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Gwen Stefani: "Love Angel Music Baby"

 
  

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Elegant Mess
19:28 / 22.11.04
Gwen Stefani has always seemed to me to be a solid-gold pop star trapped in a pedestrian band. No Doubt's anonymous ska-pop seemed an underpowered vehicle for a frontwoman with the presence and charisma of Stefani; roping in producers like Sly & Robbie, William Orbit and the Neptunes for "Rock Steady" was a step in the right direction, and now, three years after the release of that album and a memorable Dr Dre/Eve collaboration, Stefani's finally done the decent thing and gone solo.

And hey, it's fucking great.

There's at least four songs on there that are the equal of the brilliantly energetic first single "What You Waiting For":

"Rich Girl", a bouncy Dre production that quotes (you guessed it) "If I Was A Rich Man" and welds on an infuriatingly catchy hook and features a guest rap from Eve;

"Hollaback Girl", where the Neptunes somehow manage to squeeze more mileage out of their by now slightly tired "snapping percussion, chunky synth, huge spaaaaaaaaaace" sound and features a great bit that goes "The shit is bananas, B-A-N-A-N-A-S";

"Bubble Pop Electric", where Andre 3000 (bizarrely credited as 'Johnny Vulture') sets the drum machine to 'jackhammer' and the 35-year-old Stefani channels her inner horny teenager on the first of two songs about shagging in cars (the other being the less impressive "Crash");

and the truly, truly joycore "Harajuku Girls", a stunning Jam & Lewis-produced hymn to the eponymous Japanese hipsterettes that walks the fine line between irresistably playful and just plain stupid with its whispered "Vogue"-style whispered talky bits and super-cutesy Japanese female backing vocals. It's crammed with hooks. It's amazing.

I don't think I need to go on about how great What You Waiting For is, do I?

And the rest of the album is pretty good, too. Perhaps unsurprisingly, the quality takes a noticeable dip when Stefani's co-writer is No Doubt's Tony Kanal rather than some of the world's greatest producers, but as I said "Crash" isn't bad, and there's only three of 'em.

Still, I'll happily take five brilliant pop tracks out of twelve. I haven't even mentioned that Hooky and Barney from New Order guest on the unsurprisingly New Order-flavoured "The Real Thing" (mainly because it's not that great).

There's just one thing that bugs me. It's crammed with references to Stefani's clothing line L.A.M.B, or Love Angel Music Baby. Yes, that's right, the album's named after her company. Now, it's hardly unusual for pop stars to be running side businesses nowadays (Wu-Wear, Roc-A-Wear, 50 Cent's trainers, Nelly's - God help us - Pimp Juice), but I would estimate that at least half the songs on the album mention L.A.M.B.

I dunno: it just seems a little bit... tacky to me. It doesn't bother me half as much when in a couple of songs other designers are namedropped ("Harajuku Girls" alone manages to mention Hysteric Glamour, John Galliano, Commes Des Garcons, Super Lovers and Vivienne Westwood), so I guess it must be irritation at such flagrant cross-promotion. I'm sure there's another thread to be had about how pop stars' extracurricular moneymaking impacts on their music, so I'll leave it there.

So: has anyone else heard this yet? Have my ears finally turned to cloth, or is this actually as ace as I think it is?
 
 
Jack The Bodiless
20:18 / 22.11.04
'What you Waiting For' is one of the best singles I've heard all year... hoping the album is as good as you and others are saying it is, 'cause I'm probably buying it for someone spooky on Friday, if it's out... Shhhh! Don't anyone tell her! It's a berfday present!
 
 
Scrambled Password Bogus Email
11:15 / 23.11.04
Best pop album of the year period. No contest.
 
 
Haus of Mystery
12:50 / 23.11.04
I was really non-plussed about the appeal of her until recently until I saw her on T4, and she blew me away. She just looked and acted so great. Platinum blonde - very hard act to pull off. I think she has a similar appeal that early Madonna had to girls - punky, sexy, outlandish, cute etc...
Not heard a great deal of her solo stuff, but the last single was pleasing.
 
 
_Boboss
12:55 / 23.11.04
well, she must be a very very cool person indeed because she's shagging (married to?) that excellent bloke from bush, the excellent US rock band.
 
 
Haus of Mystery
16:32 / 23.11.04
Yeah he's neat! Bush are Our Most Respected export.
 
 
The Falcon
01:35 / 24.11.04
Harharharharhar.

'Hella Good' was really good, too. And if you're product placing by acronym, like 'We Usually Take Anutha Nigga's Garments', I don't see the harm.

No Doubt's Greatest Hits is on all the time at work, and there's a couple other decent tunes. 'Don'tspeak' is still rubbish, I can report.
 
 
PatrickMM
22:53 / 05.02.05
I just picked this up and it's great. Of the tracks not yet mentioned here, I'm a big fan of Luxurious. The 'Between the Sheets' sample may not be the most original, but it's still great stuff.
 
 
Bear
04:30 / 07.02.05
You feel better now?
 
 
diz
07:27 / 07.02.05
did you actually post the same thing in two different threads?
 
 
Spatula Clarke
12:45 / 07.02.05
I'm putting that fuckwittery up for deletion as exactly the same thing has been posted to two different threads. HysteriX, you might as well stamp 'troll' on your own forehead and be done with it.
 
 
Mystery Gypt
15:32 / 07.02.05
nevertheless, that post speaks to an interesting point about this kind of music. the songs are super catchy and reall well produced. but the ONLY theme that comes up anywhere -- besides sex -- is fashion. the entire album is about fashion, about who dresses the best, about how there's a cool underground youth movement that's all and only about -- hey! -- clothes.

it just doesn't really seem like the right focus for monomaniacal obsession, whether or not you want to justify it as "only pop music" -- it "only" what young america are listening to all the time now. does this have any bearing on the music?
 
 
ONLY NICE THINGS
15:39 / 07.02.05
Please be joking.
 
 
I'm Rick Jones, bitch
20:36 / 08.02.05
I'm still deeply wary of the woman after "Don't Speak" and "that-one-about-sharing-a-toothbrush-that-she-sang-so-badly-it hurt-my-very-soul" (I think that's the title?) but if she's going to allow herself to be the figurehead in front of some of the best throwaway electropop since the early 1990s then it's all good. I think.

Who produces for her now?
 
 
I'm Rick Jones, bitch
12:03 / 09.02.05
Oh man, Harakuju Girls. That song shares exactly the same sentiments as those girls on Livejournal who use "Kawaii!!!!" and ^_^ all the time. Has pop music finaly caught up with the Gundam Wing fanfiction community?

Like the abstract says, very crass. The fasionista lyrics rub me up entirely the wrong way, but man if this album doesn't have some of the best vintage electropop production since "Buffalo Stance". I will be skipping a track ahead to Crash forever more.
 
 
Triplets
16:01 / 09.02.05
Oh man, Harakuju Girls. That song shares exactly the same sentiments as those girls on Livejournal who use "Kawaii!!!!" and ^_^ all the time.

Yeah. Girls. Sure.
 
 
I'm Rick Jones, bitch
19:36 / 09.02.05
That's not very kawaii triplets ;_;
 
 
Triplets
23:10 / 09.02.05
Kekeke!!!! Domo!! q^L^p



^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_^_
 
 
diz
00:32 / 10.02.05
man if this album doesn't have some of the best vintage electropop production since "Buffalo Stance".

oh, wow! "Buffalo Stance!" i need to hear that again soon.

^_^
 
 
wicker woman
19:41 / 19.02.05
Bleah. This solo shit of hers makes me want to stab myself in the ear. Whereas No Doubt was at leat tolerable pop up to the train wreck that was 'Rock Steady', this. Is. Just. Crap.
 
 
Shrug
16:21 / 20.02.05
I couldn't agree more with the above statement, no really I couldn't. I like the single it being this years Dirrrty (swollen beats and punk delivery) but on hearing the album as a whole I pretty much just felt revulsion at soundalike overproduced mess. Though its all just be a matter of my own personal taste I much preferred singles like It's my Life and Bathwater.
Still she looks fab.
 
 
Regrettable Juvenilia
14:05 / 02.03.05
I have a theory about Gwen Steffani’s recent output. Would anyone like to hear it?

Great!

It’s a little known fact that the mockney shitmonkey known as ‘Guy Ritchie’ is actually just the host body for a member of a race of alien psychic parasites. These nasty little critters crawl into a person’s physical brain through the ear, and then proceed to drive out the original human consciousness. This was the fate that befell poor Madonna Ciccone, on a tragic night sometime between the recording of the albums Ray Of Light and Music. A parasite spawned by the one dwelling inside the talentless toffee-nosed bumwit Ritchie, and which shares all its progenitor’s mediocre attributes, now dwells inside the body of the artist we once knew as ‘Madonna’, animates her listlessly, and has been responsible for her output since that time. If there is a more plausible explanation for the rap about lattes and pilates on ‘American Life’, I have yet to hear it.

Now, most human consciousnesses are so weak and poorly-defined that as soon as they are expelled from the grey matter that was once their home, they disperse into the aether. Of those who are able to hold themselves together, only a few are strong enough to then locate and possess a new host themselves. The spirit of Madonna was one of these. As in her first physical incarnation, she was able to turn this apparent disaster to her advantage. Of the number of potential host bodies, she chose one that belonged to someone who had already established themselves successfully in the music industry, who bore some physical resemblance to her (but was younger), but whose consciousness was weak enough to be subsumed by the more dominant Ciccone consciousness: Gwen Stefani

However, there were a few obstacles for the Ciccone consciousness in its new body. She could not tolerate remaining in a slightly rubbish ska-pop group – she hungered to make great pop music once again, especially since her former body was being used to make crap in her name! Yet at the same time, she could not suddenly change her behaviour, lest suspicions be aroused. She had to move in the direction she wanted, but with subtlety. The gradual nature of this process was also necessitated by the fact that traces of the body’s original consciousness still remained, and Madonna preferred to work with rather than against this residual personality. This accounts for the substantial but not total improvement in the music of the band No Doubt circa the album Rock Steady.

At a later point, then, the Madonna/Stefani gestalt could embark on a solo careeer, and start making the kind of music she really wanted to make. Hence the brilliance of Love Angel Music Baby, which is pretty much everything you could want from a Madonna album circa 2005, and more. She even revisists her former glories on ‘Serious’, which is a better tribute to her early singles than anything a mere imitator could devise. True, her taste in movie roles has improved little with the change of physical forms (it’s not okay, Marty, and it will never be okay ever again) but all in all, she’s snatched victory from the jaws of defeat once again. Hurray!
 
 
Tryphena Absent
07:51 / 03.03.05
So wait, I'm confused did whatsisface marry Gwen Stefani or Madonna? Not Guy Ritchie, the other one.
 
 
--
00:32 / 21.07.05
I love this album.
 
 
Evil Scientist
13:03 / 29.07.05
I chuckle everytime I see Ms. Stefani.

First video I ever saw her in appeared to be a cautionary tale of what happens when all the media attention is focused on the pretty female lead singer of the band.

Strange how these things come true isn't it?

That said, her solo stuff seems alright. It doesn't make my ears bleed or anything. Wouldn't buy it though.
 
 
All Acting Regiment
19:59 / 29.07.05
Stefani married the guy out of Bush, Nina (if you were seriously asking that...)

What I like about this album is that it's acessible but it's still special (he said helpfully). I mean No Doubt were accessible enough but they weren't anything special, were they?

One of the things that spurred me to appreciate it was overhearing a group of horrible arrogant "rock" guys talking about music. They cacked on for a good hour and a half about "authenticity" and "honesty"- namechecking Lostprophets and Finch and, uh, KoRn.

According to them, Gwen Stefani "isn't alternative" (Dun- Dun-Daah!) but "she thinks she is" (Bitch!), which makes her "shit". To me, this makes her good.
 
 
Regrettable Juvenilia
15:43 / 30.11.05
I want to try and write a more considered response to matt's first post on the other thread about Gwen Stefani, while at the same time trying to separate out that thread as being specifically for discussion about the possible political dimension of her 'Harajuku Girls' (song + concept). I'll leave out the obviously purely subjective stuff and the mention of ska (not my period, as the historians say).

matt said:

I used to love her and her quirky outfits when she was fronting No Doubt.... Now she's like every other celebrity with a clothing line

I'd like to ask matt what he thinks has actually changed here. Is it:
a) Stefani's dress sense has become less quirky and more conventional since she became a solo artist?
b) Stefani’s dress sense is still quirky, but now that she has her own clothing line, this is boring rather than appealing, because having one's own clothing line is bad.
c) matt’s own tastes have changed so that he no longer likes Stefani or her quirky outfits (not a bad thing necessarily – people who write about music could do with ‘fessing up to their own changing tastes a little more often, IMHO).

and a hip-hop song produced by Pharrell Williams.

Technically, 'Hollaback Girl' is a Neptunes production, that is to say produced by both Pharrell Williams and Chad Hugo. That might be splitting hairs, and arguably it would also be splitting hairs to question whether it’s entirely accurate to call ‘Hollaback Girl’ a “hip-hop song”. There’s a huge influence there, obviously, but I’m not sure it qualifies. I’m assuming matt isn’t saying here that that influence is in itself a bad thing, even though Mystery Gypt sort of implies that earlier in the thread – but I don’t have to explain why that’s nonsense, do I, Barbelith?

So… why is it a bad thing to work with The Neptunes? The reason a lot of people have done it – and as prolific as The Neptunes are, it’s still far from “every other celebrity” who has – is that The Neptunes became very much in demand a couple of years ago – in turn because their productions managed to be both wildly populist and innovative, ensnaring both critics and a wide range of music fans. Not quite everything they’ve done since has been golden, but ‘Hollaback Girl’ isn’t one of their rare misses as far as I’m concerned. Working with a specific, prominent producer hardly makes an artist guilty of conformity – would anyone write off a band because they worked with Steve Albini, different though the definition of producer might be in his case?

(I’m not going to defend ‘Can I Have It Like That?’, however.)

So she kicks up the "bling" factor with some Asian girls who dance better than she will ever be able to.

I’m not aware of how the Harajuku Girls enhance “the ‘bling’ factor” either through their ethnicity or their ability to dance – the term “bling” is a movable feast, but even so, I’m not quite seeing the connection.

But she's just like every other celebrity.

Could you unpack this a little bit? Presumably Stefani-when-she-was-in-No-Doubt is the point of contrast here, and “every other” is hyperbole, so that the point is “in her solo career, Stefani is more like the majority of celebrities than she was previously”. Rather than trying to find similarities between Stefani and the majority of celebrities, I think another way to look at this would be to ask “what are the ways in which Gwen Stefani ought to be standing out from other celebrities?” – at least then we could have a discussion about whether or not she’s failing to do so.

Props to her for doing it,

This is where things get confusing. "Props to her for doing it" = in some ways Stefani's solo career is admirable or deserves respect. But I’m not sure in what respect.

but - man - I love for the days when music artists were wearing clocks around their necks and it was considered cool.

And so we’re back to the bit which made me snarky and snappy. But really, I’m just confused. I’ve got a vague feeling this refers to Stefani wearing a clock in the video or artwork for ‘What You Waiting For?’, but the first picture I found was of a clock wearing her. Anyway, the other reference is to Flavor Flav/Public Enemy, right? So matt longs for the days when Flav was “considered cool” for wearing a clock round his neck. Whereas now Gwen Stefani is… not considered cool for doing the same thing? And she should be considered cool for wearing clocks? That doesn’t seem to fit with everything else matt is saying. Maybe the word “considered” needs to either be deleted or augmented by the word “rightly”. That would at least be consistent. But I can’t agree with it. Why was it a good thing when Flavor Flav did it, but is not anymore? Because he did it first? Well, yes, but we’ve hardly been deluged by clock-wearing pop stars since then, nor has Stefani made it her signature look. I’m afraid I just don’t see what matt is trying to say here, apart from “it was better in the old days”.

Generally, I’m with Seth on the issue of Gwen Stefani and No Doubt - always a good place to be.
 
 
ONLY NICE THINGS
15:54 / 30.11.05
Anyway, the other reference is to Flavor Flav/Public Enemy, right? So matt longs for the days when Flav was “considered cool” for wearing a clock round his neck. Whereas now Gwen Stefani is… not considered cool for doing the same thing?

Ah. I didn't think that Stefani's clock-wearing was involved here. I thought (and I could be wrong) that the point was that Flavour Flav, by wearing a clock, was being individualistic and that individualistic and eccentric style decision was considered cool, whereas Stefani has instead taken a far more mannered, complex and conformist approach to being cool, presumably as a reaction to a change in the times which has made being considered cool by (such indivdualistic and quirky acts as) wearing a clock impossible and instead offered cool status to people who conform.

Now, personally I feel the Harajuku girls are not so much conformist as batshit loopy, but I don't really know enough else about Gwen Stefani's style decisions - or, if I'm honest, style generally - to comment.
 
 
matthew.
22:51 / 30.11.05
Thank you, Weapons/Shaftoe for clarifying your statement. And I'm going to go ahead and apologize for the nonsense post right from the get-go. It definitely needs to be unpacked. Okay, so let's do this.

1) I found No Doubt interesting because of the band dynamic. The man dating her for a long time was also a member of the band - see "Don't Speak" for more info on this. I think the band really wasn't the Gwen show even though the media portrayed it as such. No Doubt greatly benefited from the fact that there were many different members with different backgrounds.

2) I refer to "quirky" outfits in that post. I'm going to delete this retroactively. It doesn't make sense, and I admit as much. Shaftoe calls me on this, and he's perfectly correct to do so.

3) The Neptunes. According to Wikipedia, the song "Hollaback Girl" was written by Gwen and Pharrell Williams, but produced by the Neptunes. My earlier statement was a half-mistake, in that I forgot the usually forgotten half of the Neptunes. My bad, as the kids say.

With that out of the way... I dislike the Neptunes now. I admit that my tastes have changed in this case, but my taste has changed in correlation to the amount of singers and songwriters hiring the Neptunes. I personally feel that the Neptunes have lost what made them interesting in the first place. Specifically on "Hollaback Girl," I find the production deriative (Toni Basil), uninspiring and downright tedious after three minutes of the same thing.

My earlier statement on the Neptunes should be unpacked further and clarified. For the record, I am not judging the Neptunes for producing more songs, and thus becoming more famous (the indie fallacy that once something is popular, it is "uncool") I don't believe this. What I do believe is that the Neptunes have mysteriously become interesting. It seems that the quantity is up, but the quality is low. Case in point: the production on Justified by Justin Timberlake is immaculate. Every song seems to stand on its own in terms of production. Each song has its own unique beat and unique flavour. On the other hand, "Hollaback Girl" is bland to my ears.

4) the "bling" factor: The Harajuku Girls, in my opinion, are a form of "bling". But seeing as how "bling" is a moveable feast, as Shaftoe put it, I'm going to step back from this statement. It needs to be unpacked, and I do not have the skills to do so. I find the Harajuku Girls to be offensive for the same reason Margaret Cho does:
"Amos ‘n Andy had lots of fans, didn’t they? At least it is a measure of visibility, which is much better than invisibility. I am so sick of not existing, that I would settle for following any white person around with an umbrella just so I could say I was there." (Thanks to grant for this)

5) "like every other celebrity" - Now the statement I'm going to make is going to be controversial: I think when Gwen and No Doubt came out, one of the reasons they were successful is because there had previously been no mainstream ska/punk band fronted by a woman. There was the Plasmatics, but they were not mainstream, IMHO. So here is our point of comparison: No Doubt was "original" because it was a pop-punk band fronted by a woman who was extremely attractive.

Now, she is singer produced by the Neptunes. She has a clothing line. Now, she sings songs extremely reminiscent of Toni Basil. Now, it seems, her style is the most important part of her oeuvre. I'm going to give an example, and it's not supposed to be concrete proof or anything. It's just the remarks of a concert reviewer:
"And the shit was bananas! Soon after, the MTS Centre’s corridors were clogged with girls and their moms trying to buy a Harajuku Lovers hoodie, shirt or hat with a banana logo sporting the phrase: 'This shirt is bananas. ' "
If you follow the link, you'll read a concert review that just as consistently reviews the music, also reviews the clothes. The first paragraph remarks that Gwen is a "high profile fashionista" - not a former singer for No Doubt. The title of the article refers to her clothes.

My point is that I think Gwen has become uninteresting because her fashion is the high point, the selling point, as opposed to when she was fronting No Doubt, and the music was first and foremost. Although, I admit, her style while she was in No Doubt was heavily covered by the press. It seems that Gwen has always been a fashion icon; the only thing that's changed is that now she is only a fashion icon, IMHO.

6) "Props to her for doing it" - she's making money. It's more than I can say. I admit that this statement is confusing. I hope to clarify this. I spent most of my post complaining that Gwen was uninteresting. Then I say, "Good for her for being uninteresting." When I posted that post, I had been reading Kevin Smith's responses to AICN's Talkbackers on Smith's ViewAskew message board. Smith's consistent reply to vicious "haters" was that he had gotten off his lazy ass, made that movie, and is now successful from it, which was more that any of the TalkBackers could say. Smith could not be insulted or offended because he was doing what he loved. That really struck a chord with me. If Gwen loves to sell Japanese fashion to middle-class preteens, then she should be so lucky. My point is that I refuse to buy into it, but I respect the fact that she is doing what she possibly loves (I can't say for sure). I apologize for the confusion. I regret that I posted it, but I didn't want to seem like one of the AICN TalkBackers.

7) the "clock" comment: Yes, it was a reference to Flava Flav. I had no idea that Gwen appeared in a clock, or wore a clock or whatever. And for defending myself, I'm going to quote Haus, who perfectly enunciated what I meant:
"the point was that Flavour Flav, by wearing a clock, was being individualistic and that individualistic and eccentric style decision was considered cool, whereas Stefani has instead taken a far more mannered, complex and conformist approach to being cool, presumably as a reaction to a change in the times which has made being considered cool by (such indivdualistic and quirky acts as) wearing a clock impossible and instead offered cool status to people who conform."
Thank you Haus.
 
 
ONLY NICE THINGS
07:33 / 01.12.05
Interesting - I didn't realise that "Don't Speak" was about somebody specific. In fact, what always astonished me about "Don't Speak" was how amazingly generic the content was. Even "I wanna hold your hand" involved some personalising touch - that the Beatles, consecutively or concurrently, wanted to hold her hand. "Don't Speak" appears to be about the end of a relationship with no distinguishing features whatever. Incredulity at end, losing best friend, cease to pretend. This lack of seams has been what has inclined me to prefer Stefani's solo work, I think - shiny pop is more forgiving of that sort of sheen than what is at least notionally alternative.

It seems from matt's account that the closest equivalent to Stefani in the UK would be something along the lines of Louise Wener. In those terms, I can't shake the feeling that she has sort of won.
 
 
matthew.
12:52 / 01.12.05
Sorry Haus, but won what?
 
 
ONLY NICE THINGS
13:45 / 01.12.05
Well, everything. But specifically the prize of the "being more successful and making better decisions than Louise Wener" prize.

Returning briefly to Margaret Cho, although this is probably the wrong topic to do it in at length - I think that she is also agreeing with Flyboy, sort of - that this is a profoundly irritating phase where Asian-Americans achieve visibility in highly stereotypical forms, as part of an onward progress. Which I think comes back to whether there should be an Asian-American pop star of Stefani's stature, what responsibility Stefani has to help create one, and whether what she is doing is positive or negative to that goal.
 
 
All Acting Regiment
15:38 / 01.12.05
Well presumably, if the vague set of concepts comprising Gwen Stefani = x + y + z + Asians, and if that equation now = "cool" and/or "admired" in the view of the audience who partcicpate in the creation of pop's context, then it seems reasonable that Asians, as part of that equation, might therefore = "cool" and/or "admired" also.

The problem then seems to be in how well the Asians that make up part of the Stefani equation equate to any tangible reality concerning actual Asian people.
 
 
Tuna Ghost: Pratt knot hero
19:41 / 01.12.05
The problem then seems to be in how well the Asians that make up part of the Stefani equation equate to any tangible reality concerning actual Asian people.

Unless you are equating it to teenagers hanging around Harajuku or those creepy goth kids that one can find in front of the Meiji Shrine after school gets out, I would say, in my opinion, there is little to compare. Unless you were refering to some "mystery of the Far East" vibe.

...and the mention of ska (not my period, as the historians say).

If the ska "period" in the UK was anything like the ska "craze" in the U.S., you can't be blamed for this, as it only lasted like, what, half an hour?

I have been harboring a secret love for Gwen Stefani and most of her music for a few years, and have watched her rise to fame and fortune with joy. I have told no one this outside Barbelith, forsaking my love for fear of retribution. *lowers head in shame*
 
 
grant
19:50 / 01.12.05
Off topic and deserving of a thread of its own: the ska FAQ.

Tuna Ghost, you have a history assignment.

You WILL be tested.
 
  

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