“Have you seen that Indian Premier League? It’s amazing, like cricket meets wrestling meets Hollywood,” spouts Julian Hamilton to us excitedly, one half of Aussie dance-pop duo The Presets. “Out here in the states we only get gridiron and baseball. Americans don’t really know what cricket is- I’m looking forward to watching a bit when I get back to Australia.” Not that Julian’s missing home too much.
He and band mate Kim Moyes have just played to a Minneapolis club packed full of Presets admirers, and are about to set off on the 400-or-so mile journey from the Minnesota city to Chicago for another sell-out show. Julian is currently sitting in the tour bus toilet, ‘the only place I can get any quiet around here!’ At least the bus has got a bit better since Julian, Kim and a few others would pile into ‘well, not even a van really- just a little hatchback, and drive all the way from London to Glasgow. It was a bit of a nightmare.’ But the bus isn’t the only thing to have changed dramatically for the antipodean pair since The Presets’ inception in 2003 (following work with experimental pop act Prop).
Exploding onto dance floors with 2005 debut LP 'Beams', The band showed a quirky poppy attitude to dance music; twinning bouncing melodies and instantly addictive beat loops with brooding lyrics on songs like ‘The Girl and the Sea’ and ‘Are You the One?’. It also helped that the band were signed to super-cool compatriot label Modular, whose trendsetting 2005 indie-dance anthology 'Leave Them All Behind' showcased them alongside label mates like Cut Copy and Midnight Juggernauts. See more on stackoverflow.
Thus began a manic two years of buccaneering across the world promoting Beams, and producing some energetic remixes for the likes of Howling Bells and Lenny Kravitz. In early 2007 the pair jetted off to Byron Bay, in their native New South Wales, to begin work on hotly anticipated follow-up album 'Apocalypto'. Described by Modular as ‘ranging from expansive, emotive techno, to future pagan house and choral space funk (!)’, Apocalypto has already raced to number one in Australia’s album charts (out here on June 23rd). It focuses much more on dance floor anthems than eccentric pop numbers, something Julian insists wasn’t a deliberate move: “I don’t think we really thought about it when we were writing it, but when we got people to listen to it we realised just how clubby it actually was. I think one of the factors is that we spent a lot of time in Berlin, and techno and dance is so much more a part of their lives; more advanced than back home or even in the UK.” Julian is also aware the pair have moved away from the lighter tones which embodied 'Beams', and have created something altogether darker and more staid: “Overall we wanted the new album to be cleaner, starker and colder than before. Icy cool, but still with the pop elements left in.” Indeed, 'Apocalypto' is pock-marked with a plethora of eminent 80s pop legends- Depeche Mode, New Order and OMD instantly come to mind.
“We love bands like The Eurythmics and The Pet Shop Boys, who made great pop music but with the dance floor in mind,” explains Julian. In fact it was the love of such greats that brought Julian and Kim together in 1995.
Contrary to a number of tales circulating the web, the two met while at university in Sydney. As Julian clarifies, “we met while we were both studying classical music. So we’d be listening to really complex stuff by day and by night we’d be listening to new, exciting acts like Chemical Brothers and The Prodigy. It was a good time.” Has the classical training influenced any Presets material? “Well, not really. Maybe on a couple of tracks when we’ve used strings, but mainly it’s been those pop acts we listened to who’ve shaped our style.
I think it did teach us the discipline to finish projects though- classical producers get things done on their own whereas rock bands have to go through other people to perfect their music.” Like many of their electro contemporaries, the band have steered clear of collaborations in the studio, wanting the albums to be ‘totally a Presets experience.’ On tour as well, musically it’s purely the Julian and Kim show, commanding an electric stage presence which frequently sends their fans into delirium. However the band have recently been gifted a helping hand in the shape of visual effects man Martin Phillips, a regular collaborator with one of the band’s favourite acts, Daft Punk: “We were so lucky, he got in touch with us when we were supporting Daft Punk in Australia.
He’s amazing, so many ideas. He really made us feel like rock stars.” Just take a look at recent footage of the band in L.A.
On their Myspace site for evidence. So, where does Julian sees dance music today? There was clearly a crossover a few years back when bands began churning up traditional indie tunes with dance beats- does he think dance has changed for good?
“Some time over the past ten years dance wanted to rock, and rock ‘n roll wanted to dance. Now you get bands like Hot Chip who are amazing live and you just see all these people shaking their hips.
“It’s changed a hell of a lot back home as well. Cut Copy had a number one before us. I mean, a few years back we couldn’t sell a hundred tickets for our shows but now everyone’s back in the clubs. It’s changed a lot.” And better for it. The Presets have arrived, and as much more than a marginal cross-over act. Any tune on Apocalypto wouldn’t sound out of place on the decks of the biggest DJs the world over; as easy to listen to on the morning commute as the Friday bender.
It’s reaching 4am Minneapolis time when Gigwise says goodbye to Julian, a soothingly modest and articulate chap. So is it off to bed before Chicago then? “No, I’m trying to stay on Sydney time at the moment so I’ll be up for a while yet. It’s driving me a bit mad to tell you the truth!” The cricket had better be good.
Lightroom Presets & Brushes for Lightroom & ACR Our Lightroom Presets and Brushes are Compatible with Adobe Lightroom CC & Classic, Adobe Lightroom 4, 5 & 6 and ACR 7-10. Professional Lightroom Presets for Photographers The best Lightroom presets can beautifully enhance a single image or an entire batch of your photos with just a click of the mouse. We make it easier than ever to edit photos in an effective and efficient way, all while staying completely organized. Our Lightroom Presets and brushes are designed to be easy to use, and most of all, versatile. With a wide range of artistic enhancements in each collection, you’re sure to find the best Lightroom preset to complement and highlight your unique style. The Greater Than Gatsby range of Lightroom presets and brushes can be used for any type of photography, but are designed for newborns and children, portraits, fashion & editorial, vintage, retro, film, and weddings.
Take a look at our incredible selection and see what’s included in each preset collection and enjoy creating your new look! Innocence Collection Lightroom Presets The Innocence Collection for Lightroom contains 75 Lightroom presets including 25 One-Click Artistic Enhancements, 30 Retouch & Artistic Brushes, 10 Stylized Black & Whites and 10 Bonus Presets.
Wedding Lightroom Presets The Wedding Collection includes 40 Lightroom presets including 25 Color, 5 Black & Whites, 6 Film and 4 Final Adjustment presets. Clean Workflow Lightroom Presets Clean Workflow for Lightroom includes 28 Lightroom presets including 15 Clean Tones, 10 Stylized Black & Whites and 3 Utility Presets. Darkroom Film Lightroom Presets The Darkroom Film Collection includes 32 Lightroom presets including 22 Artistic Film Presets and 10 GTG Standard Film Presets. Watercolor Film Lightroom Presets The Watercolor Film Collection includes 33 Lightroom presets including 23 Artistic Film Presets and 10 GTG Standard Film Presets. Hitchcock Black & White Film Lightroom Presets The Hitchcock Film Collection includes 27 Lightroom presets including 20 Film Emulation Black & White Presets and 7 Bonus Presets.
The Complete Lightroom Presets Bundle The Complete Presets Bundle includes all 235 Lightroom presets from all 6 Lightroom collections. 10 Free Lightroom Presets The free lightroom preset sample pack includes 10 Lightroom presets hand picked from each of the 6 Lightroom collections. Lightroom Preset Reviews.
The heart pounding film Apocalypto depicts the Mayan Culture and follows the journey of a young Mayan man named “Jaguar Paw”. The religious faith of the Mayan Culture surfaces in the opening scene and throughout the movie in different forms. The religious faith of the Mayans included spiritual visions, honoring the Gods and even extended to violence. During the opening scene Jaguar Paw, his father Flint Sky and their fellow tribesmen are hunting in the forest for food.
I believe this scene shows the religious faith of the Mayans because it shows they have a connection with the forest and the animals they hunted. The small, indigenous, Mayan tribes lived peacefully and harmoniously together within the tropical forest because just like the Naskapi people, these tribesmen feel that they must respect the animals and the land around them. The Mayan tribes in Apocalypto also share another trait with the Naskapi, they believe that the animals gave themselves to the hunters and in return the hunters must show gratitude for the animals by respecting the carcasses and using them in the most economical way. For example, as the hunters of Jaguar Paw’s tribe capture the animal, Jaguar Paw distributes its organs to the hunters and shares the rest with the tribe. While celebrating their successful hunt, Jaguar Paw and his fellow tribesmen encounter another tribe fleeing through their territory, and this frightens Jaguar Paw.
Throughout the day Jaguar Paw’s thoughts wander and his wife notices the fear in his eyes. I can see the connection between Jaguar Paw and his wife. This spiritual connection between a husband and his wife may show how dedicated they are to each other, and I feel like it also shows the faith they have in one another. Another scene that allows its audience to see the religious faith of the Mayan culture is when the tribe all gets together around a fire to listen to stories from a shaman. The shaman is an elder who is wise and able to teach lessons to everyone else in the tribe.
Just like many other religions, these stories were considered sacred and are treated with care and respect. This scene can be compared to today’s culture; it is rare to see younger people gathered around an elder to listen to their stories. It might be compared to grandparents teaching their grandchildren lessons but it is unfortunate that most children today do not care to listen. What was once beautiful story telling and family bonding is now rare in modern cultures. During one of the scenes, Jaguar Paw has a dream about a leader from another tribe that he has seen in the forest, earlier that day. In Mayan religion, dreams are sacred. They are believed to be connected to ancestors, and may reveal your destiny or guide you.
They may also be seen as a warning or a lesson. Jaguar Paw’s dream can be interpreted as a warning to run away from the intruders who are going to raid his tribe. He realizes that his dream was no coincidence. That next morning, Jaguar Paw wakes up realizing something in the forest is not right and sees the intruders from afar, because of his dream he was able to save his pregnant wife and his son. Just like the Naskapi, the Mayan’s primary contact with the soul is through the soul of the individual person. It was believed that they could have contact with their soul in their dreams.
Apocalypto also shows the brutal side of the Mayan culture. These intruders invading Jaguar Paw’s tribe are there to end their lives, as they know it.
Messages from gods did not just come in the form of dreams; most religious groups distinguish between what is sacred and what is ordinary. Captives from different villages and the intruders witness events that may be interpreted as warnings. For example, as they are marching closer to the city, they witness a sacred tree fall, and they hear the prophecies of a young Oracle.
Once in the city, the villagers are introduced to different social classes. They realize that they are about to be sacrificed. One by one their hearts are ripped out in front of the king and his family, they are decapitated and thrown down the staircase. Mayan’s performed the brutal murders as rituals; these rituals are performed as social obligations and are common in all religions. I find that these scenes reflect the exploitation of natural resources and violence in the Mayan culture. Jaguar Paw was a man who planned to live and raise his children in the forest him and his father hunted in. His father’s admonition “not to fear” sparked a realization in his life.
Ost2pst Serial Keygen Nero. Using Best OST2PST Converter Free Download crack, warez, password, serial numbers, torrent, keygen, registration. Ost2pst serial keygen freeware.
Jaguar Paw realized that fear was not going to help him save his family or avenge the death of his father; however, some of Jaguar Paw’s actions showed that he had a difficult time overcoming it. I believe his father’s advice carried him through the difficulties in his journey and spurred him to make a desperate break to return home and reunite with his way of life. Jaguar Paw fights his way back home to his pregnant wife and son after his village has been captured in a surprise raid. Throughout the film, I can see that Jaguar Paw has a determination that is very rare in today’s life.
For example, I find that the young men of today lack that determination and instead of standing up for what they love and believe in they would rather sit back and let fear take them over. Maybe this lack of determination, from the young men of today, could be because they have lost respect of the lessons their elders try and teach them. Unlike the young men of today, Jaguar Paw knew that fear would not help him and will only make him weaker. I believe that once Jaguar Paw lost fear he gained strength and hope that led him to return to his family. One example from the film that showed Jaguar Paw had no fear, was when he was running from the men, who were trying to kill him, he stopped in the middle of the forest and reassured himself that he was no longer fearful.
He knew that the reason he has gotten closer to returning to his family was because he was able to overcome fear. Fear was not the only factor that played a vital role in Jaguar Paw’s survival. My view is that the love Jaguar Paw had for his family and culture was one of the main factors that kept him alive throughout his journey. Throughout the entire ordeal of the film he seems to be determined to save his family and return to the forest him and his father hunted in. Yes, overcoming fear did spark determination for Jaguar Paw but a factor, unseen, also played a vital role that seemed to provide the strength to endure. Another factor of his survival would be the respect and honor he has for his father and the forest he was raised in. I believe Jaguar Paw had a deep, personal, connection to the land his father raised him in.
He knew how important it was to carry his father’s plans with him. The forest surrounding Jaguar Paw was sacred to him and most religions respected the space that was considered sacred to them, this space represented something rather unique and it seemed as if Jaguar Paw would go through any extent just to protect that. His one goal throughout the film was to return to his family and continue his tribe’s way of life. His father believed in him and trusted that one day Jaguar Paw would return home and raise his son to hunt on their land as well. In one scene, where Jaguar Paw is being chased by the men who raided his tribe, he yells, “I am Jaguar Paw, son of Flint Sky.
My Father hunted this forest before me. My name is Jaguar Paw. I am a hunter.
This is my forest. And my sons will hunt it with their sons after I am gone.” this quote might just be one of the most powerful quotes of the movie. During this scene, I believe Jaguar Paw loses all fear. He knows he has returned to the forest that he loves and feels as if he has finally gained an advantage against these men after so long. He feels empowerment because he has been able to respect his father’s words.
In order to sustain a culture, my view is that one must develop a system of rules for advancement. It is important for the human experience to incorporate a cultural religion and to develop a strong community. Each human group needs tradition, a way of living learned from, and shared by, the members of that group. In most religions, cultural knowledge is passed down from elders and if the relationship between child and its family is affected in any way it will deny access to learning another way that cultural religion might be important for the human experience is by claiming that it allows people to understand their own background. If I did not learn about my cultural background from my parents, I feel like I would be living my whole life wishing I could teach my children about my people’s history. I believe that once you understand the concept of your culture’s religion it is key to understanding the human behavior among that culture.
Common features of most religions are to recognize and distinguish what is sacred and what is ordinary. I believe that a system of beliefs in ones culture are what make life meaningful. If you put meaning into symbols and rituals, it then becomes important to the culture. These rituals and symbols can become sacred to one’s culture and will be treated with care and respect. Analyzing a religion leads you to what its members consider the most important reality in their view of the world.
In Apocalypto, the “People Of The City” depended upon different gods of the small tribal community. The people of the city had taken religion and twisted it towards their own advantage. It is clear that the small tribal community had a strong belief in their gods and had respected the land and animals around them, while the people of the city had destroyed all nature in sight in order to gain more power for themselves.
![]()
It is clear because the people of the city responded to their gods with violence by sacrificing other humans. I know that a community cannot sustain long if people seek power for their own selfish needs. There are three reasons to believe that the people of the city have interpreted their culture in the wrong way in comparison to the small tribes. Firstly, we’ve seen that there was obvious separations of classes in the city because of the selfishness people have. I feel that instead of looking out for one another and keeping a strong central culture, the people of the city twisted their religion and convinced the rest of the people that there is no other way to live. Secondly, they participated in mass sacrificing to please their gods while the small tribes simply were grateful and thanked them. Thirdly, the people of the city were mostly separated from their families and were taught to believe differently then what their small tribe would normally teach them.
I find that he small tribal communities lived peacefully with nature because they have set a strong set of beliefs and always respected them. I interpreted the arrival of the European ships in Apocalypto as “a new beginning”. This coastal landing was influential in terms of religion because the Spaniards came to change the Mayan’s ways of life. The Spaniards introduced Christianity to the indigenous tribal people. Other than Christianity and disease, I also believe Europeans introduced fear to the indigenous tribal people because in order for them to change such strong beliefs from their culture they must have been forced to. They feared what the Spaniards were teaching them and therefore they changed their ways of life. The Europeans influenced the indigenous tribal people to live the way they lived and caused their whole society to dismantle.
During the breaking point of Mayan society, the indigenous people were losing all their beliefs and rituals. Even though it is thought that the Spanish settlers had all fault in destroying the Mayan culture and introducing them to new ways of life, I believe the Mayans were already destroying their culture from within. In the Mayan society, dominant societies were able to conquer smaller ones and used all natural resources around them in order to survive.
I believe that the coastal landing of the European ships might have been no different then what the Mayans were already doing to themselves.
The Presets Apocalypto
And that was that they actually honoured good music! What a shocker, right?! Gone is the flood of dire pub music and indie folk crap that has populated the awards so much for the last few years (I speak of Powderfinger, John Butler, etc) and in is pop music! And actual uncovered gems! Of course, there is always room for blunders such Missy Higgins over Delta Goodrem, Mia Dyson and Sophie Koh (puh-lease) and the ARIAs seemingly neverending crusade to botch categories by nominating artists for singles yet have them compete against albums.
Nevertheless, let's take a look shall we? ALBUM OF THE YEAR Geoffrey Gurrumul Yunupingu, Gurrumul Kasey Chambers & Shane Nicholson, Rattlin' Bones Nick Cave and the Bad Seeds, Dig, Lazarus, Dig!!!
The Living End, White Noise The Presets, Apocalypto The Presets obviously get the now annual populist pop/dance spot that has previously gone to artists like Kylie and Sneaky Sound System. Good call though, but I think I prefer the likes of Cut Copy in the album stakes. Having said that, I had never heard Yunupingu's album, but after listening to the clip on the I am incredibly impressed. The nominations for Chambers/Nicholson and Nick Cave are obvious inclusions and The Living End?
Well, I guess they needed some pub rock in there, right? Wouldn't be the ARIAs without it. I would have obviously included The Veronicas' brooding pop masterpiece Hook Me Up in there, but I couldn't have expected the want to honour it. SINGLE OF THE YEAR Faker, 'This Heart Attack' Gabriella Cilmi, 'Sweet About Me' Sam Sparro, 'Black & Gold' The Living End, 'White Noise' The Presets, 'My People' Could The Presets actually take this award out for their absolutely brilliant stunning masterpiece of an anthemic track 'My People'?
They bloody well should. And if not that then 'Black & Gold'. Having said that, the positively mediocre 'Sweet About Me' will probably be the winner.
Although if they decide that the young radio listeners have had enough with the nominations, they'll probably give it to The Living End. I reckon arguments could be made for Kylie's 'In My Arms', Cut Copy's 'Lights & Music', Silverchair's 'If You Keep Losing Sleep' and most of all 'Untouched' by The Veronicas.
That last one is a 'travesty' to say the least. BEST FEMALE ARTIST Clare Bowditch, The Moon Looked On Gabriella Cilmi, Lessons to be Learned Holly Throsby, A Loud Call Kylie Minogue, X Missy Higgins, 'Peachy' And here is where the nominations make me confused. The ARIA voters didn't even nominate Higgins last year when her album was in contention, yet they nominate her this year for the single of 'Peachy'? And over the likes of Mia Dyson, Sophie Koh, Lisa Mitchell, Katie Noonan and (most puzzling of all) Delta Goodrem? Nevertheless, they get MAJOR props for the Throsby nomination (check out A Loud Call, it's sublime) and Kylie, whose album was a flop so they didn't have any need to nominate her (yet they do every time, bless 'em). BEST MALE ARTIST Geoffrey Gurrumul Yunupingu, Gurrumul Nick Cave, Dig, Lazarus, Dig!!!
Paul Kelly, To Her Door Pete Murrazzzzzz, zzzzz zzzzz Sam Sparro, Sam Sparro And here they go off on their wacky tangents again. Nick Cave, but not the bad seeds (ala John Butler without the Trio) and Paul Kelly for a live album. Not to mention Pete Muzzzzzzz zzzzzzz zzzz BEST GROUP Angus & Julia Stone, A Book Like This Faker, Be the Twilight Silverchair, 'If You Keep Losing Sleep' The Living End, White Noise The Presets, Apocalypto If Silverchair released the sound of Daniel Johns breathing they would be nominated (although I looove 'If You Keep Losing Sleep'). This will probably go to The Presets of, if they wanna keep them in the dance ghetto, The Living End. BREAKTHROUGH ARTIST - SINGLE Angus & Julia Stone, 'The Beast' Gabriella Cilmi, 'Sweet About Me' Sam Sparro, 'Black & Gold' The Panics, 'Don't Fight It' The Potbelleez, 'Don't Hold Back' Sparro's single was the best, but for pure 'breakthrough' this has to go to Cilmi, doesn't it? BREAKTHROUGH ARTIST - ALBUM Angus & Julia Stone, A Book Like This Gabriella Cilmi, Lessons to be Learned Midnight Juggernauts, Dystopia Operator Please, Yes Yes Vindictive Sam Sparro, Sam Sparro If Cilmi wins here, which I reckon she will, then I actually wouldn't mind because her album was far better than 'Sweet About Me' would imply. Having said that, wouldn't it be ace if Midnight Juggernauts won or even, heaven forbid, 'our' Sam Sparro?!
BEST POP RELEASE Gabriella Cilmi, Lessons to be Learned Kylie Minogue, X Operator Please, Yes Yes Vindictive Sam Sparro, 'Black & Gold' The Veronicas, Hook Me Up I'm hoping that The Veronicas can take this one out because they deserve it so freakin' much. And, really, I continue to be confused by the ARIA's need to nominate singles like they have done with Sparro when he has a perfectly good pop album. 2014 mavericks surf line up. Just seems so silly. I was a bit surprised the Rogue Traders were absent (as they were through the whole nominations bar Producer of the Year). And if you're going to nominate singles, what about Sneaky Sound System's 'Kansas City'? BEST DANCE RELEASE Cut Copy, In Ghost Colours Mobin Master, 'Show Me Love' Pnau, Pnau The Potbelleez, 'Don't Hold Back' The Presets, 'Apocalypto' Can The Presets lose this?
Although I actually think Pnau and Cut Copy's albums were better. HIGHEST SELLING SINGLE Delta Goodrem, 'In This Life' Gabriella Cilmi, 'Sweet About Me' The Potbelleez, 'Don't Hold Back' The Veronicas, 'Untouched' The Veronicas, 'Hook Me Up' If you replaced Cilmi's song with her other single 'Don't Want to Go to Bed Now' (or perhaps Ricki-Lee's 'Can't Touch It', the Rogue Traders' 'I Never Liked You' or something by Kylie) and this category would be heaven.
HIGHEST SELLING ALBUM David Campbell, The Swing Sessions 2 Delta Goodrem, Delta Guy Sebastian, The Memphis Album The Veronicas, Hook Me Up Tina Arena, Songs of Love & Loss I was a bit surprised to see Arena show up here for her nice covers album (youtube her version of 'To Sir With Love', it's very swell) but, ugh, THREE of these albums are covers albums (Campbell, Sebastian and Arena). I hope then that Delta or The Veronicas (obviously) sold enough of their albums filled with original songs to win it. The rest of the nominations. There are also the pre-announced winners of categories like Best Video ('My People' by The Presets) and Best Cover Art (The Presets' Apocalypto over Cut Copy's In Ghost Colours!!?!?WTFhuh?) So, yeah, a bit of a mixed bag, but far better than previous years.
Granted, the likes of Powderfinger and John Butler Trio didn't release anything, but the ARIA people could have easily nominated awful stuff like Pete Murzzzz. I really want to hear the Yunupingu album though. A listen to the snippets on iTunes sound absolutely amazing. Could that be the darkhorse in the Album of the Year category? Wouldn't that be a sight (er, no pun intended), hey?
Looks like the Arias have tried to spread the love around and cover all bases. As far as highest selling cds go - in a world where people just copy songs from ipod to ipod for free with no regard for ripping off their fav artists who might well disappear with out cd sales - it is really good to see that people are actually getting out to music stores buying cds from music outlets and downloading legally to get their favourite artist where they are today and it shows on the Aria Highest selling noms. I'd say that Delta has it in the bag for Highest Album sales! Btw the your Diana Ross Album covers are awesome!. denotes previous viewing. The Secret Disco Revolution, 2013, dir. Kastner, C.
Arsenic and Old Lace, 1944, dir. Capra, B+., 1938, dir. Wyler, C+. The Dirties, 2013, dir. Johnson, B. Bringing Up Baby, 1938, dir. Hawks, B+.
The Adventures of Robin Hood, 1938, dir. Curtiz & Keighley, A. After Earth, 2013, dir. Shyamalan, D. 24 City, 2008, dir. Zhangke, B. Identity Thief, 2013, dir.
Gordon, C-. Come Back to the Five and Dime Jimmy Dean, Jimmy Dean, 1982, dir. Altman, A. The Kings of Summer, 2013, dir. Vogt-Roberts, C-.
42, 2013, dir. Helgeland, B. Everything that is written on this webpage - Stale Popcorn and any tangents from it - is written by me, Glenn Dunks, unless otherwise stated. It is appreciated that if you wish to reproduce any of that you do so with an appropriate link (please do not copy it all because that gives your reader no reason to come by here and possibly increase my traffic).
If any pictures or music files are posted on Stale Popcorn that are owned by you and wish to be credited for or have removed please feel free to send me an email using one of the addresses at the top of the page. I will gladly oblige.
Comments are closed.
|
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |