Wednesday, November 26, 2014

Taylor Swift

"Taylor Swift"

I told her the way her blue eyes shone
Made me wanna drop my cell phone
It was a lie
(I'd say anything to make those panties gone)
Just a girl in a Volkswagen
Ran out of gas and time would fly
(Just out of sight of passersby)
I kept her beside me all summer long
Till we were empty and our thunder was gone

But when you think Taylor Swift
I hope you think my favorite tune
The one we first heard in early June
The one we fracked to on the dunes
The moon shone like a moony thing on the sand
When I think happiness
I'll be thinking of that little black dress
Think of my hand on your breast
And your old faded blue jeans
When you think Taylor Swift
I hope you think of me

September was 30 nights of beers
And cursin' the Devil that you weren't there
For me to see you like that
But in a box beneath my bed
Is a stack of Playboys you never read
From the time I was 12
It's hard not to find it a little sticky sweet
And lookin' back on all that, it's fun to dream

When you think Taylor Swift
I hope you think my favorite tune
The one we first heard in early June
The one we fracked to on the dunes
The moon shone like a moony thing on the sand
When I think happiness
I'll be thinking of that little black dress
Think of my hand on your breast
And your old faded blue jeans
When you think Taylor Swift
I hope you think of me

Remember how you laughed
When I said "Who's Tim McGraw?"
And I asked if
He was your old boyfriend?

When you think Taylor Swift
I hope you think my favorite tune
The one we first heard in early June
The one we fracked to on the dunes
The moon shone like a moony thing on the sand
When I think happiness
I'll be thinking of that little black dress
Think of my mouth on your breast
And your old faded blue jeans
When you think Taylor Swift
I hope you think of me

Oh, think of me
Mmmm

I told her the way her blue eyes shone
Made me wanna drop my cell phone
It was a lie

Tuesday, November 25, 2014

Wear Your Safety Helmet

My goals for the #TaylorSpliffed Project are to add 5 elements I'd like to experience more in the works of Ms. Swift:
1) humor;
2) subtext;
3) obscenity;
4) gratuitous drug references;
5) concern for social justice.

Anyway, here's:

"Wear Your Safety Helmet" (abandoned)

I hate your stupid voice
I hate your stupid texts
I realize that everything about you
Gets on my nerves

I hate the way you try to steal my focus
I'm giving you the finger but you don't even notice
I cover my ears but all I can think is
We'll never be together
Every time you mumble, I laugh
And every time you stumble, I'll laugh at you!

Whoa, Ease up there, hoss,
You don't tell me what to do
You're not my boss
If you're gonna jump
then wear a safety helmet
Don't expect me to
Lift a finger to help you
So I'm gonna say through it all
Wear your safety helmet

Well, I hate the way your hair falls on your stupid face
You're like a disease to me
I hate each zit on your face, oh
I've never been so annoyed, I think it's funny
I hate the way you're everything I ever wanted!

I wake in the middle of the night
I think I've been screaming
It's a nightmare, darling,
I know I wasn't dreaming.
You got a paper cut
I wasn't there to save you
Wear your safety helmet, baby
I couldn't bear not being there to save you!

I'll say it now so I can't take it back
Stay back, baby, just, baby, stay back
Wear your safety helmet, don't count on me
'Cause if I ever fail you, baby,
It's all over for me!

Whoa, oh, I'm fearing for you baby
I'm too afraid to
Let you fall
Don't fall on me
Always be safe, never wanna fail you
Say that you'll be careful for me, ooh
Wear that safety helmet
Stay safe for me, dammit

Stump Them All

SIDE for UNTITLED PROJECT

BLAISE FAINT: I've just been thinking that when they make the movie of my life, I'm not going to do one of those "play yourself" deals.  As I've already told you, I cannot perform.

[These here words in the brackets are ACTING DIRECTIONS.  Don't say them out loud, just kinda let them GUIDE your performance.  Try to look contemplative.  You're THINKING here.]


BLAISE FAINT: Don't worry, ladies -- I can perform in bed.  That's not what I'm talking about here.  I'm referring to "sing, dance, act, play a musical instrument perform" not "make you glad you're a woman perform."  I got ya covered, there.

[Okay, here, right after you say "I got ya covered, there" (NO -- DON'T SAY IT AGAIN!) you want to wink and smile real big.]


BLAISE FAINT: See if Ryan Gosling is available.  He's a young guy, probably looks up to me.  He'll maybe show up for work on time and try to do a real good job.

[Now what we're going for here is COOL.  James Dean is our first choice for the role, but given that he's DEAD, we're all hoping, fingers crossed, that Ryan Gosling will really STEP UP and give the best performance of his career.]


BLAISE FAINT: But, even though I have tremendous respect for Samuel L. Jackson, I don't think he should play me in the movie of my life -- he's just too old.  

[What we're looking for here is what they call "conflicting emotions."  Everybody in the whole wide world respects the hell out of Samuel L. Jackson, but dang it...]


BLAISE FAINT: I don't think they should let Taylor Swift play me, either.  I honestly don't believe she has the experience as an actor to pull it off.   Maybe one day she'll change my mind -- she still hasn't found the right part just yet.

[Now here we're trying to be supportive of Taylor Swift.  She's not there yet, but if she keeps plugging away, maybe one day... We're looking for what they call "verisimilitude" (you can Google it).  This could be the moment that wins you an Oscar so be sure and throw some heavy-duting ACTING BUSINESS in here.  Wave your arms around.  Work your face muscles.  Try it both ways: with JAZZ HANDS and without JAZZ HANDS.]


BLAISE FAINT: I'm not saying it's fair, I just try to be realistic.

[Look wise.]


BLAISE FAINT: Whoever they get should wear one of those "HELLO MY NAME IS" badges.  It'll be a lot less confusing for the audience that way.  Trust me, I know -- I've got plenty of "being in the audience" experience.  I should add that to my resume!

BLAISE FAINT: The badge should read, "HELLO MY NAME IS [Actor's Name] Portraying Blaise Faint."

BLAISE FAINT: I just gave you a great idea for a very inexpensive Halloween costume there, especially if you're an up and coming young buck trying to make a name for yourself in Hollywood, or a down and out former star looking for ways to come back.  I call it the "HELLO MY NAME IS Blaise Faint Halloween Costume."  I invented it so I get to name it.

[Here's where we're doing what's called "breaking the fourth wall" like Ferris did in HELLO MY NAME IS Ferris Bueller.  Look directly into the camera and confide with the "audience."  What you want to do here is build rapport.]

This is your chance to audition for "UNTITLED PROJECT" (which is just the working title).  We're looking at The Blaise Faint Story or HELLO MY NAME IS Blaise Faint and This Here Is The Movie of My Life.

We're also thinking The Blaise Faint Story: HELLO MY NAME IS Blaise Faint and This Here Is The Movie of My Life, and we've got some other titles kicking around.

What you can do is make a video of yourself performing this here "side" and throw it up on YouTube.  #TaylorSpliffed #BlaiseFaintMovieAudition

IF you do a real good job, before too long those Hollywood fellers will come along and back the money truck up to your house.  WARNING: We'll only take you seriously if you're wearing a HELLO MY NAME IS name badge.  Don't call us, we'll call you.

Anyway, here's

"Stump Them All" (abandoned)

I like the way your hair is a-dorning
It's like a lawnmower struck you without a warning
I realize your game is to astound
The sheep in the herd.

I like the way no one can focus
The way you talk, people don't know this
They hear your words but all they can think is
Whatever, whatever what
What did she say?

Whoa, oh, I'm reeling for you, mama
Don't be afraid to
Stump them all
Stump them all for me
Be bold, they can't believe you
Say that you wanna join the zoo
You're random through it all!

Monday, November 24, 2014

Hey Stephen

My original, as yet unfulfilled, writing project was to respond to The Music of Nashville.  However, after I saw Taylor Swift singing "Welcome to New York" on the David Letterman Show, I decided it would be easier to go through her discography, responding to her songs.

I started writing #TaylorSpliffed on November 16, 2014.  By November 23, 2014, I had worked my way through Taylor Swift's first 2 studio albums.  I figured it would take me another week to finish the other 3, but I wanted to get some of these out before the Thanksgiving break.  [UPDATE: I completed WRITING the exercises on December 7, 2014.]

I decided to take a break myself so I could post the poems I think worked to the #TaylorSpliffed page I created.  I've got some other poems that maybe didn't turn out so well.  I decided that rather than be all negative, saying things like, "This song is a failure, and that song is a failure, or Oops! I failed again," that I would go another way.

If I think a poem turns out well, I'll add it to the #TaylorSpliffed page.  Otherwise, I'll post it as just a single blog entry to die a lonely death like a beautiful, beautiful precious flower that never received the love it needed to thrive or even survive.

Wow!   What a beautiful metaphor!   I call it the "Beautiful-Beautiful-Precious-Flower-That-Died Metaphor."  I invented it so I get to name it.  I originally gave it a much longer name but shortened it to save space on the Internet.

Anyway, here's

"Hey Stephen"

Hey, there, Stephen,
I hear that you be leavin'
No more basic cable, no,
You're on the late-night network show!

Hey, Stephen,
I know that you're married
And I'm not a gay guy
But somethin' about you
Makes me say, "My-my-my!"

Now, that Taylor Swift,
She might have wrote a song about you
She even moved to New York
Just to get close to you
But I got something
That she'll never have
(Look it up Tay-Tay -- it's called penis envy!)

Now just cuz I got a penis
Don't mean I don't know what a pen is
I saw that episode of Friends
I know what a friend is
We could be friends
You could be my wingman
We could be bros
Bros before hos man!

'Cause I can't help it if you look like a Greek god,
Can't help it if Tay-Tay wants to kiss you in the rain.
So come feel this magic I've been feeling since before I met you.
(I haven't met you.)
Can't help it if there's no one else.
Mmm, I can't help myself.

They're lighting up the spot lights.
You're perfect for me, let's have a beer tonight!
I'm waiting alone now, so come on and come out and pull me near to drink ourselves stupid!

Dear John

"Dear John"

Dear John,

I've watched The Daily Show off and on again from the start.  I remember when what's his name was the host -- Craig Kilborn.  I stayed when Steven Carell left to do The Office and movies.  I stayed when Stephen Colbert left to go off and do The Colbert Report.  I even stayed when John Oliver left for HBO.  But now Stephen Colbert is leaving again!  He's going from The Stephen Colbert Show on basic cable television to The Stephen Colbert Show on broadcast network television.  Even your interns seem to be changing every few weeks now.  My point is, you're going through a lot of changes, John.  I don't know quite how to say this, but:

I heard you say:
   Hey, folks, we've got a great show for you tonight
You always say:
   Hey, folks, we've got a great show for you tonight
I want to thank you for working so hard to say:
   Hey, folks, we've got a great show for you tonight
But I have to say:
   Dear John, I'm gonna have to let you go, all right?

Now the cat's out of the bag, let me try to explain.  See, when The Colbert Report halts production, you'll have a new show on after yours.  I forget what it'll be called, but either way I'm concerned.  What if I don't like the new show?  What if the new show is just as good or better than The Colbert Report, but it gets cancelled anyway?  I just don't know if I could take that kind of rejection!  So anyway:

I heard you say:
   Hey, folks, we've got a great show for you tonight
You always say:
   Hey, folks, we've got a great show for you tonight
I want to thank you for working so hard to say:
   Hey, folks, we've got a great show for you tonight
But I have to say:
   Dear John, I'm gonna have to let you go, all right?

Look at it this way: we can still be friends.  You're firmly in the Friend Zone.  And later on, if the new show works out in its time slot, and I hear good things, I may check in on you from time to time.  Maybe we'll even get back together again someday.  I don't want you to feel bad about this, John.  It's not you, it's me --

I heard you say:
   Hey, folks, we've got a great show for you tonight
You always say:
   Hey, folks, we've got a great show for you tonight
I want to thank you for working so hard to say:
   Hey, folks, we've got a great show for you tonight
But I have to say:
   Dear John, I'm gonna have to let you go, all right?

XO XO,
Gossip Girl*

*This is the abridged version of the piece.  The unabridged version goes on for 99 more stanzas (not including the repetitions of the chorus).  I mean, you gotta admit, that chorus has a HOOK!  And, by the way, the "Dear John" to whom I'm referring is John Stewart, host of "The Daily Show with John Stewart."  And, as you may have noticed, the stanzas are written in blank verse.  You should click the link for exciting exclusive bonus content not available anywhere else on the Internet about my writing process! -- to learn more about why I chose blank verse (mixed with that slammin' chorus) for this piece.  Oh, and I'm not really "Gossip Girl."  That's what you call a reference.  Or a callback.  That's "showbiz" talk.  It adds nuance to the piece...

I'm holding back the unabridged version for the book deal, because I'm worried about saving space on the Internet.  And really, hey, yo, why should I give that shit away for free?

I'm telling you, there's some really dynamite stuff in there, like...
+Even though I had previously said that it wasn't him, it was me, I come to the realization as I'm thinking about it that, y'know, it really was more HIM.  I point out some of his flaws and gently nudge him to fix some things...
+ I tell John that I could spend more time with him if he hired me as a "producer" for The Daily Show.  I'm not exactly telegenic, so this would be more a behind-the-scenes deal, which I'm suggesting to save him money on my salary.  I even offer to telecommute because 1) I'm not wild about relocating to New York and 2) to save him even more money!
+ I ask John to help me find an agent or manager, and for help joining the union.  Whatever union.  What do I know about unions?  North Carolina is a right to work (for less) state!
+ I tell John how I've secretly always wanted to direct, and recognizing that he HAS directed, I offer to move him out of the FRIEND Zone and into the MENTOR Zone.   I even have some ideas for movies he COULD direct (preferably in NC -- he could commute-commute with all that New York money) while mentoring me, while I look over his shoulder, pointing and laughing at whatever mistakes he makes...
+ I offer John encouragement, telling him that the MENTOR Zone is really a step UP from the FRIEND Zone...
+ I suggest moving The Daily Show to North Carolina, 1) to save money (suggesting he could pass some of those savings on to me); and 2) to get the caliber of guests you just don't find in NYC, like that dude whose car was stolen who talked on air for @ 45 minutes (including commercial breaks) about how he tracked the car for 3 miles before the trail went cold.  That dude has NEVER been on The Daily Show, but he COULD be, if they were based in NC.
+ I have some way cool phat stoopid ideas for changing the set design and modernizing the graphics for The Daily Show, and spitball some new names for the show, because, seriously, it doesn't even come on EVERY DAY!
+ I suggest that President Barack Obama's recent Purple Chairman Mao look from APEC would really work for John, but whatever, suits and ties are so passe.  If not the Purple Chairman Mao,  maybe a tasteful Hawaiian shirt or a black turtleneck (if it's cold in the studio).
+ You may have questions.  How or what do I "produce?"  How does my telecommuting actually save John money?  If I'm telecommuting, how can John spend more time with me?  These are not MY problems.
+ There's a really dramatic verse where I tell John how annoying it is when he keeps scribbling on his scripts on camera and that he really needs to CUT IT OUT!  (I even confess that it's one of the reasons I'm breaking up with him.)
+ Lots more stuff having to do with Personal Growth.  John's Personal Growth.  I'm just so proud of myself for the ideas I've come up with to change him.   Make him BETTER.  Really!  You're welcome, John...

I could go on, but I think you get the point to where you want to buy the book when it's published...

Bonus Content: My Writing Process

Thank you for reading this here exciting exclusive bonus content not available anywhere else on the Internet!  I call this here exciting exclusive bonus content not available anywhere else on the Internet, "My Writing Process."

I want to be clear that I'm not attempting to write "songs" here.  I can read and write words.  I cannot read and write music.  I do not have the tools to create original or compelling melodies, rhythms, or beats.  I have the looks for radio, but not the voice.  I do not play an instrument.  I cannot perform.  For these limitations, I cannot really even call my pieces lyrics.  They are poems.  At best they are poems that wish they could be called lyrics.  They are not songs.  If I slip up and call any of these pieces "songs," hopefully the "word guys" will fix that in what they call "editing."

As I was making my way through Taylor Swift's discography, I came across these "Voice Memos," where she talked about HER writing process.  I thought that was awesome sauce!  It actually inspired "Leap of Faith," which I believe is much better than the earlier version, "Wear Your Safety Helmet," which itself was better than, "Stump Them All," which I'm not even going to bother discussing (to save space on the Internet -- oh, Lord, what will we do if the Internet ever runs out of space?!).

Some of you may be wonderin' and worryin' about what goes on in my brain.  I thought it would be fun to talk about MY writing process here.  That's why I call this here exciting exclusive bonus content not available anywhere else on the Internet, "My Writing Process."  I'm going to discuss "Leap of Faith" and "Wear Your Safety Helmet," then later I will share even more exciting exclusive bonus content not available anywhere else on the Internet about "Hey Stephen" and "Dear John."

My take on "Jump Then Fall" is that this is basically a song about "trust falls" and, of course, "personal relationships."  It took me a whole day to come up with the idea for "Leap of Faith," which is about offering support and encouragement to Taylor Swift, making her move from Nashville to New York, and from country to pop.

See, most songs are generally one person talking to the whole world, what you call your basic "Universal Theme."  "Leap of Faith" is the whole world talking to one person in particular: Taylor Swift.  What I do in "Leap of Faith" is have all the folks IN the world who wish Taylor Swift well, wishing her well.  I call that narrative shift, "The Ol' Switcheroo."  I invented it so I get to name it.

That's why the narrative voice very subtly switches from "I" to "we".  This is not me talking to Taylor Swift, this is lots of folks joining together to say, "Hey, good luck with your move!  You're taking a big step, but you can do it.  You go, girl!  You are the Audrey Hepburn of your generation.  No pressure, though!"

Now "Jump Then Fall" came out in 2009 or 2010.  You may be wondering how I knew back then that Taylor Swift would be moving to New York in 2014, or for that matter, how I knew that Stephen Colbert would be moving from basic cable television to broadcast network television in 2015?!  I'm sorry, I can't reveal all my secrets.  Just sit back, relax, and let the magic happen, folks.

The idea behind "Wear Your Safety Helmet" was: I hate you, I hate your guts, I wouldn't lift a finger to help you, so if you want to survive in this world, you should wear your safety helmet.  But, really, secretly I LOVE YOU, and I just can't bear the thought that anything bad might happen to you and I wasn't there, or able, for whatever reason, to protect you or save you.   Like, if you got a paper cut, I would just DIE!  So, please, please, please, PLEASE, baby-BABY-BABY, please, please, Wear. Your. Safety Helmet!  I call that the "I-Want-You-to-THINK-I-Hate-You-But-Secretly-I-Love-You Twist."  I invented it so I get to name it.  I couldn't pull that one off.  My reject pile is not empty, folks.

Keep reading the next sentence after this one for even more exciting exclusive bonus content not available anywhere else on the Internet (and the next sentence after that, and so on)!

Here's some more exciting exclusive bonus content not available anywhere else on the Internet about "Hey Stephen" and "Dear John." 

I have a dream that one day Taylor Swift will NOT perform her version of "Hey Stephen" on The Stephen Colbert Show because she is laughing so hard about my version of "Hey Stephen."  But my dream is not a simple dream!  No, my dream is complex and multi-layered, like the movie "Inception."  My dream actually goes on to have a dream of its own!  My dream has a dream that in the future, Taylor Swift fans at Taylor Swift concerts will request "Hey Stephen" by screaming, "'Stephen Colbert Song!'  'Stephen Colbert Song!'"  Then my dream's dream goes on to dream that one day, Stephen Colbert will be my real-life bro... So, if you DON'T see Taylor Swift on The Stephen Colbert Show perform "Hey Stephen," you'll know that dreams do come true...

By the way, you may be wondering if there's an app for your phone that can tell you about the next time Taylor Smith and I will be appearing together at like a movie premiere or an awards show.  But... Blaylor.  Taise.  Not gonna happen.  I'm sorry, Tay-Tay.  It's not you.  It's me.  I can't really tell you why, but I'm sure you've heard the expression, "Don't Taise me, bro."

Now folks, Tay-Tay has such a deep... well of strength and resolve... that I'm sure she'll get over this latest... we'll call it a heartbreak.  Eventually.  Let's just give her a moment to collect herself.

Ok...

                                    Ok...

                                                                      Ok...
Now, let's move on...

But, really, I'm only mentioning "Hey Stephen" because when I realized that Taylor Swift wrote her version of "Hey Stephen" to Stephen Colbert, host of the Stephen Colbert Show, it helped me to come up with the idea to write my version of "Dear John" to John Stewart, host of "The Daily Show with John Stewart."

See, Taylor Swift's version of "Dear John" is an example of what literary types call a "Dear John Letter."  If I had invented it, I would have named it the "Dumping-You Letter."  I haven't worked out who Taylor Swift is talking to in that song.  I've narrowed it down to either the guy from Waltons or John F. Kennedy, Jr.  I wish she had just called it "Dear John-Boy" or "Dear John-John" so I could tell for sure which of the two it was!

My original idea was to do a gender-switch and write "Dear Jane."  To Jane Espenson.  She did a real good job on "Buffy the Vampire Slayer," but since then, she's moved from show-to-show-to-show-to-show (and so on) 'til I just can't even keep up!  What are you up to, gal?  I don't even know!

However, I realized that as on-camera talent, John Stewart is much more famous than Jane Espenson.  See, on-air talent always get more love than the behind-the-scenes folks.  So, since John Stewart is more popular, a song to him would be much more UNIVERSAL.  So I dropped Jane Espenson like an ugly girl at the prom and moved on to John Stewart like a much prettier girl at the same prom.  (Except he's a dude.  Whatever.)  I'm not saying that it's fair, I just try to be realistic.

I'm sorry, Jane.  You're in the Friend Zone.  It's not you, Jane.  It's me.  But if you were to hire me as a "producer" on your next show...  Hey, you've DIRECTED, haven't you?  Have you ever been to North Carolina?

Back to "Dear John."  This poem is what you call a "hybrid," because the main stanzas are in what you call blank verse, and the chorus is like a real poem, with rhymes and such.

Let me tell you about the chorus first, because I'm so proud of the hook.  See, the hook is the most important part of the song -- if you can make a good HOOK, that's like money in the bank!

See, what I did was, I took the same word, and I rhymed it with itself two more times!  (Actually, I did all that with a whole SENTENCE, but that's beside the point.) 

Then, I took a whole another word, that rhymes with the first word (or the first three words, depending on how you look at it), and made what I call the "AY-AY-AY-YAY! Rhyming Structure."  I invented it, so I get to name it.  You got that?  "Tonight-Tonight-Tonight-All Right"  "AY-AY-AY-YAY! Rhyming Structure."  But, there's a little more to it than that...

See, I also added these 4 little starter lines just before each of these other rhyming lines.  I call one of those starter lines all by itself a "boom."  I invented it, so I get to name it.

So what you have here is
Boom-
    AY
Boom-
    AY
Boom-
   AY
Boom-
  YAY!

or what I call the "Boom-AY-Boom-AY-Boom-AY-Boom-YAY! Rhyming Structure."  I invented it, so I get to name it.  The acronym for that is "BAY-BAY-BAY-BYAY!"  But there's more to it than that...

The last line of the chorus in "Dear John" -- or the YAY! -- is actually a variation on that whole idea, because it ends with a question mark.  "All right?"  So I call that the "Boom-AY-Boom-AY-Boom-AY-Boom-YAY? Rhyming Structure."  I invented it so I get to name it.

Now look closer at the acronym for "Boom-AY-Boom-AY-Boom-AY-Boom-YAY!"  That's "BAY-BAY-BAY-BYAY!" Say it fast.  And peppy.  "BAY-BAY-BAY-BYAY!"

Now, say it 3 times, fast and peppy.

"BAY-BAY-BAY-BYAY!"
"BAY-BAY-BAY-BYAY!"
"BAY-BAY-BAY-BYAY!"

That's a hook, baby!  I call that the "BAY-BAY-BAY-BYAY! Hook." I invented it, so I get to name it.  If you put that hook in your song, you gotta pay me.  I'm a solid gold hook-er.  I'm not calling myself a hooker; I'm a do-er.  And what I done did is give the world two great hooks!  You're welcome, world!

Now, on to the main stanzas.  I chose to write the main stanzas in what literary types call "blank verse."  That's because as a "Dear John Letter," (or if you, like me, prefer, "Dumping-You Letter") "Dear John" comes across better if it seems like a letter.  Now you may be wondering, if there's no rhythm, meter, structure, or beat, how can this be a tune?

Look, if Dread Zeppelin can cover Led Zeppelin reggae-style with an Elvis impersonator belting out the words, there's a ditty here.  Don't worry.  Have a little faith.  The "sound guys" will fix it in what they call "post."

See, I'm trying to help John here.  John has some "ISSUES," and I'm trying to let him know about'em (through Art)... Help-me-help-John.  Just sit back, relax, and try to be supportive.

Well, that's what I come to tell you today.  Thank you.

Sunday, November 23, 2014

Welcome to My Blog

Welcome to my blog.  Thank you for visiting today.

Have you seen my #TaylorSpliffed page?