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Bard, Minstrel, Playwright
16 June 2008 @ 05:57 pm
"Myths, Taken 1"

Before the world was Raven.
Before the world was Coyote.
Before the world was nothing.
Before, the world was nothing.
The world was nothing
and the word was Nothing
and the word was with the world.

I made the world, says Raven.
I made the world, says Coyote.
Nothing says I made the world and lies.

The tricksters made the world of clay,
of spit, sweat, semen,
and the word.
They made man of earth, and out of earth,
and the word.

Man made the word.
We made the tricksters,
who made the world.
Nothing says I made the world and lies.
Before the world was Raven,
before the world was Coyote,
we made the world, and the word, and nothing.

Before, the world was nothing.

This is true.
 
 
Bard, Minstrel, Playwright
28 May 2008 @ 09:49 pm
INT. TORCHWOOD HUB - DAY

The DOCTOR comes striding up the stairs, followed closely by GWEN and TOSHIKO; GWEN has an expression of the sort of uncertain enthusiasm and interest typical of people swept up by the DOCTOR. TOSHIKO's enthusiasm, on the other hand, isn't uncertain at all.

DOCTOR
Those glider panels of theirs, see, they work like -- like solar panels, or leaves, you know, photosynthesis? They soak up energy through them. Oh, they eat, too, because if there's one thing you can say for an energy-only diet, it's that it's low on fiber, but that pure energy, that's their main fuel source. What I don't understand is what they would want the TARDIS for. You can't soak up much energy from a TARDIS. They'd get much more feeding straight off the rift itself--

OWEN (O.S.)
Excuse me.

The three women look up with varying levels of guilt at OWEN, coming down the stairs from one of the upper levels.

OWEN (Cont.)
Who gave you permission to get up and go traipsing about?

DOCTOR
(Sotto voce, to the other two) Bit of a slave driver, isn't he? I shouldn't stand for it if I were you -- well I suppose I am you now. This is the 21st century, after all. Equality of the sexes and all, no call to put up with him keeping you -- us -- in our places like housewives.

TOSHIKO
(Amused.) I think he means you.

The DOCTOR blinks at OWEN, who's now in front of them, and does the who, me? pantomime. OWEN looks less than amused.

OWEN
You're not well. You could barely keep your own feet an hour ago.

DOCTOR
And who're you to be telling me to lie down?

OWEN
I'm a doctor!--

DOCTOR
Fancy that! (Hooking her arm through his.) So'm I! (Pointing at TOSHIKO.) So's she, come to that! So we're all doctors together, except Gwyneth -- sorry, Gwyneth -- and nobody can outrank each other. Now come on, we've some TARDIS-thieves to interview.

She drags OWEN out of frame. GWEN and TOSHIKO exchange glances, clearly near laughing.

GWEN
Bit of a whirlwind, isn't she?

OWEN (O.S.)
The cells are that way--

DOCTOR (O.S.)
Well why didn't you say so?

TOSHIKO
(Holding back laughter.) Oh, yes. Well. Don't think she's changed much since Downing Street. Except, you know, the obvious.

The DOCTOR re-enters the frame, still dragging OWEN, or possibly making him lead the way. OWEN gives TOSHIKO and GWEN a half-helpless, half-annoyed look.

OWEN
(Hissed.) Don't leave me with her!

Snickering, the women follow. The camera pans up to JACK's office, where he stands by the window with his hands in his pockets, watching his staff and the DOCTOR.
Tags:
 
 
Bard, Minstrel, Playwright
27 February 2008 @ 03:05 pm
Title: Simple Man
Fandom: Greek mythology
Rating: PG
Summary: Prometheus was bound; Epimetheus was free.
Notes: I listened to Lynyrd Skynyrd's "Simple Man" on repeat writing this, hence the title. I don't know if that comes through at all besides in the Winchester dynamics. Other than that, it's worth noting that I owe a lot to [info]newredshoes characterization of Prometheus.



 
 
Bard, Minstrel, Playwright
01 January 2008 @ 12:21 pm
Title: Message Received At
Rating: PG-13 for language
Fandom: Young Wizards
Warnings: Spoilers for Wizards at War, mild language.
Summary: A few weeks after the events of WaW, Nita checks on Ronan.
Note: I owe quite a lot in this to [info]deutscheami's characterization of Ronan.




To: Ronan Nolan Jr. From: Juanita L. Callahan )
 
 
Bard, Minstrel, Playwright
03 December 2007 @ 05:46 pm
Once, in the long ago, the stars grew in the sky like flowers, budding and blooming in sparkling splendour. The whole of the sky was covered with them, like a field of fireweed in summer; they covered it so thickly that no patch of sky could be seen through them. They covered the sky so thickly, and their light was so great, that they made the night like day and the day like noontime.

It was so bright all the time that the People could never sleep, and because they could not sleep, they were so tired that they could not work. And the weeds began to choke the berry bushes, and the houses began to fall down. The People would have bemoaned their lot, but they were too tired to.

Raven, though, didn't mind at all, for he could tuck his head under his wing and fall right asleep. But when there were no more berries for him to pluck, he noticed, and he went to the wise woman of the People to complain.

There are no more berries! he told her.

She yawned, and shrugged, and said, We know.

The weeds are choking the bushes, Raven told her.

She yawned again. We know.

I am hungry, Raven told her.

She yawned again. We know. So are we. But what can we do? None of us can sleep, for the stars burn too brightly, and we cannot work for tiredness.

Raven put his shiny black head on one side and asked, It is the stars that keep you from sleeping?

The wise woman nodded, and nodded, and Raven had to poke her in the ribs to make her answer.

It is the stars, she agreed.

If that is all, Raven said, and flew away.

Raven flew up, up, up, into the sky, up through the fields of stars. He perched on the moon, considered the problem, and this is what he did.

He flapped his powerful wings, harder and harder, and he blew the sun farther away from the earth. As the light and the heat grew farther and farther away, the stars froze stiff.

Then Raven flapped his wings again, and the wind from his wings sent a quarter of the stars tumbling out of the sky. He flapped them again, and another quarter of the stars fell. That seemed to him to be enough, and he flew back to earth.

The People were standing outside their houses in wonder, for the sky had grown dark and the air had grown cold, and then sparkling things had begun to fall down upon them, covering the land in whiteness. And they celebrated, for though it was cold, it was finally dark, and they could get some rest.

After some time, though, the wise woman came to Raven and said, Now the bushes bear no berries, because it is too cold for them. Bring the sun back, so that we can grow food again.

And this Raven agreed to do, though he warned that if he brought the sun back, the stars would begin to grow again.

The wise woman shrugged and told him, When the stars take over the sky again, you can take the sun away.

You are very demanding, Raven grumbled, for he could be a lazy bird.

We will give you berries and meat all year round if you will do this, said the wise woman, and Raven agreed to bring the sun back and to take it away again.

And that is why, every year, it is warm in the summer, but bright even in the nighttime, for the stars are growing and blossoming in the sky. And it is why, every year, it grows cold and dark as the stars fall to the earth as snow.

And it is why we never forget to leave some food for Raven, for we would not want him to forget to make the snow fall and let us get some rest.
 
 
Bard, Minstrel, Playwright
25 November 2007 @ 12:46 am
CUT TO:

INT. TORCHWOOD HUB - DAY

TOSHIKO is back at her workstation, frowning at the screen, where sound waves are streaming across several windows. She looks up at IANTO, upset, passes. She looks uncertainly after him -- but her dilemma is solved by GWEN jogging up the stairs.

GWEN
Tosh, do you have any extra clothes?

CUT TO:

INT. AUTOPSY ROOM - DAY

The DOCTOR is sitting up on the table, holding up a business skirt and looking dubious.

DOCTOR
Are you sure you haven't got any trousers?

TOSHIKO
None that'd fit you. Sorry.

DOCTOR
Shame. It's been forever since I've had to wear one of these. Kilt, yes, but skirt . . . (Sigh.) That was quite a party. Oh, well. Just don't expect me to wear high heels.

GWEN
Where are your shoes, anyway?

The DOCTOR glances down at her feet and wiggles her toes.

DOCTOR
Oh -- ran right out of them when I regenerated. My feet are a lot smaller now, see.

GWEN
And . . . what exactly happened? When you regenerated?

DOCTOR
You mean when I regenerated, or what caused me to regenerate?

GWEN
The second, I suppose.

DOCTOR
(Matter of fact.) Got shot. It happens. At least it was just once -- last time it was three, I think. (Shaking her head.) That was unpleasant.

TOSHIKO
(Dry.) I'd imagine.

GWEN
Doctor . . . not to be rude, but -- what are you?

DOCTOR
I'm a Time Lord. Well, no, a Time Lady now.

TOSHIKO
Oh, I see.

GWEN is clearly still lost, but doesn't press it.

GWEN
Who shot you?

The DOCTOR turns stony.

DOCTOR
The . . .

She sings a minor ninth chord in arpeggio. GWEN starts.

GWEN
What do they look like?

DOCTOR
(Waving her hands at about five feet.) Yea high, red fur, huge eyes and glider panels between wrists and ankles?

TOSHIKO
(Startled.) But we've got two of them down in the holding cells!

The DOCTOR leaps to her feet -- and sways. GWEN and TOSHIKO reach out to steady her, but she brushes them away.

DOCTOR
They've got my TARDIS. These two you've got might know where the others took it -- what they want with it.

She hitches her trousers up and starts for the stairs, despite her unsteadiness.

DOCTOR (Cont.)
(To herself.) And Donna.
Tags:
 
 
Bard, Minstrel, Playwright
23 November 2007 @ 10:31 pm
DREAM SEQUENCE

FLASH: Katarina, activating the airlock and blowing herself and Kirksen into the vacuum of space-- (The Traitors)

FLASH: A ship careening towards prehistoric Earth, with Adric inside, and the inevitable, spectacular explosion-- (Earthshock)

FLASH: Grace, dead by the Master's hand-- (The Evil Within)

FLASH: Jack kissing Rose, Jack kissing him, Jack leaving to die for them-- (The Parting of the Ways)

FLASH: Reinata, leaving the fireplace to choose a star, and to never see him again-- (The Girl in the Fireplace)

FLASH: Rose, falling towards the void, hopelessly and forever out of reach-- (Doomsday)

FLASH--

CUT TO:

INT. AUTOPSY ROOM - DAY

Close up on the DOCTOR, still unconcious, but no longer impassive. Her face is twisted with guilt and grief, caught in a nightmare.

GWEN is still puttering around the room. Noticing the DOCTOR's distress, she approaches the table.

GWEN
Doctor . . .?

No response. GWEN shakes her head and reaches out to touch the DOCTOR's cheek, pitying.

The DOCTOR's hand comes up, shockingly fast, and grabs GWEN's fingers. She startles and starts to pull back, but the DOCTOR opens her eyes and blinks up at her.

The blinking rapidly turns into staring.

DOCTOR
Gwyneth?

GWEN
What?

DOCTOR
But you -- you're dead. You're dead, long dead. This is 2007, I know. It's Donna's--

She breaks off, hit with sudden grief again.

GWEN
Doctor, I'm -- do you know where you are?

DOCTOR
Cardiff. Over the Rift.

She finally lets go of GWEN, turning her head away.

DOCTOR (Cont.)
You died because of me. If I hadn't been such a bloody fool about the Gelth, such an idealistic fool . . . I'm sorry. I'm so sorry.

GWEN is totally lost at this point.

GWEN
Doctor? Are you all right?

DOCTOR
Oh, yes. I always am. It's the people I take care of who aren't.

CUT TO:

INT. JACK'S OFFICE - DAY

JACK is behind his desk; a fan of paperwork is being ignored in front of him. He's frowning into the middle distance.

IANTO enters, puts a mug of coffee on the desk, and is starting to leave before JACK notices his presence and sits up.

JACK
Ianto--

IANTO stops by the door, but doesn't turn around.

JACK (Cont.)
Ianto, look at me. --Look at me. Please.

IANTO finally turns around, formal, stonefaced.

IANTO
Yes, sir?

JACK rises and comes around his desk.

JACK
If this is about the Doctor and those ridiculous old regulations . . .

IANTO
Half right.

JACK
He's not like you think he his. He saves people.

IANTO
(Bitter.) Oh, yes. He saved an awful lot of people at Canary Wharf.

JACK
You cannot imagine how much worse that day would've been if he hadn't been there.

IANTO
--Do you mean that?

JACK
Yes.

IANTO
Good Lord.

JACK
What?

IANTO
You have such faith in him.

Long pause.

JACK
Yes. I do.

IANTO
Yes. (Beat.) I don't know what's worst -- that you left us for him, that you left me for him, or that he turned out to be a her.

JACK
What?

But IANTO has already turned and left. JACK starts after him, but stops, watching him leave unhappily.
Tags:
 
 
Bard, Minstrel, Playwright
22 November 2007 @ 06:18 pm
TITLES.

DISSOLVE TO:

INT. AUTOPSY ROOM - DAY

The DOCTOR is lying on the examination table, asleep, impassive. Someone's removed her jacket, and it's draped neatly over the back of a chair. JACK is leaning on the chair, hands tight on the frame; one thumb is rubbing against the fabric of the jacket. Whatever he's looking at, he's not seeing it. GWEN and TOSHIKO are by the window; GWEN is watching the DOCTOR, TOSHIKO is splitting her focus between the DOCTOR and JACK. IANTO is on the upper level, stony-faced.

OWEN is beside the DOCTOR, listening to her chest with a stethoscope. Shaking his head incredulously, he switches from left side to right and back again.

OWEN
Two hearts. And they're going a mile a minute.

He glances at an expositionally-convenient screen to one side.

OWEN
170 bpm. And -- Jack, is she supposed to be this cold?

JACK
--What?

OWEN
She's freezing. She's got a temp of 15. Is that normal?

JACK
I don't know.

GWEN
What's wrong with her?

OWEN
I can't exactly tell if I don't know what's normal!

JACK
He regenerated.

GWEN
What?

JACK pushes away from the chair, turning his back.

JACK
He made himself a new body. Changed every -- single -- cell. Right in front of me. (Turning back again.) He got shot.

OWEN
What? (Gesturing at the DOCTOR.) There's no wounds -- not even any scars. And more to the point, he's a she.

JACK
I noticed. I told you -- every single cell.

TOSHIKO
(Hushed.) What is she?

IANTO (O.S.)
A menace.

They all turn, led by JACK, who looks dangerous.

IANTO (Cont.)
The Doctor. We were warned about him at Torchwood One. There are instructions about him from all the way the back at the beginning. Wherever he goes, destruction follows.

JACK
Ianto . . .

IANTO turns and leaves. TOSHIKO starts for the stairs, but JACK holds out a hand.

JACK
Leave it.

TOSHIKO
But--

JACK
Leave it.

He looks between IANTO and the DOCTOR.

JACK (Cont.)
(Quiet.) He's not wrong.

OWEN
About what?

Long pause.

JACK
We have work to do.

He leaves. After a moment, OWEN and TOSHIKO follow. GWEN frowns down at the DOCTOR.

The camera closes in on the DOCTOR's face, which is starting to look much less impassive . . .
Tags:
 
 
Bard, Minstrel, Playwright
21 November 2007 @ 09:19 pm
INT. TORCHWOOD HUB - DAY

Typical business day at Torchwood. OWEN and TOSHIKO are at their workstations; IANTO has just delivered their coffees and is leaning against a bank of screens, chatting with TOSHIKO.

Or, well, listening to TOSHIKO.

TOSHIKO
--s really fascinating is the way they speak. It's a tonal language, like Mandarin, except that's all it is, tones -- like the music of the spheres.

OWEN rolls his eyes good-naturedly at the unfettered geekery.

TOSHIKO (Cont.)
I think they must be using something even more complicated than a thirteen-tone octave. Gwen's down in the holding cells trying to figure out how to communicate with them. She's so much better at this sort of thing--

The main door CLANGS open. We see JACK's boots, alongside a pair of smaller feet in mismatched socks.

JACK (O.S.)
--what's happening? You still haven't said! And what are you doing in Cardiff, anyway?

WOMAN (O.S.)
It was just a routine refuel, and we got--!

They come into view of the other three: JACK, looking harried, and a shortish WOMAN with mousy hair that looks like it's been through a wind tunnel. She's wearing a brown pin-striped suit several sizes too big for her -- the sleeves flop over her hands -- and she's absent-mindedly clutching JACK's shoulder for support.

She surveys the room. Her face lights up when she sees TOSHIKO, and she lets go of JACK, striding towards TOSHIKO with her hands out. JACK makes a futile effort to grab her, then throws his hands up.

WOMAN
Dr. Sato! Fancy seeing you again!

TOSHIKO
(Confused.) Beg pardon?

WOMAN
Space pig? Explosion on Downing Street? I had much bigger . . .? (She waves her hands around her ears.) And a lot less . . .? (She waves her hands at her chest.) Oh, never mind.

Without waiting for a response, she whirls and starts roaming the central workspace.

WOMAN (Cont.)
Oh I like this. Much better than Canary Wharf.

IANTO turns sharply.

WOMAN (Cont.)
Very -- lived in. Hello, what's this? (Briefly examining something that looks suspiciously like a scalp massager.) Huh.

She tosses it aside; TOSHIKO scrambles to catch it as the WOMAN continues her manic dash around the room.

WOMAN (Cont.)
Those are illegal in seven sectors right now, I think. Supposed to be corrupting children, like that broomstick thing. (Off a purply-silver framework.) Look at that! A Rirhait loveseat! This is fantastic! Been years since I've seen one of those! Well, subjective years. And-- (Off a collection of vials.) Oh, this is never Demisiv nectar. And pollen? Bit of a sex-obsessed lot, aren't y--?

She's come face-to-collarbone with JACK, and finally halts. She looks up at him, accusing.

WOMAN
Jack. You're taller than me. (Beat.) I feel a little faint.

JACK
I have that effect on people.

WOMAN
(A snort.) What've I told you about a time and a place?

JACK
(Amused.) You were different th--

He barely has time to get an arm around her as she collapses, and hoist her up into a groom's carry. He looks startled to be holding her. IANTO, OWEN, and TOSHIKO come closer -- suspiscious, doubtful, and concerned, respectively.

TOSHIKO
(Tentative.) Jack? Who is this?

JACK
(Very quiet.) This is the Doctor.

IANTO looks stricken.

JACK (Cont.)
(Heading for the stairs.) Ianto, get us locked down.

IANTO
--Yes, sir. Why?

JACK
I'm expecting company.

He heads down the stairs, leaving his employees standing looking at each other uncertainly. Before anyone can say anything further, the door from the cells slides open.

GWEN
. . . Have I missed something?
Tags:
 
 
Bard, Minstrel, Playwright
11 November 2007 @ 03:11 pm
Title: Understanding
Fandom: Heroes
Pairings: West/Claire, I guess? Kind of?
Rating: PG
Notes: Continuity is my bitch. But, um, apparently this is sometime between 2.03 and 2.06. So. Yes. Potential spoilers up through those eps.




He was the only person there who understood what it was like to be different. )
 
 
 
 
Bard, Minstrel, Playwright
21 September 2007 @ 09:34 pm
Tags:
 
 
Bard, Minstrel, Playwright
21 September 2007 @ 03:58 pm
Tags:
 
 
 
Bard, Minstrel, Playwright
22 August 2007 @ 03:08 pm
Title: Five Months
Fandom: Supernatural
Rating: R
Warnings: Violent and dark. Seriously. Spoilers through 2.21, "All Hell Breaks Loose, pt. 1".




When you look into an abyss, the abyss also looks into you. -- Nietzsche )
 
 
Bard, Minstrel, Playwright
08 August 2007 @ 08:04 pm
For [info]jothra on the occasion of her birthday  
Title: How Coyote Got Her Motorcycle
Rating: PG-13 for language.
Notes: [info]jothra wanted a Coyote story for her birthday, so here it is, much belated. With guest appearances by Raven and Rabbit.

 
 
Bard, Minstrel, Playwright
08 July 2007 @ 11:45 pm
For [info]batyatoon on the occasion of her birthday  
Title: Callahans
Fandom: Callahan's Place/YW
Rating: PG-13
Warnings: A touch of underage drinking; existentialism; and of course, some truly horrible puns.


By mid-1988, Mary's Place had survived a cluricane, the birth of AI, and the regular combined punning forces of Doc Webster, Long Drink McGonnigle, and the Lucky Duck . . . )
 
 
Bard, Minstrel, Playwright
08 July 2007 @ 11:34 pm
For [info]newredshoes on the occasion of her birthday  
Title: Offerings
Rating: PG
Fandom: Greek mythology/Milliways Bar

It's virgin white, technological smoke, and in the center is the light of the engines and they are burning bright.
--"NASA's Successful Quantifying of Comedy Timing," How to Play in Traffic, Penn & Teller





He liked to wander wherever whim took him, and see what they did with it. He never ceased to be amazed at the ways they caught it and tamed it, and the ways they lived with it when it refused to be tamed -- in campfires, in the glowing ends of cigarettes, in forest fires that they didn't bother to extinguish, only keep in check.

He wasn't there when one of them looked up at the night sky and came up with a way to use it to reach the stars -- he was in Costa Rica, drinking with an Australian student who desperately wanted to take him to bed, and who would never get the chance -- but he saw the pictures in the papers the week after the first launch, and he threw back his head and grinned at the clouds overhead, fierce and exultant.

After that, he made a point of stopping by Florida when he could, and he stood and watched and laughed aloud, to be a god on earth watching humans climb to the heavens on a column of sweet-smelling smoke.
 
 
Bard, Minstrel, Playwright
08 May 2007 @ 01:43 pm
In today's youthful, exuberant musical culture of hip-hop, one thing cannot be denied: this music often frankly discusses sexual intercourse, characteristics, and desirability. The morality of this aspect of the culture has been discussed many times before, and this pamphlet does not seek to rehash such debates. Rather, it will focus on analysis of a particular aspect of the hip-hop style. Many hip-hop artists see fit to sprinkle their lyrics about a partner's sexual desirability with a time honored device: the euphemism.

The Successful Euphemism


Ideally, a successful euphemism has several criteria which it should meet.

Visual imagery. The point of a euphemism, after all, is to indicate something -- in this case, usually a sexual characteristic of either gender -- without naming the actual thing in question. The simplest and most effective way to do this is to conjure up an image in the listener's mind that resembles the thing in question. There are many staple images that an artist may fall back on.

Some care must be taken with this criterion. While a flower's stamen is no doubt a suitable shape, and indeed function, to be used as a phallic euphemism, most listeners would not be familiar with the reference. An artist must therefore take great care to consider audience.

Context and audience is a similar consideration, and a self-evident one. After all, it should be obvious that a euphemism suitable for the dance floor is not necessarily suitable for tea with one's maiden aunt, or vice versa.

Finally comes emotional investment. Whether the euphemism is flattering, arousing, or belittling is reliant on context.

Clearly, all three of these criteria are somewhat interrelated; in the end, the visual aspect plays the most key role, but all three must be fulfilled to produce a truly successful euphemism.

Case Studies

Our first example, of a well executed euphemism, comes from Sir Mix-A-Lot's 1992 single, "Baby Got Back." Famously controversial for its discussion of female anatomy, its real artistry lies in its last stanza:

My anaconda don't want none unless you got buns, hun


"Anaconda" -- a large, aquatic snake found in South America, but here used as a euphemism for male genitalia -- fulfills all through criteria of a successful euphemism masterfully. The term is widely enough understood that context and audience are no obstacle; the visual image conjured is immediate, descriptive, and fitting; and the emotional investment is clear for both men and women -- Sir Mix-A-Lot's anaconda is something for which women may hope and to which men may aspire.

Not all euphemisms are so apt, though. The Black Eyed Peas' 2007 Grammy Award winning single, "My Humps," is one long, puzzling, ill-executed euphemism. See one of its repeated lines:

My hump, my hump, my hump, my lovely lady lumps


For the sake of argument, grant that context and audience are fulfilled. The visual aspect, however, leaves much to be desired. "My hump" undeniably conjures up distinct images, but which one do the Black Eyed Peas mean? A camel's hump? The sinuous hump of some snaky sea monster? Neither are particularly desirable, or feminine.

And what of "my lovely lady lumps"? The qualifier "lady" clarifies -- slightly -- which female sexual characteristics the singer means, but throws the emotional investment into confusion. "Lumpy" has never been a term most ladies would want applied to them, even in the days of Ruben when women's figures were full, and far less in today's culture, where women strive to be thin and lean. With only one criterion clearly fulfilled, and the other two uncertainly met at best, "my hump, my lovely lady lumps" cannot be called a successful euphemism.

Conclusion

To conclude:

Penis.

Discussion Question

Many hip-hop songs freely discuss male sexual characteristics in terms of both form and function (see Lil' Jon & the Eastside Boyz's "Get Low"). Female sexual characteristics, however, are generally only spoken of in terms of form, and rarely of function. Does this indicate gender inequality, or does the reason stem from somewhere else?

Discuss. Cite all sources.
 
 
 
 

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