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The Contagious Holiday Zine Exchange!

contagious_zines

A while back I read a post somewhere, I think on the IDEO blog, about their experiment with a saddle stapler. There was a story about how they furnished an alcove at the back of the office, and put out the stapler, commonly used to make crude staple-bound zines, and lo, amazing rainbows of creativity happened.

We ain’t them, so I decided to steal part of this idea, with 100% more <shudder> forced creativity, and lo the Contagious Holiday Zine Exchange was born. Everybody had a few months to conceive and execute a zine, using the tools at their disposal, and we’d swap them at the end of the year.

Counting our own issues of Contagious, Most Contagious, and all the the client-commissioned stuff, we made probably 10+ print publications this year. But not everyone has the chance to get dirty with pagination, design, concept and all the other fun parts of making their own magazine. Hell, I’m an editor and I don’t feel like I always do.

I can’t tell you how impressed I was when we exchanged them today. Writers, sales folk, whoever, it didn’t matter. The publications were from the heart and fun, which is all you really need for a good zine.

Here’s a quick rundown:

Noelle: Drink More Whiskey, a primer on everyone’s favorite brown liquid, its characteristics and varieties, where to drink it, recipes, etc., with samples
Kyle: Pittie’ful Zine, a look at the pit bull terrier’s origins, evolution and characteristics, including info on pits in American history
Erin: les hashtags en francais, a study of this year’s top celebrity Twitter arrivals, with hashtagged critiques of their work in French
Arwa: Notes From Goats: A pun-filled literary magazine, as authored by goats (ie critique of The Great Goatsby)
Chris: A Hell of a Lot of Mice: Music and miscellany, including an article on Willis Earl Beal, photos from NYC venues and part of Chris’ top 52 albums of 2013 summary.

I did a short sci-fi photonovela called PATRONYM on the JP Morgan of the clone era coming to terms with his legacy.

Methods as far ranging as In Design and Comic Life and even old fashioned cut-and-paste and hand-lettering brought these to life.

Best of all, they really did what every good solo publication should do: convey something about the creator.

I was having lunch today with a guy who runs the innovation department at a really large package goods company, and one of the things he said stuck in my mind. “We have the tools,” he said, “we just don’t use them.” Sometimes you have to figure out a way to get people to use the tools.

Written by Nick

December 17th, 2013 at 9:48 pm

Project Healing Waters in The New York Times

project healing waters in the new york times

A scan from The New York Times’ November 11th 2013 edition featuring Project Healing Waters

 

It was very exciting to see an organization I do some volunteer work with profiled by Helen Coster in The New York Times this year on Veterans Day. I would have never guessed the modifier that arrived along with my first appearance in the old grey lady would be “fly fishing guide,” but I’ll take it. I guess it’s a good impetus to finally get my casting instructor certification in order.

Please give the article a read to learn more about the sort of work we’re doing, and do get in touch if you’re interested.

We’ve had a huge outpouring of support since, including a bunch of people donating vintage fishing gear, which we resell to collectors to fund trips for vets.

There’s currently a great auction of vintage fiberglass and bamboo rods happening on eBay, from the collection of a man named Ed Travers. Ed’s rods, all in great condition, would make a wonderful holiday gift for the angler in your life, and a great way to give back to a worthy cause, so why not check them out? I’m helping administer the auction, and will be posting new rods every Tuesday for the next few weeks, with five sets in all available.

Written by Nick

November 27th, 2013 at 1:25 pm

Posted in Clips,Fishing,NYC

eBay Nowness: eBay Now comes to New York City

image

I caught this new one for eBay Now in the subway coming home from work yesterday and at first glance I wasn’t quite sure what was offered. Was it a move rental service? Is eBay yet another company trying to rent me a film online?

Nope. On second look its the proposition you use eBay Now to buy a flatscreen and a carnival-style popcorn machine to guarantee success on a date. Huh.

Good old eBay, haven for bargain compulsive shoppers has become a momentary dropshipper for those same folks. Now, take that itchy trigger finger that bought 1,000 copies of the Billy Ripken “fuck face” card for an art project (that never panned out) and apply it to home electromics and durable goods.

Funnily enough (and maybe showing how out of it I am) when we chatted about this in the office one of our Contagious folks mentioned her friend using the service to buy, you guessed it, a flatscreen. The reason? Because she could be sure it would be delivered ASAP. It came 25 minutes later. So, like pizza delivery, maybe it’s less about fast and more about control.

Written by Nick

June 27th, 2013 at 6:43 pm

Posted in Advertising,NYC

The case for Mad Man Mike Bloomberg

I was chatting the other day with a city employee from the public health department. Her job is to help do research to create messaging raising awareness around unhealthy things like soda and smoking. We got to talking about the uncertainties of her job once the mayor hits his term limit. There’s no question Mayor Bloomberg has been pushing a very progressive public health agenda, and his successor might not want to follow in these footsteps in the allocation of public dollars.

So what’s going to happen to these folks who’re doing this important work? Well, they might have to find new jobs. And it’d be the end of what has been a pretty good run of behavioral economics in action

But that got me to thinking: what if Mayor Bloomberg’s commitment to public health messaging doesn’t have to end, and Mike Bloomberg can keep it up? How can he keep it up?

I think he should open an ad agency.

Here’s how it would work.

Start a company, let’s call it Bloom & Partners. Hire a small permanent staff from NYC’s vibrant creative community. Use it to create all the Bloomberg marketing and advertising.

Then, work on public health briefs, special projects and more pro-social agenda items. Bring in freelancers who’re willing to cut their day rates for the ethical laundering they’re about to receive. Send those ads around the country, or the world, and stop ridiculous Ad Council afterthought creative, which is barely above student work in quality, by making a source of communications that hits the entire spectrum of the national public health conversation.

One of the most interesting aspects of Bloomberg’s post-mayorship is how fluently all the staff he sucks out of government will speak government, enabling all sorts of innovative public-private partnerships. So, if anyone can make this cost-effective, it’s those guys.

Written by Nick

January 16th, 2013 at 11:25 am

Posted in NYC

Sebastian Junger on Writing

This weekend I had the good fortune to attend a writing workshop at the Bronx Documentary Center hosted by bestselling author Sebastian Junger.1

Junger started by telling the 30 or so attendees it was his first time teaching, but he was a natural. The class flowed through the broad topics and touched on standout passages most recent work, WAR, as well as some of his favorite work from other authors.

I’ve never been to a writing workshop before, and have a real aversion to Big J Journalism’s self-important hand wringing, but I didn’t encounter that here. Junger had a lot of practical, simple advice, the sort of stuff a self-taught craftsman can relay after some successes and failures.

For the most part, these are direct quotes. Sebastian’s delivery and my typing speed made for easy transcription. I skipped a lot of the stuff where he read specific passages to illustrate a point, or used anecdotes to underline certain elements. The session was videotaped, and the BDC guys said they’ll post it, so I’ll surely link to it, or embed it, once it’s up, so you can get the whole feel. In the meantime, head up and check the BDC out, they’ve got loads of screenings and exhibitions on tap. So, without further ado: Sebastian Junger on Writing.

 

On Accuracy

Write it down, don’t just record it.
Your intuition is an incredibly valuable tool. In the process of taking notes you’re already filtering out stuff that’s going to be less important to you.

Memoir is journalism.
Our society is filled with a leeway for misrepresenting the truth and getting away with it, and I think that’s infected writing. There’s fiction, there’s nonfiction, and there’s a very bright line.

That bright line is doing you a favor
You have to get that interesting stuff out of reality and into words. That’s the craft of writing. If a writer fictionalizes a little bit in memoir, it’s a petty crime. You steal a ten-dollar watch from the store, and you have a ten dollar watch, but it could cost something a lot more than ten dollars. It’s a bad bargain. It does this thing that jeopardizes the power and veracity of every word, it’s cast into doubt. It’s not worth it.

Truth is when you’re not distorting things intentionally.
Acknowledging that is important. Another truth is people see you in a certain way. No person can actually understand that clearly. It’s too distorted by your own fears. The most important thing is your striving towards truth. It should be the thing you try and head towards.

Style is what gets people to keep reading.
It doesn’t have any inherent value. It’s like clothes. Ultimately it’s not the person, and not the point. It betrays a lack of interesting in the world. Your writing is not more beautiful than the world is. One of the dangers of being a really good writer is you’re more at risk of becoming enamored of what you can do with the words. You don’t want the facts of the world to serve as a platform for your skill. It’s the other way around. Your skill serves the world.

Adopt a mindset of humility.
Say ‘Look, I’m bewildered by this topic, but I’ll spend some time learning about it, and will report back to you what I found out about it.’ Communicate ‘I don’t have an inherent advantage over you, but I want to report back what I found out about. I want to talk to people you didn’t have time to talk to, and I’m going to come back and tell you what I found out.’ You want to look the readers in the eye. You’re discovering secrets of the world that are available to anyone, you just spent the time to talk to the experts. You’re not in a position of special knowledge.

Be open.
The conversation with readers about how subjectivity works is interesting, more so than unobtainable objectivity. Once you’re into first person nonfiction, just go for it. You can kind of do anything as long as you tell the reader about it.

Your intuitions about writing will be really, really accurate.
The first reaction you have is probably the right one.

Reality is your best friend.
It’s not an adversary. You’re never going to outdo it.

Do more research, whatever that research might be.
For me, writer’s block means I don’t have enough information. I don’t have the goods, and I’m trying to make up in words what I don’t have in facts.

You will not get everything right.
You should go back and check with the people you interviewed if it’s anything personal, or political, or charged. Once you go back, ask them, you don’t have to read the quote back, ask if you’re still good with that. Do the decent thing to do and save incredible hassles and hurt feelings later. You’re way better taking it out then living with their anger and your guilt. Public officials don’t matter. But you don’t want to ruin an old lady’s day with an unflattering description of her. People’s feelings are important, particularly people who are the victims of circumstances, not the perpetrators of circumstances.

Deeper truth is often the pretext people use to fictionalize.
There is none. The story is truthful only to the extent that the details are truthful. The story’s not true if the details aren’t.

If you’re going to put someone in a poor light, you’re honor-bound to investigate further.
You’ll know when you’re being unfair.

You are a lens that serves to focus the image for the reader.
You’re not supposed to tell them what to think. You’re supposed to tell them what to think about.

The things that you want to conceal are probably the most interesting things you’ve got.
Figure out how to talk about it in a way that feels beneficial, and illuminates the world.

 

On Content

You can’t describe everything.
What you want to do is pick revealing details to give an illusion of completeness. The weather. The street address. Small details. It doesn’t matter, but it means you were there. Go back as soon as possible and write it down so you can remember. If you’re not sure, you can say you’re not sure. You can say that. That means when you don’t hedge you’re absolutely true and they can trust that. They get a sense that you’re a real human being. You’re not god, and not a robot. Use details in an emblematic way. Pick things out that are revealing in some way. In the essence of things, things get more intuitive and artful. What is the essence of it?

Don’t overload it with poetic essence.
For a sentence or two. More than that it gets cloying.

Edit in every state of mind.
Writing is a weird intuitive act. Editing is a lot more rational. That’s its strength, but it’s also its weakness. Lets say I go running. I’ll run and come back and read the chapter I just wrote. You’re upset? Go edit something. The stuff you don’t like, it comes right out. If you’re reading something, and your mind starts to wander, pull it out. That section is in doubt; it’s in question.

 

On Style

Words are really precise.
You can’t be sloppy with the words. There’s one for everything you need, it’s like a set of wrenches. There will be a perfect word for what you’re saying. Just think about it. The pleasure of reading is when someone uses a word in a unique way. You want to surprise the reader a little bit.

It’s pleasurable to see things differently, in a non-rational way.
It’s why people take drugs.

Write in a visual style.
You’re setting a visual scene. You can write to some loftier part of the brain that’s not visual, but it will probably engage people less. We go through the world with our eyes open, and you have to write to that.

When you describe characters, think of one thing that describes their face, or body language.

Cinemagraphic writing style appears to our visual understanding.
If this was a film, how would I start the film? What would I want to see?

Shortcuts bleed the power out of words.
People will put your work down and not even know why. Mortars are always ‘slamming’, but after reading that word 20 times you don’t want to hear about mortars slamming ever again.

 

On Rhythm

Give people periods of work and rest when they’re reading.
When you stop a reader, you’re stopping them to think. There’s other sentences where you don’t want to do that.

Rhythm in prose is the primary thing that keeps people reading.
It’s this essential thing that probably shouldn’t call too much attention to itself.

There is no good writing without good rhythm.
Pick those moments where you stop them, but don’t do that too much. You want a rolling, long-distance pace.

Things said with rhythm seem true.
There’s a power to them that seems unassailable, and that you tapped into a higher truth, and that’s coming out in words. IT is flowing through you, and you’re not impeding it.

No one writes in perfect rhythm, but you have to be attuned to it.

In a long sentence you can get into a filmic feeling.
You’re asking the reader not to stop and think, but to go with it. You’re in a situation that’s flowing past you. Long sentences are less about ideas and more about experiences and perception.


On Structure

Expand and contract the pace, but you have to keep with the flow of reality.

At my desk is where I put words together, not ideas.
The conceptual leaps a piece requires will come to me in the oddest places. Places where I’m lightly engaged with something else.

Fictional devices in nonfiction…
…are not an excuse to invent, they’re strictly structural.

End sections on unstable moments, where there’s a lot of unexpressed potential.

If it’s too complicated to remember verbatim, you really should say to the reader how it happened.
‘Even if the words aren’t exact, that’s what he was saying.’ There’s a very specific value to recorded information, and you don’t want to muddy the waters.

Free to use fictional tricks, as long as that trick isn’t invention.

You have a relationship with the reader, you can tell them whatever you want.
As long as you’re honest. You can tell the reader the thing that you’re trying to protect them from.

 

On Beginnings & Endings

Beginnings…
…should be really easy to get into. It should be an easy can to open. But also set you up for something important. You have to give a signpost that says it’s coming.

Start in a way where the person doesn’t want to leave you.

Endings partly feel like endings because of rhythm.
You can tell when a movie’s getting ready to end.

You want a feeling of eminent change, that you’re revealing the truth.
Endings should be a big book, thump it down on the table, there, that’s the end, thunk. It’s a little bit like the end of a relationship. You’re having coffee and you can talk about the details, but you know it’s ended. You know it’s over.

 

 

 

 

 

  1. Junger’s friend Mike Kamber opened the BDC after a highly-awarded career as a photojournalist. One of the writing assignments was to create the lede paragraph of a profile on Mike and the BDC. I won’t share it, but it’s easy to say after a gnarly career around the globe Mike’s doing important work helping transitioning community tell its most interesting stories. []

Written by Nick

November 12th, 2012 at 4:47 pm

Posted in Books,Journalism,NYC

Gigs & Appearances: Advertising Week 2012 and Now / Next / Why New York

Ahh, Advertising Week. Because the day-to-day celebration of ad culture just isn’t enough.

I’m going to be speaking on two panels. I will plug them thusly:

 

GIVE TO GET: BUILDING BRAND THROUGH SERVICE INNOVATION

Mon Oct 1 2012 – 9:00 AM
B.B. King Blues Club

Putting service at the center of your brand may be the next evolution of your marketing; innovation through service design is what will attract customers, turn them into advocates, create buzz about your product, and save customers with whom you #fail.

 
PRODUCTS, PROCESS AND PROGRESS

Tue Oct 2 2012 – 12:30 PM
B.B. King Blues Club

“Brand-led development”, it’s a subject that’s currently on the tip of every marketer’s tongue. This lively discussion, hosted by The Barbarian Group’s President, Sophie Kelly, will explore the new imperatives that larger brand marketers need to adapt in order to effectively build, refine and optimize longstanding products.

 

Of course, if you’re in NYC October 9, you should be at Contagious’ bi-annual look at what’s important, Now / Next / Why. I’m heading over to London next week to speak at that installment, then back again to talk at the Stateside version. My topic? Sponsorship Activation & Amplified Live.

Sponsorship Activation & Amplified Live /
The time we spend interacting with entertainment is often precious and pure. Distractions are not necessary, nor appreciated. Finally, a new generation of brands is beginning to reimagine the art of sponsorship activation, justifying their ticket to the game not just with a bulging wallet, but with a genuine offering to enhance, improve and augment the experiences for fans.
Contagious will showcase how and why brands are adding value for fans, not noise. From Coca-Cola turning an exclusive corporate box at a football ground into a dormitory for cash-strapped fans, to Kopparberg’s music festival playlist app on Facebook, brands are making their sponsorship dollars work harder to become an indispensable part of the events they support.

We’re also debuting our take on Marketing as Service Design, something we haven’t talked about yet over here. Some of the elements we’ll be discussing at Now / Next / Why in New York on October 9 will come into play during the panels.

We do a special edition publication for Now Next Why, and we just put that to bed last week. It’s looking great. Give me a shout if you can come out, so we can say hi.

Written by Nick

September 23rd, 2012 at 9:57 am

Having a bad day at work?

Compare it to Rob. He was the winner of our annual Worst Day in Advertising StorySLAM we do with Organic and amazing storytelling group The Moth. We’ve done it during Advertising Week in New York the last few years; we’re hoping to do it more frequently.

Stay tuned and I’ll let you know when the next one’s coming along.

So yeah, it couldn’t have been that bad, right?

Written by Nick

October 13th, 2011 at 5:45 pm

Posted in Comedy,Events,NYC

Dust in the Wind: A Playlist

Reading Sam McPheeters’ ode to the cripplingly depressing ‘Dust in the Wind’ by Kansas I was reminded of the list he mentions near the end of the article, a do-not-playlist compiled by the management of Clear Channel, which owns over a thousand radio stations reaching over a hundred million Americans, in the days after 9/11. It was a sly bit of corporate self-censorship of songs that might push the nation over the brink.

There are a lot of different kinds of music on the list, but it’s all affecting. Louis Armstrong’s ‘What a Wonderful World’ joins the entire Rage Against the Machine catalog, and USMC favorite ‘Bodies’ by Drowning Pool sits on equal footing with Nena’s ’99 Luftballons’.

The songs declared forbidden by the bigwigs at Clear Channel, deemed unfit for consumption, define an emotional range that completely saturated everything after the attacks. It was chaotic and sloppy and raw, and seemed to fill every place you could fit an interpretation. A story from The New York Times published September 19th says the list’s “intended aim is to ensure national mental health, though First Amendment supporters may point to it as the first shadowy blacklist in what President Bush says will be a war against terrorism.”

I arrived in New York City, pulling a U-Haul onto Lorillard Place in the Bronx, four weeks before September 11. Afterwards, I spent the next three months in a big, new place wandering in a strange trance. Our landlord, who was in the Coast Guard, was never around, and the house quickly turned into a haven for our confused weirdo friends to pad about like mental patients as we all tried to get our heads back together.

I’d like to think that if we had Spotify, and the ability to have access to a playlist containing the most-affecting songs from the last century of American popular music, it might have been a bit easier to snap out of it. Instead we listened to a lot of Can and G.G. Allin, which may have worked just as well.

At any rate, here’s that Spotify playlist. Enjoy the songs of sorrow and elation.

Clear Channel’s 9/11 ‘Lyrically Questionable” songs by Nick Parish

Written by Nick

September 6th, 2011 at 9:56 pm

Posted in Music,NYC

SXSW Screenprinting

Contagious will be representing next week in Austin for SXSW Interactive1 and we decided to print up some T-shirts to give out to friends and allies.

We thought about just sending our logo and specs off to a printer, but what about making our own awesome shirts? And checking on colors and things? My awesome girlfriend gifted me time in a screenprinting workshop last year, so I already knew a thing or two about making your own shirts. So how about hire a studio and try to do it ourselves? Turns out that was much easier (and more fun) than we thought. We got in touch with Peter from Polluted Eyeball and arranged to visit him in his studio, in a loft building of artists’ studios, in Bushwick. We set up an evening session, so after work on Friday we could roll up and do some printing.

There’s a populist connoisseurship in T-shirts. Fine fit, fabric and a nice design can make a cheap item into a lifelong favorite. So we wanted to do these right. We stopped off on the way at Uniqlo to pick up around 70 of their Dry Pack Men’s T’s. I think they’re among the best going.

Once Peter had taken us through the process (and burned an extra screen for a white ink layer to sit below the fluorescent pink) we got to work, a three-person team, fitting the blank shirts on the platens2, then rotating them to the white and pink screens, through each ink phase, then under a heater, then off to be rolled and taped and sorted by size.

By the time we’d gotten our process right and picked up steam, we were out of blanks and had a whole load of handmade T-shirts to give away. Take a look at the photos below, and if you’re going to be in Austin, track down either me or Noelle for a shirt. Thanks again to Peter at Polluted Eyeball for all his expert guidance.












































































































































































  1. I’m on a panel called ‘Client Knows Best’ with some brainiacs from Droga5, McCann, Co:Collective and Verizon, it’s here, on Saturday at 5pm. Come if you’re around, it should be a fun chat. Noelle, meanwhile, will be raising heckfire in boots. []
  2. this was a new term for me, from Wikipedia: ‘In textile screen printing, a platen is a flat board onto which the operator slides the garment. It is generally made of either a plywood laminate or aluminum with a rubber laminate. Often the platen will be pretreated with a spray adhesive. This allows the garment to effectively become a rigid immobile substrate, especially important when printing multiple colors or utilizing an on-press infrared dryer. The screen is brought parallel and close to the garment (often within 1/32″) and the squeegee pressure then brings the screen into contact with the garment so that the ink transfer may occur. There are many special platen types, such as those for printing sleeves or pockets, vacuum platens, platens with clamps to hold bulky materials such as jackets, and even curved platens for printing on hats.’ []

Written by Nick

March 6th, 2011 at 2:05 pm

JWT Interview

The fine people of advertising agency J. Walter Thompson, who recently hosted a week of panels and presentations for Social Media Week, asked me a few questions in anticipation of a chat we did about social games on Monday.1 Here they are; there’s more from others over at their AdGeek blog. That penultimate answer is a little tongue-in-cheek, but there’s something weird in the air I haven’t quite figured out yet.

What was your social media eureka moment?
I think everyone has a path of social media eureka moments which revolve around making real connections with other people. Everyone feels the magic when they meet someone in real life that they’ve come to know over the internet, and compares their concept of that person and their actions online with the living breathing talking version. That can be online dating or buying a dresser on Craigslist. Same goes with arguments; the first time you get into a blood-boiling argument on the Internet you pass a sort of barrier. To me, those are the most interesting bits, coming to understand the powerful connections we can create with people who share our interests and goals.

What do you use on a daily basis and how?
Whew, big question…currently running applications include: Mail, Chrome, Firefox, DevonThink, Pomodoro, Dropbox, Spaces, ManyCam, Skype, iChat, Word, TextEdit, Tweetdeck. Frequently accessed webservices/social bits/communities include Facebook (begrudgingly) & Twitter and Google’s suite of stuff, without which I’d be truly lost. Metafilter and Reddit are my favorite community sites. Google Reader tells me ‘from your 300 subscriptions, over the last 30 days you read 9,359 items, clicked 33 items, starred 10 items, shared 0 items, and emailed 61 items.’ I’ve developed an arcane and possibly foolish system to basically archive anything I touch on Twitter to a bookmarking site, and I spend a lot of time watching Contagious’ output and cataloging all that stuff for further analysis.

What is hot and what is just hype?
I think this question is becoming less and less relevant, but I can’t quite explain why. I’ll try, though. In the last year or so we’ve seen enterprising groups take things that are in the hype cycle’s trough and make fun new things out of them. I hope the cycles created by our anemic attention span and relentless economic machine continue to pump up and churn through emerging technologies—it leaves more room for the inquisitive tinkerers to come through and say ‘oh, what’s this, how does this work.’ It’s like the kid who always had the most fun, newest toys—you knew a few days later their attention would be elsewhere, but that fun toy probably still had some life in it for something. I’m currently obsessed with the Kinect, Minecraft, quadcopters and autonomous flight sequences, Mechanical Turk and whatever a rotating cadre of members of the present-day Invisible College of technology is doing.

What do you see as being the next big thing at next year’s conference?

Definitely jetpacks. Seriously though—with the speed at which companies seem to be earning venture capital money, I would look for topic ideas from this article on SXSW 2001: “Is there still an Internet economy?”, “Internet Industry Trends 2001: Is Anyone Making Money?”, How to Survive Takeovers, Acquisitions, Layoffs, Mergers and Other Supposed Career Setbacks”. Etc. Mad-Libs the blanks where appropriate, change “million” to “billion”, there you go.

What is the one takeaway you hope everyone gets from your panel?

I hope people leave the panel understanding the difficult lines games makers have to walk, between manipulating game mechanics to maximize profit and making genuinely fun games people want to play.

  1. I actually moderated a pair of panels, on social gaming on Monday and storytelling on Thursday. They’re archived here (after 16m of David Eastman) and here if you’re interested. []

Written by Nick

February 12th, 2011 at 12:08 pm