and themes: African music, Pat's favorite record stores in New York City, future/primitives, Rush, dubstep, dancehall and other London musical genres, crazy album covers, and divesting oneself of vinyl one no longer needs. ++cg
Studio-obsessed indie rockers The Apples in stereo are celebrating the start of a new decade with the release of their seventh studio album, Travellers in Space and Time, their most hi-fi and hook-laden production to date. Described by frontman Robert Schneider as "retro-futuristic super-pop," the album is the official follow-up to 2007’s New Magnetic Wonder, and the band's second release for Elijah Wood’s Simian Records. The album will be released on April 20 via Yep Roc/Simian/Elephant 6.
In honor ofRecord Store Day we've got a vinyl copy of Future Vintage: Covers of The Apples in stereoto award one winner as we continue the march toward Record Store Day and close out our Ten Weeks of Record Store Day Giveaways.
Future Vintage: Covers of The Apples in stereo will be available free with purchase of 'Travellers' at your favorite local indie retailer on Record Store Day (three days before the album's release date on April 20th.) A list of participating indie retailers is right here.
The 12" of Apples covers features:
Side A: 1. "Ruby" by Ted Leo | 2. "Benefits of Lying (w/ Your Friend)" by Bad Veins | 3. "The Rainbow" by Throw Me The Statue
Side B: 1. "Ruby" by The Generationals | 2. "Same Old Drag" by Maps and Atlases | 3. "Strawberryfire" by Elf Power
...but why wait until Saturday to snap up this gem? We've got it for one you right now.
The rules can't be any simpler for our last week of RSD2010 Giveaways. All you need to do to enter to win is to leave a comment in the comments section to this giveaway letting us know why you deserve to win this week's vinyl.
Be creative, funny, incisive—whatever it takes to grab our attention to deem you the winner. Most important however is to leave us a contact email address! You can be brilliant as hell, but if we can't track ya' down, you're out of the running.
Saturday, April 17, 2010 is Record Store Day as any reader of this blog knows. It's a day set aside to promote the history and longevity of DC's—and the nation's—indie record stores.
Tickets are just $10.00 with all proceeds going toward the overhead for Fort Reno's Summer 2010 Season.
Those of you who patronize one of our local independent record stores on Record Store Day will receive half off the price of admission with the presentation of a store receipt dated Saturday,April 17, 2010.
As a lead up to Saturday night, we asked Olivia Mancini to give us one of her favorite Fort Reno memories:
"The summer of 1992 was boring. Probably no more or less boring than any other pre-driving summer, but boring nevertheless. By August, I’d finished being a CIT. Summer Musical Theater Workshop was done. I’d probably even read the books on my summer reading list, and when a boy who lived down the street who I didn’t really like called to see what I was doing that night, I was just bored enough to say, “Why? What’s up?
“Fugazi’s playing. At Fort Reno,” he said. And even though I hadn’t really heard too much about either of those things, I said, “Oh. Cool.”
So I met him on the corner of 39th and Morrison and we walked up the hill toward Deal Junior High, making stilted 13-year-old chit chat about our summers and our dogs and our brothers and sisters. We could hear the music as we approached the Fessenden St. side of the park.
When we got there, it was already pretty dark. The music had stopped and a band was on the rickety-looking wooden platform stage, adjusting drum sets and moving around with guitars and lots of wires. We picked our way through the outskirts of families and picnic blankets to the big crowd in front of the stage.
When the music started, I had never heard anything like it. It didn’t even really sound like music to my ears, gently raised, as revealed in a previous TVD post, on pop gems of the 1950s and ‘60s–and showtunes. It was loud and scratchy and fierce and the people around me loved it. They started to move and jump and bang around and, carried away in the moment, I forgot that I was 13 and awkward and at a concert with a boy with whom I had nothing to talk about. And I jumped around too and let the bass rumble in my chest and the kick drum pound in my ears and thought about how if my short life ended right then, I’d be going out pretty darn happy."
Melissa Auf der Maur's second solo record and multimedia project, Out of Our Minds (OOOM), finally hit the shelves last week.
Consisting of 12 powerful tracks produced and mixed by top-flight collaborators including Chris Goss (QOTSA, UNKLE), Alan Molder (Depeche Mode, Smashing Pumpkins) and Mike Frazer (Franz Ferdinand, AC/DC), the multimedia project album also extends into a 28-minute, HD film starring and conceived by MAdM, as well as a limited edition comic book and matching picture disc vinyl illustrated by Jack Forbes...
...and we've got a full OOOM Prize Package to give away in our last week of RSD2010 Giveaways! One winner will receive the Comic Book, the Vinyl 7", the 3-song CD sampler, and the DVD!
The rules can't be any simpler for our last week of RSD2010 Giveaways. All you need to do to enter to win is to leave a comment in the comments section to this giveaway letting us know why you deserve to win this week's vinyl.
Be creative, funny, incisive—whatever it takes to grab our attention to deem you the winner. Most important however is to leave us a contact email address! You can be brilliant as hell, but if we can't track ya' down, you're out of the running.
So, remember Sal? She wrote for TVD about a year ago then went M.I.A. But now she's back. And we couldn't be happier. —Ed.
Sal Go here. The last year was crazy, and I only remember half of it. My editor is currently hungover and craving pancakes out in the ruins of Detroit, but I'm back in the mix now. I start my contributions to The Vinyl District with a short interview featuring Burleigh Seaver. Seaver is in Shortstack, a DC-based rock and roll quartet, influenced by the likes of Credence Clearwater Revival and John Lee Hooker.
How coincidental! They are playing the Black Cat Mainstage this Friday! Birds of Avalon and Suns Of Guns will support. The show celebrates their new record, Please Leave My Mind. After this party, it's a few shows over the summer, and mini tours up and down the east coast to promote the new album, released by Free Dirt Records.
Even better news! The band will give away two tickets and two albums to two lucky Vinyl District readers! To win, just comment below with your email. On Thursday morning, we shall print out your names, fix them to our dartboard, take a few swigs of bourbon, spin around in an office chair, and fire away. Seaver plays guitar and provides backup vocals in Shortstack. He also mixed the new album in his studio. "I have my own studio, but it's not my full time job. But I do audio for a living." Seaver says. He talks about his awesome job at National Geographic, where all in one day he could work on a show about wolverines, then about submarine salvage, and on to Hitler's secret weapons. I am extremely envious of his career.
I ask if putting out the record on vinyl was considered during production. Seaver confirms. "We really wanted to do it on vinyl. I'm sure you know that more and more things are coming out on vinyl these days. And we all have bought records for years. I used to work in a record store. So it's definitely something we wanted to do. We ended up doing 180 gram vinyl on it, which is awesome. Thanks to our label, which is very cool."
That is very awesome. 180 gram vinyl that you slip out of the case and instantly want to lick. I am distracted by this vision. Meanwhile, Seaver sounds easy going over the phone, unfazed by the three dropped calls and my struggles with the tape recorder. I get it going again and he talks about their label. "It's a label called Free Dirt that's based here in DC. This guy John runs it. He's been really helpful. A lot of the stuff they do tends to be more like, old-timey, or like string band music... but it's pretty cool. I think we're definitely the most rock and roll record that he's done. But we've known him for a while, he's done really good work.
"The record looks so cool. I think the modern model of when you buy a record and you get a digital download with it is fucking brilliant. Because it's so much nicer to just buy a record cause it's like this big... THING. You can look at it, it's heavy, you know, it's just cooler than a CD, but everyone also has ipods and all that. So it makes it easy to enjoy. Our old drummer Scott did the artwork. That's what he does, so we're lucky to have him for many years. A good way to get cool flyers done."
I look through my notes to see that Mr. Seaver has been in Shortstack for approximately 50% of their existence. As the lead guitar player, he must hold a pivotal position on the band's sound. Has he changed their direction completely? Is the group dynamic different?
"Um. " Seaver is quiet. 6 seconds roll by. But before I get worried, he continues. "Yeah I do. The person whose spot I'm in now only played slide guitar, called lap-steel. And I play that a bit, but I mainly play guitar. Since I joined we've moved away from having like a country slide guitar kind of thing into having like a rock and roll sound. You know, when people ask me what we sound like, I say it's like early rock and roll, but more echoey or something. Still got elements of the country stuff, still coming from the same place but it's arrived at a different sound."
What's so great about playing music in DC? "Well I grew up in DC. So I like it. I mean, DC has changed quite a bit during my lifetime. Well, I think DC is unique it's really like a small... like if you took the government away, it'd kinda be like a small country town. The government brings a lot of people who sort of come and go depending on what's happening. A lot of people who aren't from here. But it's small enough though that it creates a unique vibe as compared to New York or other places."
"Another thing is that there really isn't a manufacturing base here at all. Nothing gets made in DC, as compared to Baltimore or Philly, or NY or Boston, things get made there. So DC is more of an idea town than anything else. So it makes an interesting place to live. If you read the DC paper it's so different from anywhere else because it focuses on like, concepts of government and things like that."
Great, so you like DC. It's interesting and small and doesn't make shit except ideas. Do you play out a lot?
"We want to make each show more of a unique event. We wait until we have something new or more interesting to do than last time, rather than banging it all out again on a Friday night."
For the uninitiated, Chris Grier is a Washington, D.C.-based musician who has been making brutal and beautiful music here and abroad since 2003, with results that skitter along that rarely glimpsed border where "wildly seductive" meets "what the hell?" He has collaborated, recorded and performed with some of the planet's most interesting and inventive musicians, including Thurston Moore, Mike Watt, Andrew W.K., Tom Smith, Don Fleming, Matthew Wascovich, Hugh McElroy, Ian Wadley, Little Wings and Little Howlin' Wolf. He is also a member of the long-running avant-garde collective To Live And Shave In L.A. —Ed.
Hey there,
Records changed my life, and if you're reading this, if you've somehow meandered over to this corner of the digital whatever, you undoubtedly feel the same way. By records, of course, I mean vinyl - LPs, EPs, 7"s, 10"s, &c. Sorry to be so bloody obvious about it, but I just read the "artist testimonials" on this thing a few minutes ago, and The Boss was waxing poetic about CDs, for eff's sake. Who let this guy in? Reading comprehension, Mr. Springsteen, look into it. This thing is called RECORD Store Day.
Don't get me wrong, I'm not one of these anti-digital wingnuts that gets his pantaloons knotted up over CDs and downloading and MP3s and "odd-order harmonic distortion" and blahblahblah. Spare me already. I use vacuum tubes like freakin' packing peanuts, and I even bought a goddamned 500-pound vinyl-cutting lathe a couple years ago for the purpose of learning how to cut records my own self, but the phrase "analog-vs.-digital" still gives me hives every time I hear it. CDs are just fine, so are downloads and MP3s, "lossy" or not. Sure, they're not as good as a well-recorded analog thing, yadda, etc., but if this is what you're spending you're time worrying about, I advise you to cancel the Stereophile subscription, lose 40 or 50 lbs., and move out of mom's basement/the crappy group house and get some semblance of a life.
No, records are just better.
I mean, empirically better. It's not subjective. Not even close. They sound better. They look better. And they're just plain cooler. We all know the reasons. Preaching to the choir is lame anyway, and I wouldn't want to be a member of any congregation that would hire someone like me anyway.
All of this irritable late-night rambling is just a way of setting the context for what's in store for you - I've been asked to take over this blog for a few days by Jon. Why? Who knows. But what you do need to know is this: I am far too damn lazy to type these days, so I'm taking the easy way out and interviewing friends and acquaintances about vinyl. It's easy for you, too; you won't even have to read, just click on whatever MP3 thingie Jon's webmonkeys set up with my posts, and you'll get all the goods.
As for Record Store Day itself? I love it. Just don't do what I did last year and decide to queue up only a half-hour before the starting gun goes off. You won't get jack-shit. Everything I was looking for was gone in femtoseconds, snatched up in twos and threes by a smelly herd of pudgy Mojo-reading beardos, the bastards.
Our inaugural installment of the Record Store Day Interviews features Allison Wolfe - radical provocateuse, founding member of Bratmobile, Cold Cold Hearts and Partyline, and, of course, one of the women who started the whole Riot Grrrl thing. (She's also a rather hilarious cartoonist, and a first-tier partyer.)
I had a whole other thing on tap for today, but my interview subject sort of disappeared. And, as it happened, Allison was a stone's throw away in Williamsburg - drinking foam cups of beer from the Turkey's Nest in McCarren Park with about a half-dozen mutual friends. She agreed to drop what she was doing, and we moseyed on over to the benches by the softball field, away from the Wayfarer-wearing frisbee-throwers and that goddamned ice cream truck that marauds the neighborhood, playing a mangled version of the theme from "Cletus The Slack-Jawed Yokel" at 120 dB, constantly.
As always, Allison was hilarious. Topics covered: Quasi-criminal record-buying behaviors, an ex-boyfriend and his risible taste in music, Kurt Cobain's love of rare Vaselines vinyl, Malcolm McLaren, Bow Wow Wow, the pain of losing records to ex-bandmates moving out, and, as many of us have done, deriving a ballpark estimate of the size of one's LP collection by counting the number of 12"x12" spots taken up in one's IKEA Expedit bookshelves. Among the things you will learn from this interview: Duran Duran was what converted Allison from a listener into a record collector.
Where does the time go? It seems as if it were just yesterday—amidst the sky high drifts from Blizzard #2 of the 2009-2010 Winter season—when we launched the first in our series of Record Store Day 2010 Giveaways.
Since then, Spring has sprung and we're at the culmination of our 10 weeks and need I remind you that Record Store Day is, uh...this weekend?
We're planning on going out with a bit of a bang in regard to our giveaways this week - of which we have quite a few (as well as some RSD exclusives to toss at ya.) But first up for the week, our friends at Friday Music have compiled a reissue set to truly have you asking - where does the time go?
The rules can't be any simpler for our last RSD2010 Giveaway. All you need to do to enter to win is to leave a comment in the comments section to this giveaway letting us know why you deserve to win this week's vinyl.
Be creative, funny, incisive—whatever it takes to grab our attention to deem you the winner. Most important however is to leave us a contact email address! You can be brilliant as hell, but if we can't track ya' down, you're out of the running.
If you read this blog, chances are you love vinyl. And music. And the chance to purchase music recorded on vinyl. Well, it would be great if you put that love of spending your hard earned bucks on expanding your record collection to support a good cause. Like your local community-powered radio station.
In DC we have Radio CPRwhich is, and has been for over a decade, a volunteer-run radio station doing amazing things like giving a voice to the marginalized members of our community and providing thought-provoking programming mixed with a fantastic array of music- all without the help of evil money-driven corporations. Unfortunately, being an awesome volunteer-run, community radio station means funding is hard to come by, which is where you, dear TVD reader and lover of music, come in.
On Saturday, April 24th, Radio CPR will be having its third annual Record Sale from 2 to 6 pm at La Casa, located at 3166 Mt. Pleasant St., NW (between Kenyon and Kilborne). You can hoof it from the Columbia Heights Metro or take the bus (H2, H4, H8, 42, S2, S4, 52, 54, or the DC Circulator). It seriously could not be easier for you to go to this thing, find some great records, and help fund an amazing community-run radio station.
Now, you, lovely reader, being a lover of all things vinyl and music and awesomeness probably have one or two (or ten or twenty) records lying around that you don't want but have been too lazy to put up for sale on Craigslist. Why don't you take those records and BOOKS and CDs and MOVIES and CASSETTE TAPES (yes, I said cassette tapes) and donate them to the Radio CPR's THIRD ANNUAL RECORD SALE.
"BUT KRIIIIS" you're whining, "if I'm too lazy to put them up on Craigslist, what makes you think I'll want to drop them off somewhere. I still have a pile of clothes sitting in the trunk of my car I've been meaning to donate to Good Will for 3 years. And all I have to do is get in and drive!" Well, have NO FEAR, my friends, because Radio CPR will PICK UP your donated items from you! How easy is that?
Donations this year seem to be running much lower than the previous years, which is just UNACCEPTABLE, District of Columbia! (and you! Greater Washington Metro Area!). So seriously if you have anything that you can donate, like that Bruce Willis Return of Bruno album you've been hanging on to since 1987 (I just can't bear to part with mine) or hopefully more amazing things than that, then e-mail diana.cpr@gmail.com and help your local community-powered station fight the good fight!
Bar-chords | Bars and bar-chords, I grew up being drawn to both. Together they form the pillars of rock n roll. It was actually a quote, something I remembered Frank Black (aka Charles) said in response to the question, “What kind of band are you in?” Charlie’s reply, “well we play a lot of bar chords” How fucking cool a thought. It was the spark which inspired this week’s mix.
Ever since I could remember I wanted to play an electric guitar and be in a band. It’s almost inconceivable to me that anyone wouldn’t. The quickest way to the heart of rock n rock is laying your index finger across a guitar fret while giving those strings a bang. I’ve watched many guitar players closely over years and those who play “big” often play simple chords.
With that in mind I set out to build a playlist. I felt compelled to start with Chuck Berry. From there I zigzagged from British Invasion to 80’s alt, then glam to goth and to current indie rock favs like Deerhunter and Surfer Blood.
From the very start of this musical journey my destination always seemed to be punk rock. Its style and musical attitude will always be at my core. Of all the punks bands two players stood out as heroes, Thunders & Ramone.
I met Johnny Ramone after he retired and moved to LA. Our wives were friends and we hung quite a bit. One day we were hanging at his house and he started complaining about a mutual friend who was trying to buy his guitar. As it turned out Johnny only owned one guitar! I don’t know what he did with that white Mosrite? I took it out and strapped it on once but it only fit one man, the king of the bar-chord.
I begged Johnny not to sell it. He, Thunders and now Malcolm are gone now.
After two decades worth of critically-acclaimed releases on both sides of the Atlantic, the Trashcan Sinatras bring their signature Scottish Soul stateside once again with the April 27th release of In the Music. The U.S. version of the album features ten new studio recordings as well as eight previously unavailable live bonus acoustic tracks, recorded during the band’s November UK tour.
Trashcan Sinatras play the Rock & Roll Hotel on June 14.
After a long legal battle with her label Roadrunner Records to get dropped, Amanda Palmer announced yesterday that she has been released from her contract. In celebration, Amanda is very pleased to be able to – for the first time since the year 2003 – offer you a brand new and previously unreleased song for download from her house to yours….legally and free of charge. For background, to read the lyrics, get the scoop on the free track's name and more, click here.
"...as many of you know, i’ve been fighting very, very hard to get off the label for the better part of two years. for the past seven years, anything i have written and recorded (solo or with my band, The Dresden Dolls) has technically been owned and under the ultimate control of the label, but no longer. after endless legal bullshit, it’s over, i’ve been DROPPED, RELEASED, LET GO, whatever you wanna call it. in other words: i am FREE AT LAST!!!!!! RAAHH!!" —AFP
