How I Learned to Stop Worrying and Watch the Movie

Posted on February 11, 2016 by admin

“Presidents Day” is around the corner. The holiday is still officially for Washington’s Birthday, and yet because it’s the third Monday of February by law, it can’t ever actually be on his New Style birthday, the 22nd. This year, it’s exactly a week before.

Still, time to dwell on the immortal deeds of William Henry Harrison, Millard Fillmore, Rutherford B. Hayes, et al. You know, the greats. Back to posting on Tuesday, February 16.

On the last night I was in Seattle last summer, I attended a dinner party in Fremont with my old college friend Bill and his wife. Bill was wearing a Dr. Strangelove t-shirt, one featuring the menacing, cigar-sporting face of Gen. Jack D. Ripper, complete with the caption PURITY OF ESSENCE. It looked a lot like this.

I thought so highly of the shirt that Bill told me the web site where I could buy my own, which I did when I got home. It’s pictured above. In October I wore the shirt to the State Fair of Texas, where it got a few looks and exactly one comment in passing, “Love that shirt!”

A few weeks ago, I watched Dr. Strangelove for the nth time. Late one night in the late ’70s, I happened across the last 20 minutes or so of the movie, perhaps on one of San Antonio’s UHF channels, which was the first time I saw any of it. I couldn’t make heads or tails of it, and only when I saw it in college did I realize what I’d seen. Oddly enough, I also caught the last few minutes of Lolita on the same channel, and only realized it when it was shown in film class some years later; maybe that UHF program director had a thing for Kubrick.

Dr. Strangelove is many things, especially dark Cold War satire with endless allusions to sex, as has been pointed out many times. I had another idea about it this time around, one that makes some sense as an interpretation: the movie’s also about various aspects of the masculine psyche.

In popular lore, especially in idiotic bits like “Manslator,” men are simple creatures, but no human being is simple, much less either of the genders imagined as a whole. The following are notes about the six main characters in that light. Not that I believe that anyone thought about the masculine psyche when the movie was being created, just that it’s an idea worth kicking around these 50-odd years later.

Gen. Jack D. Ripper, the Psycho Killer. A fine example of an unsubtle name for a fictional character, but it does get to the point: Ripper wants to kill. Mind you, he isn’t a mindless killer. He’s a high-functioning, detail-oriented, completely delusional killer who fully believes he’s doing the right thing. This makes him exceptionally dangerous to everyone else.

Ripper feels under attack: an invisible, poisonous attack by a loathsome enemy aimed at his very manhood or, as he so famously put it, his “precious bodily fluids.” So for Ripper, it’s self-defense. For everyone else who isn’t a psychopath, it’s murder. Like it or not, the psycho killer’s definitely part of the masculine psyche, though fortunately not the controlling part for most men most of the time.

Group Captain Lionel Mandrake, the Rational Man. Mandrake is as rational as Ripper is delusional. He understands what’s happening, even asking Ripper why he launched the attack, to get to the bottom of things. Note his bitter laugh as he realizes just how nuts Ripper is and, at the end of the clip, how he rationally dives for cover when shots break the windows, while Ripper stands up. He also understands how horrible the situation is, and he’s fully committed to stopping the madness.

Rationality too is part of the masculine psyche, stronger in some men than others. Yet, like reason is in so many situations, Mandrake’s powerless in the face of determined madness, at least until the madness self-destructs. Even then, he doesn’t quite succeed, because of a string of impossible-to-predict incidents that defy reason: the bomber not being able to receive the recall order, the unexpected change in target, the dogged persistence of Major Kong.

President Merkin Muffley, the Nurturing Man. To say President Muffley represents the feminine side of a man’s psyche is to risk trading on stereotypes about women, so perhaps “nurturing” is better, even though Muffley’s name more than hints at womanhood: muff and merkin, which is a pubic wig theoretically for either gender, but more often associated with women.

Not only is the president eager to prevent a nuclear exchange, he’s aghast at the prospect of it, since it represents mass murder, the complete opposite of protecting and nurturing. Moreover, he has moral authority, and acts decisively. He calls out Gen. Turgidson more than once (like a mother bawling out her teenage son), he demands an audience with Gen. Ripper, tries to be calming with Premier Kissov, and wonders whether the survivors in Dr. Strangelove’s mine shafts would be too distraught to carry on. Like Mandrake, his best efforts fail. This is, of course, a pessimistic movie.

Gen. Buck Turgidson, the Adolescent. Like all of the names in Dr. Strangelove, “Turgidson” is absurd yet also speaks volumes. Adolescent boys are well known, and rightly so, for their turgidity. But as important as nooky is to an adolescent — it’s pointed out quite often that the only female character in the movie happens to be Buck’s mistress, and she happens to be in a bikini the whole time — adolescence is also marked by impulsive behavior, never mind what happens next. Gen. Ripper launched his wing? Damn, we’d better attack right now, hit ’em with everything we’ve got!

Adolescence also involves, in boys at least, an urge to fight, literally or figuratively, and enthusiasm for the cause. Turgidson tussles with the Soviet ambassador — literally — downplays 10-20 million deaths as mussed hair, and is quite excited in describing how a talented B-52 pilot can get through to his target, only realizing right at the end what it means, namely the end of the world. Adolescents are, after all, still learning that actions have consequences. One nice touch: Turgidson’s chewing gum most of the time.

Major T.J. “King” Kong, the Engineer. People who happen to be engineers are many things, like anyone else, but Major Kong is the engineer whose focus, whose overriding concern, is to solve problems and get things done. Beyond that, he’s out of his competence. He can’t quite imagine the consequences of the thermonuclear war he’s participating in — at one point, he predicts promotions and medals, as if it were a conventional war; and there’s the hilarious line about “nookuler combat toe-to-toe with the Rooskies.” But he knows he has to do his part, and by gar, he’s going to do it.

So he puts his considerable talents toward that end, overcoming a hostile attack, damage to his aircraft and a stubborn bomb bay door. All that cleverness, all that technical prowess, all that problem-solving, all that persistence: even so the result is doom. The name Kong suggests brute force, which certainly is fitting for nuclear weapons, but Kong and his plane are a little more than that: a force that, once turned loose, is impossible to control again.

Finally, Dr. Strangelove, the Amoral Power Seeker. Nazis are hardly the only amoral power seekers in history, but they are a prime example of men seeking absolute power over other men. Strangelove is a barely reformed Nazi whose job is weapons research. How, in other words, to better project your power over other people. He isn’t a killer per se, but if people die as a result of his machinations, that doesn’t matter. With lust for dominance as his driving force — one of a number of kinds of lust in the movie — Strangelove nevertheless isn’t quite in control of himself, which give Peter Sellers a chance to be very funny indeed with the doctor’s Nazi-saluting, neck-grabbing hand, his true impulses beneath a veneer of sophistication.

Strangelove’s also coldly calculating, and considers the American people he’s supposedly working to protect as little more than animals. It’s telling that he says that a “nucleus of human specimens” might be “preserved,” and that men in the mine shafts will need to do “prodigious service” to “breed.” If most people are really like animals, it’s up to the strongest men — it’s practically their duty — to run things, by Strangelove’s calculations.

If I thought about the movie more, I might dream up interpretations for those amusing minor characters, Ambassador Alexei de Sadeski (“Our source was the New York Times“) and Col. Bat Guano (“You’re going to have to answer to the Coca-Cola Company”). But I think I’ve thought about it enough for now.

Mala Ars Longa, Vita Brevis

Posted on February 10, 2016 by admin

“There, now, that wasn’t so good, was it?” — Leonard Pinth-Garnell

I’m rarely persuaded that something bad, especially a movie, is so bad that it’s good. Usually bad is bad. I’m not going to waste much time watching bad romantic or other comedies, bad drama, bad action flicks, bad horror, bad adaptations of comic books, bad SF, bad war movies, and so forth. I have soft spots for some of the bad movies I saw as a child — The Robot vs. the Aztec Mummy, The Killer Shrews, Frogs, Godzilla vs. the Smog Monster, and a few others — but even so I don’t really want to see them again.

Reading about bad movies is another matter. The Book of Lists, mentioned earlier this week, introduced me to a number of titles universally acknowledged as bad, the only ones of which I’d be temped to watch — a few minutes of anyway — would be The Conqueror, just to see the ridiculousness of John Wayne pretending to be Genghis Khan, or Che! to see Omar Sharif as Che and Jack Palance as Castro. Other titles on its list included The Horror of the Beach Party, Lost Horizon (1973), Robot Monster, Santa Claus Conquers the Martians, and That Hagen Girl.

It’s a little hard to remember that before the Internet, lists like that, while not rare, weren’t everywhere you looked. They were still something of a novelty. On the remainder table at Harrods’ book department in 1988, I happened across a fuller example of a bad-movie list in the form of The World’s Worst Movies by Tim Healy (1986). For all of £1.99, it was a deal.

It’s more than a series of lists. Instead, the chapters are thematic essays — entertaining, not very serious essays — mocking bad monster movies, bad SF, bad action pictures, “sex schlockers” and “teenbombs,” along with subchapters along the lines of the Worst of Joan Collins, the Worst of Ronald Reagan, the Worst of Elvis, and the Worst of Roger Corman. Many familiar titles are discussed: Plan 9 From Outer Space, They Saved Hitler’s Brain, The Swarm, Glen or Glenda? etc, etc.

The book also introduced me to movies I’d never heard of, such as Night of the Lepus (1972), which is “a horror film about a horde of monster rabbits which roams the Arizona ranchlands in carnivorous packs leaving trails of destruction of their wake.” Or Zombies of the Stratosphere, a 1952 serial featuring a young Leonard Nimoy as a Martian. Or Percy (1971), about which the book asks, “What could be worse than a film about a penis transplant?” The answer: “Another film about a penis transplant,” referring to the sequel, Percy’s Progress (1974).

I will say that I went out of my way to watch Plan 9 From Outer Space on tape after I saw the entertaining movie Ed Wood. It was as bad as promised. Yuriko watched about 10 minutes and then left the room. I stuck with it and noticed that while Ed Wood tried to re-create some of the bad performances of that movie, they didn’t always work. Most notably, Bill Murray as Bunny Breckinridge, who was the “The Ruler” in Plan 9. Bill Murray is simply too good an actor to be that bad.

First-Season MAS*H

Posted on February 9, 2016 by admin

A few months ago, I noticed that Netflix on demand has all of the episodes of M*A*S*H (why isn’t there an asterisk after the H?). At first I didn’t feel the need to watch any of them.

Then it occurred to me that I’d missed the first season, and maybe part of the second, when the show was on the air. I was too young to be interested, and picked it up sometime in junior high, maybe when it was part of the extraordinary Saturday night prime-time lineup on CBS during the ’73-74 season: All in the Family, M*A*S*H, The Mary Tyler Moore Show, The Bob Newhart Show, The Carol Burnett Show.

By the time the scriptwriters dropped Henry Blake into the Sea of Japan (March 18, 1975), I was surprised along with the rest of the country, since I’d been watching a while by then. After 1979, I didn’t watch it much anymore. Not only had the quality declined, I didn’t watch much TV at all, though I made a point — like the rest of the country — of watching the finale on February 28, 1983.

So I decided recently to take a look at the first season at least, one every week or two. On the whole, it holds up well enough. I liked it then and I still do, though it’s not the best television, or even the best show in a sitcom-like format (arguably, it’s not a sitcom anyway). As for the first season, it’s good to see the original cast, complete with Trapper John and Henry Blake, both of whom were better than their replacements.

Also of note is first-season Radar O’Reilly, who is a bit more nuanced than he would be later. Besides his longstanding anticipation of events, and that he knew more about what was going on that Col. Blake did — an old joke, that — Radar drank alcohol, helped Hawkeye cheat at cards, traded weekend passes for favors, and was perfectly willing to ogle nurses as they walked by or spy on them in the shower, things he’d be too timid to do later. His evolution in the series into a naive Iowa farm boy did no favors to the character. There’s an essay waiting to be written about the infantilization of Radar O’Reilly.

And what happened to Spearchucker Jones, the talented African-American surgeon? He makes appearances in the first season but not later that I remember. Admittedly, that nickname wouldn’t have gone down well even in the 1970s, but it could have easily been dropped, while the character could have been developed, even as a supporting one. Apparently the producers decided otherwise.

M*A*S*H also suffered from the strictures of network television. One good example: Hawkeye and Trapper emerge from surgery, bitching about spending 12 or 14 hours or whatever operating, and there’s not a drop of blood on them. One of the salient visuals of the movie M*A*S*H is in complete contrast to that: there’s blood all over the place in the meatball operating room, and on the doctors too. Of course, had the TV show depicted that much blood, the audience of the time wouldn’t have noticed anything else. That was before splatter movies and cable TV shows inured people to that kind of thing, after all.

Speaking of cable, I couldn’t help thinking that M*A*S*H would be better — in competent hands, whoever that might be — on cable. More visible blood, dirt, and skin, for one thing, though it would be easy to overdo those aspects. More importantly, the characters could be fleshed out a good deal more. Once, just once, I’d like to see Hawkeye, after a long stretch of stressful surgery, and at the provocation of (say) a Korean character, explode in a tirade of ethnic slurs. Later he’d regret it, and drink himself blind to forget. That’s something a cable version of M*A*S*H could handle with aplomb.

Bicycle Thieves

Posted on February 8, 2016 by admin

Some days you get up and think, I haven’t seen enough Italian neorealist movies. Well, maybe it doesn’t happen exactly that way, but anyway you have a sudden urge to see Bicycle Thieves, also known as The Bicycle Thief, though it’s clear enough that Ladri di biciclette, the Italian title, is plural, and for good reason, as things turn out in the story.

At least, I had a urge to see Bicycle Thieves recently. It’s been a long time in coming. Back in high school, I had a copy of The Book of Lists, one of the more fun (if not very scholarly) reference works of the pre-Internet age.

In its section on movies, the book included the results of three Sight & Sound magazine polls of the ten best movies of “all time,” polls done in 1952, ’62, and ’72. Topping the 1952 list was The Bicycle Thief, as it was known then in English, though it came in at no. 6 ten years later and wasn’t on the ’72 list.

It was a movie I’d never heard of on a list compiled by a magazine I’d never heard of in a time and place (ca. 1978, Texas) when accessing either the movie or the magazine would have been difficult, so I had every reason to forget it. Which I did. Almost. Somewhere, for years afterward, tucked in the labyrinthine warehouse of filing cabinets that form my memory, was a little folder called The Bicycle Thief, whose entire contents were, “Wonder what that’s about. Why did some critics like it?”

Sight & Sound, incidentally, is still published by the British Film Institute, and it still does a greatest-movie poll every 10 years. In 2012’s poll, Bicycle Thieves was no. 33 out of 50, for what it’s worth. But it’s hard to take a great-movie list that omits Dr. Strangelove too seriously.

In 1983, I noticed The Bicycle Thief discussed in one of the better textbooks I’ve ever had, Understanding Movies, Third Edition (1982) by Louis Giannetti, which I used in my VU film class, though we didn’t see the movie in that class. I still have the book, which says, “[The] Bicycle Thief deals with a laborer’s attempts to recover his stolen bike, which he needs to keep his job. The man’s search grows increasingly more frantic as he criss-crosses the city with his idolizing, urchinlike son…”

Put like that, it doesn’t sound like much of a story. Yet it is. Mainly it’s about how awful poverty is, and how someone stuck in it just can’t catch a break — without making it an overt polemic about class injustice. The man and his son are fully human, with the serious misfortune of being poor. By the time the movie’s nearly over, you’re really pulling for Antonio (the father, pictured above) and Bruno (the son). You want them to find the bicycle, but you know it isn’t going to happen, and you know what Antonio’s going to do about it, and think, I might do the same, even though it turns out to be a bad idea.

“After a discouraging series of false leads, the two finally track down one of the thieves, but the protagonist is outwitted by him and humiliated in front of his boy,” Giannetti continues. “Realizing that he will lose his livelihood without a bike, the desperate man sneaks off and attempts to steal one himself… he is caught and again humiliated in front of a crowd — which includes his incredulous son.”

Director Vittorio De Sica used nonprofessional actors in the lead parts of father (Lamberto Maggiorani, above) and son (Enzo Staiola). It probably helped that Maggiorani was an actual factory worker, but how De Sica teased such a remarkable performance out of seven-year-old Staiola is astonishing.

Also of interest: Rome, 1948. Much of the movie was shot out in the streets of Rome. It might be the Eternal City, but a lot must have changed in nearly 70 years: the streetscapes, the non-monumental buildings, the way the crowds look and get around town. I tried to notice as much of the background as I could. Even when I visited Rome in 1983, there seemed to be a lot more cars than depicted in De Sica’s city, though at one hair-raising point Bruno’s nearly run over by two careless drivers, something that seemed entirely believable to me.

In all, an exceptionally good movie. So I’m glad that, for whatever reason a few weeks ago, I thought, I never did see Bicycle Thieves. Time to do it. In our time, when you have such a notion, you can put the movie in your queue — or get it at once on your gizmo. I saw it on DVD. People who are put off by old movies, or black-and-white movies, or movies that have subtitles, seriously don’t know what they’re missing sometimes.

“Happy Birthday” Has 13 Letters

Posted on February 7, 2016 by admin

For her 13th birthday, Ann wanted a simple cake without “thick icing.” So we got a round yellow cake — yellow icing topping a yellow cake, with a modicum of decoration — at a grocery store we know that has a good bakery.

I found the candles by chance at the same store. As it happens, there are 13 letters in Happy Birthday, a fitting number.

I might use them for my own birthday. Each candle would stand for about four years and three months of my lifetime. Also, I’m glad to report that however the cake looked, it tasted good too.

Map Hero’s Laminated Gitche Gumee

Posted on February 4, 2016 by admin

You never know what’s lurking in the fine print. Usually that’s taken to be a bad thing, but yesterday I took a look at a map I’ve owned for years and discovered a fine thing in the fine print.

First, the map. It’s laminated, and so in excellent shape. I got it when we went up to northern Wisconsin in 2003. At 16¾ inches x 10⅝ inches, it’s beyond the capacity of my simple scanner, so here’s a large detail from the midsection of the map: instantly recognizable as the ice-water mansion Lake Superior.
Lake Superior Port Cities Inc., publisher of Lake Superior Magazine, published the map in 2001. It’s a quietly gorgeous map whose shadings not only indicate elevation above and below the surface of the lake, but are pleasing to the eye. Besides towns and roads, it notes all of the various state forests and parks along the shores of Lake Superior, plus the national lakeshores and the single national monument, Grand Portage in Minnesota.

Here’s a closeup of Keweenaw Peninsula, the UP’s UP, and a place I surely must see.
Very small versions of the Lake Superior Circle Tour sign mark a network of roads that circumscribe the lake. If I had the time, that’s a drive I wouldn’t hesitate to do. I remember the first time I visited Lake Superior — Labor Day weekend 1989 — I was driving between Munising and Marquette and I saw one of the signs. I hadn’t realized there was a Lake Superior version of the drive; the Lake Michigan Circle Tour signs can be seen even in the Chicago area and, in fact, I’ve done my own version of circum-driving that lake twice (once was that ’89 weekend).

Instantly I was taken with the notion of driving around Lake Superior. I was by myself and could have done it. I didn’t have my passport, but you didn’t need a passport to visit Canada in those days. I hadn’t planned to take any time off after Labor Day, but I could have called in sick for a few days, something I very rarely did. But no. I was entirely too responsible.

On the lake itself, the map also features lighthouses and the sites of notable shipwrecks. Some of the lighthouses are probably easy enough to see, but others are impossibly remote, such as the Stannard Rock Light, more than 20 nautical miles southeast of Keweenaw Point, slap in the middle of the lake.

As the for the wrecks, few will ever see them in the chilly Superior waters (average temp, 40 degrees F.). The most famed of them, naturally, is the Edmund Fitzgerald, but it has a lot of company, such as the Onoko, Henry Steinbrenner, John Owen, Western Reserve, Gale Staples, Niagara, Superior City and others.

A handful wrecks are marked but also noted “went missing,” such as the Owen and Manistee. To quote Wiki on that ship: “The Manistee was a packet steamship that went missing on Lake Superior on November 10, 1883. It was presumed to have sunk, with no surviving crew or passengers. The cause remains a mystery, and the wreckage was never discovered.” Sometimes Gitche Gumee just eats ships, it seems.

As for the fine print, way at the bottom right corner of the map, in about 3-point print, it says, “Design/Cartography by Matt Kania.” He’s easy enough to find: Map Hero, maker of custom maps. Looks like he’s done a lot of wonderful maps besides Superior. If I had any talent for it, I’d do the same.

Michelin’s Central Texas

Posted on February 3, 2016 by admin

Here’s another map of considerable usefulness and aesthetic value. This is a detail from the Michelin 2015 North America Road Atlas.

I bought the 2003 edition back when it was new, but by last year it was worn out, so I replaced it. Instead of providing a map or two for each state, as the larger Rand McNally does, Michelin divides North America into a grid of squares. Central Texas above happens to be on square 61. The system takes some getting used to, but on the whole it works.

I also still buy Rand McNally most years. Some things on those maps won’t be on Michelin and vice-versa, though since Rand McNally is 15¼ inches x 10¾ inches, and Michelin is 8 x 11, the former has more room for detail. Yet Michelin packs an amazing amount of detail, as good maps should.

Then there are state highway maps. In whatever state I pass through, I try to pick up one. They were always easy to find in Texas — every rest stop with bathrooms used to have them, and maybe still do. The lesson is, you can’t have too many maps.

Without maps around the house, how could you browse? Looking at the Texas 61 map just now, I notice towns I’ve never heard of — at some distance from San Antonio, where I know most of the surrounding burgs — including the likes of Bleiblerville, Blue, Concrete, Ding Dong, Gay Hill, North Zulch, Oxford, Snook, and Sublime. All real Texas town names, according to Michelin.

Nelles Maps Hong Kong

Posted on February 2, 2016 by admin

When you Google huuuge (three u’s), you get this.

Four u’s, this.

That came to mind as I looked out my back door earlier today to see the results of the day’s near-unremitting rain. Huuuge puddles. Maybe even huuuuge.

Nelles Maps are, or at least were in the 1990s, beautiful to behold. While in Asia during that decade, I discovered that the company, which is based in Munich, offers excellent maps of certain Asian places, such as city maps of Hong Kong and Bangkok, and larger maps of Thailand and Malaysia and Bali.

I see from looking around that Nelles still makes those maps, plus a fair number of other places in Asia, Africa and the Americas. None of Europe unless you count Madeira, and none of the United States, except for no fewer than four Hawaiian maps: the Big Island, Honolulu & Oahu, Kauai, and a state of Hawaii map. (What, no Maui?) Guess the company’s specialties are places Germans are likely to consider exotic for machen Urlaub.

Here’s a detail of the Hong Kong map I probably picked up in 1990: Victoria Harbour, flanked by Hong Kong Island to the south and Tsim Sha Tsui, often known as TST, to the north.
I suspect 1990 because the Cultural Centre in TST is marked as under construction. That would put the publication of the map in the late 1980s, since the center was completed in 1989, complete with a plaque unveiled by Charles and Diana.

A closeup of TST.

Even if I’d never been there before — and after over 20 years, it’s like that — I’d look at this map and think, how interesting. The Star Ferry Terminal. HK Space Museum. HK Museum of Art. The Mariners Club. Kowloon Mosque. Streets called Hankow, Haiphong, Hanoi, Humphrey, Cameron and of course Nathan Road.

One thing I missed in TST was the Avenue of the Stars, which is on the waterfront and celebrates the HK film industry. If you want to see a statue of Bruce Lee, apparently that’s your place. The reason I missed it was that it didn’t open until 2004. Shucks.

bản đồ thế giới

Posted on February 1, 2016 by admin

Word is there will be cold rain tomorrow. At least it won’t be snow, and at least it’s the beginning of the end of winter. Today was sunny and above freezing. So cloudless, in fact, that I was inspired to take a picture of the clear blue sky.

I don’t know if I’ve ever taken that kind of picture before. Clouds, yes. Trees in front of a clear sky, yes. But straight up azure? It was surprisingly hard to get the camera to take the shot, I suppose since the sensors don’t sense anything nearby to focus on.

One thing I did over the weekend was thumb through some of my maps. I can’t quite call it a collection, since there’s no system to it, and I haven’t been going out of my way to acquire them over the years. Mainly they’ve been useful purchases, such as in London or Berlin, and they’ve accumulated.

My Vietnamese-language world map, on the other hand, was a souvenir. I’m pretty sure I got it in Saigon. At the top it says it’s a bản đồ thế giới, except it’s all capitals. But it does feature some of the intricate diacritical marks that characterize Vietnamese.

Here’s Vietnam’s neighborhood.

And North America.

In case you need to know it, the United States is Hoa Kỳ in Vietnamese. I’m just guessing, but that seems to be a translation of “united states.” Look at the map enough, though, and you’ll see many of the place names seem to be phonetic.

Been There, Seen That

By Dees Stribling

Monthly Archives: February 2016