Wednesday, April 27, 2011

720P HD Carrie Underwood with Vince Gill How Great thou Art - Standing O...



IMHO, arguably the most sucessful American Idol Alum thus far.. and she's Rawkin this Hymn..

The man who keeps falling in love with his wife - Telegraph

The man who keeps falling in love with his wife

Clive and Deborah Wearing

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When a virus destroyed part of his brain, Clive Wearing was left with no memory. He is still trapped in an eternal present. Yet he does remember that he loves his wife, Deborah. Here she tells their heartbreaking story

Clive had no idea that Tuesday, March 26, 1985 would be his last day of conscious thought. We weren't ready. Did he feel his brain disappearing that night? Why didn't he wake me? By morning he could not answer a simple question or remember my name. The doctor said it was flu and a lack of sleep that was causing the confusion. He tucked him up with a temperature of 104 and a bottle of sleeping pills.

"No need to stay home," he said to me. "These'll knock him out for eight hours. Go to work."

I went to work. When I came home that night the bed was empty. His pyjamas lay crumpled in the middle of the bare sheet. I screamed his name. Running the length of the flat, I already knew something bad had happened.

"I'm never ill," Clive used to say. And he never was. Then all of a sudden he was. But instead of a normal illness, this one is rare, sneaky. Nobody knew what was wrong with him: not the taxi-driver who found him wandering the streets that night, nor the policeman who traced his address from his credit card and called me.

When we finally got him to St Mary's Hospital, Paddington, the doctors thought he was a goner. Only they didn't put it like that. They told me what they thought he might have, and said it had a high mortality rate. I didn't know if that meant probably live or probably die, and I didn't like to ask.

The diagnosis came 11 hours after our arrival at St Mary's. A virus had caused holes in Clive's brain; his memories had fallen out. The doctors said it was encephalitis, from herpes simplex, the cold-sore virus. The virus, they explained, lies dormant in most of the population. Once in a blue moon it slips its moorings, and instead of going to the mouth it goes to the brain. The brain swells up, and, before long, brain crushes against bone.

The virus does its damage before anyone knows it is there. Affected areas include temporal lobes, occipito-parietal and frontal lobes... thalamus, hypothalamus, amygdala; it just keeps on storming through. The part it wipes out completely is the hippocampus, Greek for seahorse. These structures are what we use for recall and remembering, and laying down new thoughts.

By the time they had figured out what was wrong with Clive and started pumping anti-viral drugs into him, all he had left where his memory used to be were seahorse-shaped scars. He could not remember a single thing that had ever happened to him, but he remembered me and knew that he loved me.

August, 1985: "How long have I been ill?''

"Four months."

"Four months? Is that F-O-R or F-O-U-R (ha ha!)?"

"F-O-U-R."

"Well, I've been unconscious the whole time! What do you think it's like to be unconscious for... how long?''

"Four months."

"Four months! For months? Is that F-O-R or F-O-U-R?"

"F-O-U-R."

"I haven't heard anything, seen anything, smelled anything, felt anything, touched anything. How long?"

"Four months."

"... four months! It's like being dead. I haven't been conscious the whole time. How long's it been?"

After two weeks, I decided it was legitimate to start saying, "Nearly five months," to skip the joke. It was all I could do to manage the dialogue itself, but finding the patience to react each time as if for the first time - so that he wouldn't feel that I was ignoring him - was sometimes beyond me.

Clive was constantly surrounded by strangers in a strange place, with no knowledge of where he was or what had happened to him. To catch sight of me was always a massive relief - to know that he was not alone, that I still cared, that I loved him, that I was there. Every time he saw me, he would run to me, fall on me, sobbing, clinging. It was a fierce reunion.

"I thought I was dead," he would say, "if I had any thoughts at all."

If I left Clive's side, the impact of my reappearance after a trip to the bathroom, a word with a nurse, was no less than at my first appearance that day. Clive was living in an abyss, and then out of nowhere, without any warning, I, his wife, would appear over the rim, right there in the room with him.

Sometimes his right arm shot up in the air and he would sing a high note, a little cadenza, he would lift me up and swing me round and laugh, then stop and hold me and look at me, study my face, grinning, searching to see if I had cottoned on to the fact that he was awake now, alive, truly seeing me.

"I can see you!" he'd announce triumphantly. "I'm seeing everything properly now!" It was hard to look excited and delighted for the umpteenth time on one visit, but being besotted with him helped. I was always delighted to see his face, to hold him and kiss him. Before he'd been ill, we would greet each other whenever we found ourselves in the same room together.

When we met at the end of the day or in the street or at rehearsal (Clive was a conductor and BBC music producer when the illness struck), we always hurried to reach each other, passionate and full of affection. So, although it was painful when Clive was so distressed, hugging him for some minutes after a visit to, say, the bathroom, was in keeping with our relationship.

In spite of Clive's amnesia, inside he retained his fundamental intelligence: the same intelligence that had propelled him throughout his career. He was often lucid and, apart from occasional episodes when he was full of rage, he was himself. That was what made his condition all the more horrific.

Clive no longer had any episodic memory, that is, memory for events. Clive did not have the brain parts necessary to recall anything that had happened to him in the whole of his life. But, as is the case with amnesia, he could remember general things. For example, Clive knew that he was married, although he was unable to recall our wedding - a civil ceremony in Camden Town Hall in September, 1983.

He could not have described my appearance, although he knew me as soon as he saw me. He knew he was a musician and conductor, but could not recall any concert. He knew his children by his first marriage - two sons and a daughter, all grown up - but expected them to be much smaller and wasn't sure how many he had. He was surprised to see that The Times no longer had personal columns on its front page, and thought it would cost fourpence, a pre-decimalisation price.

He knew his own name and the names of his siblings and childhood family. He knew facts about his childhood life: where he grew up, where he was evacuated to in the war. He knew that he went to Clare College Cambridge, on a choral scholarship, opting against King's because "everybody wanted to go there".

After that, his sense of his own autobiography got a bit hazy. It was just as well we'd been together six-and-a-half years, or he might not have been able to remember me.

We were looking around for treatment, a brain-injury rehabilitation programme that would take him on. But could rehabilitation stick when nothing else had? Clive could not remember the sentence before the one he was in. Conversation, watching television or reading were beyond him.

I learned that amnesic people have some residual learning capacity that is implicit; they can learn through a kind of conditioning process. A person can learn to respond to certain stimuli even if they think it is their first experience of the stimulus. For example, since the staff always gave Clive a small plastic beaker of water with his medication, he would expect it, raise the beaker and say every time, "Is this champagne, or real pain?"

Amnesic people can also recall by using "priming": that is, if they hear one thing or phrase associated with another, hearing the first prompts a statement of the second. So, if I said, "St Mary's," Clive could say, "Paddington," though he had no idea what it meant.

When Clive made the first entries in his diary it was at my prompting. But on Sunday, July 7, 1985 he made his first spontaneous entry: "Today: 1st CONSCIOUSNESS... Conscious for the FIRST TIME."

This probably marks the first time Clive was able to articulate to himself the strange phenomenon of immediate and blanket forgetting that he had experienced since he was brought into hospital.

Clive made entries in the diary every two or three minutes. People have sometimes interpreted that to imply a new awakening at two- or three-minute intervals. In fact the lapse between each entry signified only the time it took for the process of recording. It involved deciding to write down the fact of his awakening, pulling a pen from his pocket and writing; then a read-through of previous entries, scoring these out because he was sure he had been unconscious when he wrote them.

When he came to the last entry he checked his watch and saw that it was incorrect, so he amended it, reinforcing the last and only true entry by underlining it. Finally Clive would replace the top on his pen, put it back in his pocket and look around to get his bearings in the room. That process might take the few minutes between entries. His span of "consciousness" is actually a great deal shorter.

Every diary entry gives an eyewitness account of a life with no memory: "5.10am Conscusch FINALLY AWAKE AT - AM [a hotchpotch of successive times all scribbled out later] exactly. Newspaper arrived at 8.40am Medicines arrived at 8.45am AND I AWOKE properly AT 8.47am. And completely at 8.49am And became aware of the problems of understanding me."

I was reading medical books, but the cases I read about bore little resemblance to Clive's. For one thing, he started to talk backwards. It had the qualities of compulsion, as if it were his language of choice. He spoke backwards more quickly than anyone could decipher what he was saying. He thoroughly enjoyed this, and gave the staff a run for their money, giggling when they couldn't make him out. He didn't seem to be able to recall my name, but recognised it when he saw it.

"harobeD!" he said. "O harobeD, I evol ouy!"

The fact that Clive could spell and speak back-to-front with such facility and wit showed there was some real intelligence alive in there. His brain might be dark, and yet he was a crack backwards-speaker.

I was soon to discover that more of Clive's brain was intact. There were not many places to go off the ward with Clive but the hospital chapel was one of them, a familiar environment to Clive, who had spent his whole life singing, playing the organ or conducting in similar rooms.

I picked up some music and held it open for Clive to see. I started to sing one of the lines. He picked up the tenor line and sang with me. A bar or so in, I suddenly realised what was happening. He could still read music. He was singing. His talk might be a jumble no one could understand, but his brain was still capable of music.

This opened a door for Clive. He could sit down at the chapel organ and play with both hands on the keyboard, changing stops, and with his feet on the pedals, as if this were easier than riding a bicycle. Singing was in many ways easier than talking. It transcended language.

And the momentum of the music carried Clive from bar to bar. He knew exactly where he was because in every phrase there is context implied: by rhythm, key, melody. When the music stopped, Clive fell through to the lost place. But for those moments he was playing he seemed normal again.

I had long worried about Clive's future care. He continued to live in the same room in the psychiatric wing of St Mary's, but it was not ideal. Then, in 1992, a new residential unit for people with acquired brain injury opened that was just right for Clive: a beautiful house in the countryside in the grounds of a large rehab centre.

With Clive settled, I could begin to plan my own extrication from the brain-injury world. I thought leaving England would perhaps be a way of leaving all the pain. I'd been 27 when Clive got ill. I was now turning 35. I initiated divorce. I took a plane to Washington DC and sold the London flat. I planned to stay away forever, make a new life. It didn't work out quite that way.

Clive never knew we were divorced because he was incapable of knowing anything. His family and his consultant agreed it would only upset him at the time, and he would remember none of it afterwards anyway. Legally he could not give informed consent, so his son acted for him.

Everyone understood that the divorce was partly one of expedience, since I would not be in the UK to look out for Clive; and partly an action to help me move on to a life beyond Clive. But I would remain joint next of kin with his son, because I wanted to continue to be involved in taking decisions about Clive, to continue to be his advocate. His family supported me in that.

I continued to visit him. Nine years into the amnesia, there was some difference in our reunions. For the first few years Clive had always found them intensely emotional, bringing on either grief, high-note joy or furious anger. Now, when I came back from America, it was my turn to feel intensely emotional. I was longing to see him.

When I put my head round his door, his face registered a rush of delight and surprise as if he were about to dash to me as usual and lift me up and swing me round, but then he checked himself. He stood where he was, diffident. He knew enough about himself to realise that although it might seem like months or years of absence to him, I might only have been to the bathroom.

He seemed to be learning, through a kind of interior rehabilitation. He was developing a growing sense that he had asked and heard these questions and answers of awakening before. Though his stump of memory never allowed progression from first moment to sustained time, he understood enough of his situation to help him relate to others without constantly shouting to be let out of his amnesia. As I observed these subtle changes since my absence, I could not suppress a flash of hope. What else might he accomplish?

For the longest time little changed. Clive and I were each in a limbo of our own. But one night in 1999 I discovered, during a phone call to a friend, that God is real and who He is. Suddenly I knew what was important. I was beginning to know how to live, and discovered the power of prayer

Meanwhile Clive, from being withdrawn and morose in his room, became garrulous and outgoing. There were certain themes he stuck to, and some of what he said was rather odd, but he had come a long way from the years of the endless same few questions.

Now he would string all his subjects together in a row, and the other person simply needed to nod or mumble agreement. On days when he was in particularly good spirits, he might run through all his topics at once. Then I knew he was happy. If he was unhappy he would revert to the desperate old questions - "What's it like to have one long night lasting ...how long?"

Now that it had been 14 years, nobody liked to tell him how long. "It's like being dead!" The staff had come to call these his "deads", and they would count them and enter them in their records as a measure of how he was doing.

Clive was, granted, still perhaps the worst case of amnesia in the world, but there was no doubt he was learning new things and the difference it made to his quality of life to be able to converse more easily was significant.

One day I rang Clive and asked him how he'd feel about renewing our marriage vows. "What a lovely idea," he said.

And so, on Easter Sunday 2002, Clive and I dressed up to the nines. Clive's son Anthony came with his wife and two children, and so did Clive's care assistant, Laura. We had not made our marriage vows in church first time round so this would be much more powerful.

Clive was able to participate completely, remembering the Lord's Prayer and saying all that he wanted to say. The best bit was when we knelt down and our joined hands were wrapped in a golden sash. It went beyond a physical joining. It felt like we were touching something of eternity. Afterwards the tea room served us large slices of Victoria sponge and Clive, although he had no memory of what had taken place, was delighted, laughing and quipping and eating everything put in front of him.

Back at Clive's home, they had made up a bed for me in his room, strewn with red rose petals and balloons, like a fairy tale. The decorations made me sad. It's still sad - that he's like he is and that, apart from the heart-to-heart love, we have nothing resembling a regular marriage.

Even spending the night together in the same room doesn't work, as he wakes up constantly, several times an hour, wondering who the shape in the next bed can be.

Clive still writes his diary. The entries have barely changed, but the handwriting is calmer now. And his disposition is a lot happier. He knows he is in his place and I am out in the world.

"When are you coming?" is his regular refrain. But if I hesitate at all he reassures me that he is all right and he understands I have to do what I have to do.

"Get here at dawn," he says anyway. "Get here at the speed of light."

And one day I do arrive at dawn. I drive through the near-empty roads, hoping to be there when he wakes. But when they open the front door, he is there, already awake, and I am the first person he has seen and he clasps me to him and sings a high G and waltzes me into the living-room.

"My eyes have just come on," he says. "I can see everything normally for the first time."

"And I'm here!" I say.

He hugs me again, holds me at arm's length and smiles.

Later, when he makes me coffee, he knows where the cups are and where the milk is kept. I take him for a drive, and as we draw near to the house on the way back, he must recognise the place, for he unclasps his seat belt and offers to get out and open the gate.

When I leave that night my car doesn't start and I have to come in and call the breakdown service. We make a drink in the kitchen. Seven minutes after the last mention of my car Clive says, "Well, at least it means you can stay a bit longer!" Perhaps he had been rehearsing the event in his mind through those minutes. When the garage has repaired the fault and the engine is running, I come back in to get my things. Clive is ready to say goodbye and not hello.

"Remember I love you," I say.

"I can never forget you for a moment," he says. "We're not two people but one. You're the raison d'ĂȘtre for my heartbeat, darling. I love you for e-ter-ni-ty."

When I reach home several hours later I call him. I want to tell him I've arrived safely but he's forgotten I was there.

"When are you coming?" he says. "Please come at the speed of light!"

"I just got home from you," I say.

"Oh really? Well, come at dawn then..."

True Love conquers all? even Brain eating viruses??

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Friday, April 22, 2011

Strangers, again



Sad to say, have experienced this first hand.. treasure those that you have in your life now, or in the future and learn from past experiences and mistakes. We're all not perfect, but learning to improve and be better is but a journey.

Be Blessed!

RIP Serge Nubret (October 6, 1938 – April 19, 2011)



A Legendary Bodybuilder with arguably the best symmetry in the business which would've made the Olympians Jealous of.... Such Dedication to the sport that he still trained regularly into his 70s.

RIP Serge!! Adieu! Tu vas nous manquer!

Wednesday, April 20, 2011

Top 10 Photographers Every Student Should Study – PictureCorrect

top 10 photographers

"oldies" captured by Mohd Rizal Apau (Click Image to See More From Mohd Rizal Apau)

These days, everyone’s a photographer, from the studio owner shooting weddings on the weekends, to your cousin with a camera phone. Cameras are more widely available now than ever before, and many people are discovering a love for photography. Some even choose to pursue it as a career, taking on photography courses or a full degree in the subject. Whether you’re a serious student, accomplished artist, or a hobbyist, there is much to learn from these icons of photography, both from today and years past.

1. Alfred Stieglitz: Alfred Stieglitz is known as the patron saint of straight photography, pioneering the idea that a photo should be about the subject, moment, and artist’s vision rather than a contrived manipulation. In Stieglitz’ time, photography was not considered much of an art form, but this artist worked passionately to ensure that his photographs had as much or more artistic expression as a traditional artist’s work. In today’s age of styled shoots and Photoshop, studying his approach to photography offers a refreshing look into photography as artistic expression.

2. Ansel Adams: Of all the photographers on this list, Ansel Adams is perhaps the most widely recognized, and for a good reason. His photographs of the American West, particularly Yosemite National Park, are iconic and beloved. In addition to his impressive body of work, Ansel Adams left his mark on photography by developing the Zone System. This system was a way to determine proper exposure and contrast in the final print, and it resulted in intense clarity and depth, as evidenced by his photographs. His intense commitment to quality is inspiring to photography students.

3. Diane Arbus: Norman Mailer said that “Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child.” Her photographs are shocking, catching subjects in an unmasked moment, whether they were of famous writers and actors or transvestites. In this style, Arbus teaches a lesson about not aiming to capture the surface of a subject, but rather, working to reveal the subject’s true self through art.

4. Louis-Jacques-Mande Daguerre: Lovers of photographic prints owe a debt of gratitude to Daguerre. Although he was a Romantic painter, printmaker, and inventor of the Diorama, Daguerre’s most monumental contribution to society is the daguerreotype, the world’s first reliable process of creating a permanent photo. Using light and chemistry, Daguerre created photographic images on silver-plated sheets of copper that are the ancestors of today’s photographs.

5. Phillipe Halsman: Philippe Halsman is best known for his jumping photographs of famous subjects from the middle of the 20th century, from Richard Nixon to the Duke and Duchess of Windsor. Halsman’s body of work also includes surreal portraits of the artist Salvador Dali that leave the viewer puzzled and trying to figure out how the photograph was physically possible. Any photography student who is interested in pushing the envelope with portraits should study Phillipe Halsman’s portraiture.

6. David LaChapelle: Although many iconic photographers are from centuries and decades past, David LaChapelle is a fine art photographer currently working today. He offers photography students inspiration for creating their own strong and individualistic photography. In his work, you will see bold, surreal examples that highlight an understanding of social and political issues with a sense of humor.

7. Sally Mann: Another actively working photographer, Sally Mann is just in the middle of her career. She was named America’s Best Photographer by Time magazine in 2001 for her stunning work of her family, as well as southern landscapes and her series of decomposing bodies. Her work has pushed buttons, from nude photographs of her children to rotting corpses, and she likes it that way. Students can study her work to see how it’s possible to keep a consistent style and vision, even when working with subjects that are completely unlike one another.

8. Jerry Uelsmann: Jerry Uelsmann believed that using a camera allowed him to exist in a world outside of himself, in the work that he captured. The world in Uelsmann’s photographs looks much different than the one we live in, as he created composite photographs depicting surrealist images. With a digital camera and Photoshop, photographers today might be able to create similar work with relative ease. But Uelsmann did it before Photoshop, using multiple negatives, enlargers, and extensive darkroom work to create his work, bucking the idea that a final image could be composed from many negatives. His commitment to doing something extensively different is an inspiration to today’s photography students.

9. Jacques Henri Lartigue: Lartigue began taking photos at the age of 7, documenting his friends, family, and the world around him. He is known as the father of modern photography, and the first “amateur” photographer. Photography students can learn the pure joy of photography from this unsuspecting artist. He lived most of his life as an amateur photographer, not even knowing how remarkable his work was until his childhood photographs were discovered and exhibited at the Museum of Modern Art in New York at the age of 69.

10. Elliot Erwitt: Photography students interested in a lifestyle or photojournalistic approach to photos will enjoy studying Elliot Erwitt’s life and work. He is the purveyor of the “non-photograph,” taking a casual approach that unveils a true portrait of his subjects, whether they are dogs or Marilyn Monroe. Study his work to learn about the beauty of casual and uncontrollable photography.

About the Author
I’m Adam Park, a freelance writer and blogger. I regularly contribute to the http://www.bachelorsdegreeonline.com/blog/, which discusses about education, students life, college life, career and History. Particularly love to connect with my readers. Please be open to send me your questions comments or any suggestion to: park.adam2@gmail.com.

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Tuesday, April 19, 2011

'Cowboys and Aliens' Trailer 2 HD



Man! This trailer really makes me feel like I'm watching Iron Man, just set in the Midwest and its Aliens, not Terrorists or something as the Enemy. Guess its got John Favreau's mark all over it. Plus the possbility of Olivia Wilde showing off more skin than before? Really whets my...... well, let's just say makes me wanna check this one out even more.

Saturday, April 16, 2011

Rockin Fan-made "The Avengers" Poster by ~themadbutcher

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Guy's got Skillz... someone sho9uld hire 'em already to make these Fulltime!

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Friday, April 15, 2011

Tonight I'm Frakking You



Geekout! If anyone knows where there's a bar like this..... Hawt Slavegirl Leias... Mmmmm


and a Behind the Scenes/Cast Interview Vid

Geek Zodiac:- a bit of fun, this...

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So according to this, what are you and which would you rather you were?

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Rift: Rogue Class Trailer



OH Wow!! Class Customisation looks really cool in Rift! Rogues even being able to be group support (aka Healer) as a Bard? Kinda find the Teleporting Sniper very intriguing... kinda like a Hunter/Mage Hybrid.. WoW this most certainly ain't!!

Wednesday, April 13, 2011

Lose That Belly Fat Basics

Lose That Belly Fat Basics

Tuesday, April 12, 2011

Lose that belly fat is the message from doctors and nutritionists who have long known that belly fat, the curse of the middle aged, is a potential route to heart attacks and diabetes. If you want to lose that belly fat, it isn’t just going to be a walk in the park. It is not impossible but you will need to buckle down to a bit of serious exercise and watch your diet.

Information about correct nutrition is widely available but we tend to read the bits we like and ignore the rest. But if you want to lose that belly fat here are a few basics that will help in achieving your goal:

  • Avoid fried foods. They feed straight into the belly and stay there.
  • Crash diets don’t work. They might take off a bit of excess in a hurry but they put it back again just as quickly.
  • Sodas blow you up like a balloon. Skip the sodas and over time just this alone will help you to lose that belly fat.
  • The same goes for beer. Everything in moderation is the key here. One or two, if you must, but eight or nine is a definite no no. Well, you do want to lose that belly fat, don’t you?
  • Cakes, pastries, fatty, sugary foods should be cut right back if you want to lose that belly fat.
  • Replace butter and margarine with olive oil and eat avocados in moderation. They replace bad oils with good. They help to reduce cholesterol. They give satisfaction and help you painlessly to lose that belly fat.
  • Add oat bran to your morning cereal. This miracle food helps reduce bad cholesterol. It fills you up and helps prevent mid morning hunger pangs.
  • Add nuts and seeds to your diet. Their slow absorption keeps you satisfied for longer. Almonds, pistachios, brazil nuts, and seeds of all kinds are good. But limit the quantity to a handful of nuts a day. Moderate quantities areLose That Belly Fat good for you. Excess in anything won’t help you to lose that belly fat.
  • Dark chocolate with a cocoa butter content of 70% or more is your reward for good dietary behaviour. Have a piece, have two.
  • All over body workouts are better than crunches and ab curls. Think walking briskly till your heart rate increases and you feel just a little puffed. You should still be able to talk as you walk fast. Try swimming and aqua aerobics, step and other aerobic exercises, dust the rust off and get on that bike if you seriously want to lose that belly fat.
There is no quick way to lose that belly fat. Small changes to your diet and exercise routine, even if it is walking up a flight of stairs when you would normally take the escalator, changing vegetable oils for olive oil and peanuts for chips, all of these will help over time. And the best of it is, you will start to enjoy the changes as you feel fitter and healthier. It will be worth the small effort it takes to lose that belly fat – for good.

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Monday, April 11, 2011

LEGO Star Wars III: The Clone Wars Stop Motion



Wonder if they're nutty enough to attempt a full-on Stop Motion Short Film version of this...

Thor: God of Thunder - Prologue CG Trailer (PS3, Xbox 360, Wii)



Its almost scary how realistic the CGI has become that the distinction between it & Live Action isn't immediately discernible if one's not paying attention

Friday, April 8, 2011

Meat glue - Today Tonight shares Aust Food Industry secrets

Dang, would've expected more from the Aussies... but then again, $$ rules, 'eh?

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Thursday, April 7, 2011

Star Wars the Musical: Act 1, Part 1

Ok, as much as a Star Wars Fan that I am... this is kinda pushin the limits for me a tad...

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