Tag Archive: Thurston Moore

Deb Googe is best known for her work as bassist for the bands My Bloody Valentine, Primal Scream, and most recently, The Thurston Moore Group. She has played keyboards with the massed fuzz organ experimentalists band Pimmel and she has also played drums and she has done backing vocals for Rockhard. In
2014, she joined Thurston Moore for his solo project The Best Day, alongside Steve Shelley, and the UK musician James Sedwards.

HVUM: Thanks for taking time to interview with us. We know that you hail from Yeovil, Somerset, England and it seems that you launched your music career with the Bikini Mutants along with Christine Cole, Dave Goldsworthy and Martin Herring. You were very much part of the west country scene and appeared along with The Mob and The Review. You joined My Bloody Valentine in the mid-1980’s to mid-1990s and the from 2008. In between you played with Katharine Gifford in rock band Snowpony. You teamed up with Thurston Moore in 2014.

Assuming we have the story straight, rewind and tell us a bit about how you came to decide on a music career. What led you to want to play music professionally? Was it part of a very deliberate plan or did you evolve into music and rock?

DG: I’m not sure I’ve ever really evolved and I definitely never had a plan but yes you have got the story more or less straight. I would just add that I played with Primal Scream for the best part of 2012, cause I did and I wouldn’t want to upset them by making them think I’d forgotten them.

Like I said, there was never a plan, I was just into music. As a kid I used to listen to the radio endlessly, pop, glam, that sort of stuff. I never thought about playing music, no one really played music in my family. We did have a little Bontempi organ which was very cute but not particularly useful and my dad had a mandolin, which was beautiful but I don’t remember him playing it that much, mind you he didn’t really have the time, he was working pretty much every waking hour as there were six little Googes to feed.

My first musical involvement was around the age 14 when I was asked to form a little group as part of a project in my music class. There were four of us (Joanne, Karen, Alyce and me), none of us actually had an instrument but Karen had a brother who played guitar, so because of her proximity to an actual instrument she sort of became band leader, she then bestowed various roles on the rest of us. She named herself the guitarist, obviously, and I was told I was the bassist. I didn’t actually have a bass or much of an idea of what a bass player did but I knew that was Suzi Quatro was a bass player and a women and she looked cool, so I was very happy with my new position.

Unsurprisingly that band never did anything but it did evolve into a band that did actually play a couple ‘gigs’. We were bloody awful, we had no drummer, no musical skills, no idea what so ever. We played covers somehow managing to shoehorn the same three chords into anything from Leader of the Pack to Smoke on the Water. Looking back it must have been totally bizarre for anyone unfortunate enough to have actually seen us, we would definitely have given the Shagg’s a run for their money.

But then, fortunately for me punk happened and that just totally shifted the goalposts. Suddenly it wasn’t about musicianship so much as attitude and as a 15 year musical illiterate you can imagine that was very appealing. So I adopted anarchy, concentrated on one string instead of pretending to play four and that was it really. Things haven’t really evolved too much since then but for some reason I’m still getting away with it.

HVUM: Thanks for the correction on Primal Scream. Your career really took root during a period when there was a revolt against establishment or mainstream rock of the time leading to hard edged and stripped-down instrumentation, and in fact, that period gave rise to what we know today as a D.I.Y. Reflecting, where was your musical head in (say) 1980 and where are you today? We’re interested in knowing about your musical mindset.

DG: Yes you’re right, in the late 70’s/ early 80s I was very involved in the anarco punk scene. Starting when I was a teenager in Somerset, we would put on gigs and we had a fanzine and eventually a record label called All the Madmen. The hub of our little world was the garage/shed at my friend Gem’s parent’s house (she was the original guitarist with Bikini Mutants…you missed her!). It was totally DIY and actually a very creative and productive space and time. And like a lot of things that happen at that stage in your life, mid/late teens, it sort of informs and shapes you for the rest of your life. I’m still friends with a lot of people from that era and I still hold a lot of those beliefs.

Having been involved with major labels over the years I appreciate that not everybody associated that side of the business is evil, in the way that I thought they were when I was a kid, there’s some great people and of course there’s a lot of really amazing music released and developed on major labels but I still think there’s a lot to be said for the DIY/indepent scene, whatever you want to call it.

The internet has had such a phenomenal effect on the world and of course the music industry has been as effected as everything else by it, maybe more. These days we really are able to release music completely independently. The last MBV record was released not only without a major label but without any major distribution or major streaming services (iTunes/ Spotify ect) involved. I think it’s great that you can do that. I’m not saying it’s the only way or the best way but it a great option to have.

Really though, how the music is released or whether is does or doesn’t get released is just one part of the story. The main thing that came out of the punk era for me and the thing that is still very important is the attitude to the music itself. And I think that the bands I been involved with, regardless of their relationship to major labels have always been very uncompromising when it comes to the music and that to me is the most important thing.

HVUM: Two questions…. There is a very impressive line of female bassists and there are flashy bassists and solid traditional bassists like Carol Kaye (interviewed by HorizonVU in 2014). What draws you to the bass? What makes for a great bassist?

DG: As I said before I was kind of told to play bass by Karen but I am very happy that she did because I love the bass and I think it suits my personality. I’m not the most delicate person and I’m incredibly, almost comically clumsy, so I think the physicality of the bass suits me.

I don’t think there’s any one thing that makes one bass player better than the other, like all musicians it’s more important that you suit the band you are playing with. MBV would sound completely different if they had a really super busy bass player, and to be honest I don’t think they would be the MBV bass player very long.

Personally I prefer what I suppose would be considered unfussy, more riffy style bass playing or melodic stuff over really technically flashy playing. I love Carol Kaye who you just mentioned, I think she’s an absolute amazing she never overplays and what she does play always feels like a really integral part of the song. I guess I’m not particularly fond of really busy bass playing but I totally appreciate it is technically very good and I can see why it suits some kind of music but it’s just not really my thing, but that’s just my ignorance, it doesn’t mean that they’re not great players.

HVUM: Thinking about The Thurston Moore Group, you all have ties to what we (for better or worse) like to call “alternative” or “experimental”. Apart from individual lineages you, Steve, James and Thurston have taken parts in scrapping pigeonholed views of rock, experimenting with rhythm, dissonance, instrumentation, noise and electronics. What is first and foremost in the collaboration?

DG: First and foremost are the songs, and that is the same with all the bands I’ve played with.
Thurston is definitely more open to improvisation, especially live but the starting point is always the song and they are very much formed in Thurston’s head first, so not really a collaboration.

Thurston likes to work very fast so most of the recordings on the albums are only the third / fourth time we’ve played through the song as a band. Sometimes we have been introduced to the idea during a soundchecks on tour but often he introduces stuff in the studio just before we record it. And he’s fairly relaxed with his directions, he might just say something like hold back in that bit or push that a bit more, that kind of thing.

Live though is different, lots of the songs have room to expand when we play them live and those change every night but I never think before hand: ‘I’m going to play this or do that during that bit tonight,’ because there’s three other people up there and you have to listen to what they are doing too, so in that respect there’s never anything that’s more important, you just try and make it sound like you’re all on the same journey.

HVUM: Let’s have a look and listen to The Thurston Moore Group playing earlier this year in Helsinki.

HVUM: Looking over your musical track record, are there any very special moments that you consider to be a career highpoint, the kind of memory that can keep you going on in the toughest of times?

DG: No there’s no one particular highpoint. The whole thing kind of amazes me. I’m constantly surprised I’ve got away with it this long. I am very aware that there are a lot of musicians who are technically much better than I am who never make it past the bedroom. I have been very lucky, I’ve managed to survive doing something that I love and I’ve worked with some amazing and really lovely people so I think the whole thing’s been pretty special.

HVUM: It seems that we’ve come to a point in the recorded music business where heavy use of audio processing effects, multitracking, pitch correction and quantization have become commonplace. Where do you draw a line between experimentation or innovation and mechanically minded studio manipulation?

DG:I don’t think you should draw the line. There’s lots of very experimental music created by using those effects, there’s also a lot of very, to my mind, bland music but I think there’s room for everything, just cause I don’t personally like something I don’t think that make it any less valid. Besides l do love a lot of pop music, as much as I love experimental music, I always have.

I grew up listening to all that Chinn and Chapman stuff that came out in the early 70’s, they produced loads of great pop records: The Sweet, and Suzi Quotro of course. Mike Chapman went on to produced Parallel Lines by Blondie. I’m sure they used everything at their disposal to make great pop records and they were very successful at it. Technology has moved on a lot since then but I’m sure they would still use whatever they could if they thought it would make a better record today. I don’t see anything wrong in it at all.

I don’t think you should really judge pop against experimental music, they’re coming from different places and aiming for different end results. I actually don’t think one is more valid than the other. I guess the real difference is the machinery/business involved in selling to the public.

People can get very tied up on whether something is ‘genuine’ or ‘authentic’, the minute you record something it is processed and manipulated, I guess the thing is some artist have more say in how their music takes form but does that means the music is any more real? It’s still music, whether it’s just someone singing in the bedroom, or a totally manufactured multi million selling record. It still means something to someone, validating something by ‘nicheness’ is just as silly as validating something by the number of sales…. Ha ha, as you can see I’d never make a good business person.

HVUM: On a very personal level, what are the social issues that you care about the most? Are you a social advocate?

DG: I guess being a gay woman immediately brings up two issues that are very personal to me and I think gay rights and gender politics have arguably been the most important issues in the western world over the past decade.

But really I think they are part of a bigger issue, which is equality. I genuinely believe that most people are good and that if you treat people as equals, regardless of gender, sexual preference, the colour of their skin, their theological or spiritual beliefs or whatever. If you give people respect and kindness and understanding you will generally get that in return. And if you don’t and you are treated unfairly or contemptuously based on any of those things then you should shout out the perpetrator as the bigoted, half wit, shit-head, ignoramus, dotard (please feel free to add anything you like in here) that they are. That’s basically what I think.

HVUM: Great, we’re on the same page. Last, what’s ahead for Deb Googe? Any projects in the works or on the horizon?

DG: Yes, I’m currently in the middle of a European tour with Thurston, so my immediate plan is to finish that. Then I have a tour in the States with Thurston next February and there’s talk of a few other projects for next year. And there’s also very likely to be some MBV action next year, so all in all I think it should be a pretty interesting year.

Deb, thanks so much for your time and your very thoughtful answers to all of our questions. Your honesty and openness are appreciated. We hope to see you back in Paris with Thurston Moore, or maybe you’ll be with MBV! Either way, it will be awesome. In the meantime, enjoy the upcoming holiday season and take care. Sending you all our best wishes.

February 23, 2015

Reposted from http://www.nytimes.com/2015/02/19/books/kim-gordon-of-sonic-youth-writes-about-her-band-and-breakups.html

Kim Gordon, pictured in Los Angeles, said her new memoir is the most conventional thing I’ve done. Credit Sam Comen for The New York Times

Kim Gordon, pictured in Los Angeles, said her new memoir is "the most conventional thing I’ve done." Credit Sam Comen for The New York Times

by Joe Coscarelli

Kim Gordon knows her reputation well. “Detached, impassive or remote,” she ticks off in her new memoir, “opaque or mysterious or enigmatic or even cold.”

But rather than dispel the persona she built up over 30 years as the antifrontwoman for Sonic Youth, Ms. Gordon hoped to make it three-dimensional in her book, “Girl in a Band,” to be published on Tuesday by the HarperCollins imprint Dey Street Books.

“People just project stuff onto you, mostly — they don’t really know me,” she said recently at breakfast in Brooklyn. “I just felt like I was saving it. I was being very withholding for the right time.”

Not that the book is a typical tell-all. “I thought of putting a disclaimer in the beginning: No sex, drugs or rock ’n’ roll,” she continued, her sentences trailing off or becoming barely audible, even when her ideas were confidently held and complete. “I’m a read-between-the-lines kind of person.”

“Girl in a Band” does begin and end with a breakup, two, actually: the simultaneous 2011 demise of Sonic Youth and her 27-year marriage to Thurston Moore, who founded the band with her in 1981. But that may be the extent of the fresh dirt. The rest of the memoir, in line with Ms. Gordon’s indecipherable feline stare and flat affect, can be minimal and bare, even stilted, revealing in its brief moments of reverie but careful to stop short of saying too much. It is never embarrassing.

Once the epitome of ’90s cool, Ms. Gordon could be accused of name-dropping in her writing if the connections cited weren’t so natural: Danny Elfman, the composer, was a high school boyfriend; Kurt Cobain was a fan and close friend; and she describes plainly the time her daughter met William S. Burroughs while on tour as a baby with Sonic Youth.

Ms. Gordon’s relationships have also transcended music: After Sonic Youth signed with a major label — joined soon after by Nirvana — she helped start the careers of Chloë Sevigny, who made her debut in the music video for “Sugar Kane” (along with Marc Jacobs’s infamous “grunge” collection) and Sofia Coppola, who staged a show for Ms. Gordon’s fashion line, X-Girl. Just last year, Ms. Gordon played a rehab patient on HBO’s “Girls.”

The decision to write it all down, however, was more practical than artistic. Single at 61, with a daughter in college and a generation of fans presumably ready to follow her into the next phase of life, Ms. Gordon said the book was a way “to open up other opportunities for finding ways to support myself, to be quite honest.” After decades of exploring discordant indie-rock and experimental visual art, she added, “Girl in a Band” is “the most conventional thing I’ve done.”

It was also an attempt at defining her legacy outside of Sonic Youth. Dave Kendall, the former host of MTV’s “120 Minutes,” which championed the band, said Ms. Gordon “didn’t need to project any strong persona or marketing message” and “could just be herself.” As a rock star with acceptance in the art world, she showed women that “there’s no need to sell yourself as a sex object,” he said, or “to hide in the background.”

But with Ms. Gordon’s defining work linked so closely with Mr. Moore, Carrie Thornton, the executive editor at Dey Street Books, said she pitched her on the project this way: “Better to tell the story yourself than to let someone else tell it for you and tell it poorly.”

One possible model was “Just Kids” by Patti Smith, which became a best seller and won a National Book Award for nonfiction. Rock memoirs by women, Ms. Thornton said, “tend to be more relational — certainly in the case of Kim and Patti, there’s a sense of relationship to place and time.”

But for Ms. Gordon, “Just Kids” — a love letter to boho New York and the artist Robert Mapplethorpe — was a much different story from her own. In any case, she said, “I didn’t read it.” And of her own memoir, she said, “I didn’t want it to be romantic.”

That applied to both place and person. “Writing about New York is hard,” begins the chapter in which she meets Mr. Moore. “It is because knowing what I know now, it’s hard to write about a love story with a broken heart.”

Yet the book would not exist without Ms. Gordon’s divorce, which she said was caused by Mr. Moore’s affair with a younger woman, a story both sides have aired out in the news media. “When something like that happens, you start going back and examining your whole life,” she said. “How did I get here?”

The answer starts in Los Angeles, where Ms. Gordon was raised and wrote much of the book. She lovingly describes her beatnik-adjacent parents and childhood, but her relationship with her brother, Keller, who has schizophrenia, is the specter that looms over the memoir.

Her shyness, for instance, “comes from years of being teased” by Keller “ for every feeling I ever expressed,” Ms. Gordon writes. The broken brother-sister relationship caused her to seek out “big personalities” in male mentors, she said, and eventually in Mr. Moore.

Neither of the most imposing men in her life has read the book. “For obvious reasons, I didn’t share it with Thurston,” Ms. Gordon said. “I’m now officially divorced — only recently. So it doesn’t matter.”

She added: “Maybe he’ll write his own book. I’m not really interested.” (Through his representatives, Mr. Moore declined to comment for this article.)

And Keller, who is in an assisted-living home for the mentally ill, is more concerned with “conventional” things, Ms. Gordon said. “I think he likes my teeth,” she said through tears. “He told me I have a great smile.”

In the memoir, Sonic Youth seems almost like an afterthought. An essential band for a generation in which the avant-garde rubbed sometimes uncomfortably with the mainstream, the group “did inform my life and who I am, so it was silly not to write about it,” Ms. Gordon said.

But the book’s middle section, in which she decodes her lyrics and life as a touring musician, feels almost perfunctory. “I could have done more of that, but I kind of got bored,” she said. “I didn’t want it to become a Sonic Youth book.”

Now, in addition to writing and playing with a new band, the guttural Body/Head, Ms. Gordon has renewed focus on her visual art: A forthcoming show at 303 Gallery in Manhattan will explore the way New York has, she said, “become so beautified for foreign investors to buy condominiums.”

Beyond work, there is personal rebuilding. Ms. Gordon can be fanatical about television — she watches “The Good Wife,” “Scandal” and “The Affair,” although she said that all the cheating was a coincidence — and she is dating again. “I think it’s easier to meet single guys in L.A.,” she said.

She also plans to sell the home in Northampton, Mass., where she, Mr. Moore and their daughter, Coco, lived starting in 1999. She may split her time between the West Coast and New York — possibly in a Brooklyn studio apartment with her two dogs.

“For a while, I was concerned about being alone,” Ms. Gordon said. “Now I’m really enjoying my freedom.”

A version of this article appears in print on February 19, 2015, on page C1 of the New York edition with the headline: Making Another Kind of Noise.

Brendan Toller is a US-based independent filmmaker, animator and musician. HorizonVU Music first got to know Brendan by way of his first feature documentary “I Need That Record” featuring Thurston Moore, Mike Wyatt, Ian Mackaye and Noam Chomsky.

With his focus on the fusion of non-fiction filmmaking, Brendan has worked on several short projects with Meat Puppets, Built to Spill and Danny Fields. His work has been featured in Wire Magazine, Pitchfork, Paste, and The Onion.

Brendan holds a BFA in documentary filmmaking and music industry studies from Hampshire College in Amherst, Massachusetts.

Brendan, it’s great to catch up with you once again! Let’s turn back the clock a bit to “I Need That Record”. We had the privilege of introducing the film to French audiences at The Independent Music Event, 2009 in Paris. Briefly for our readers “I Need That Record! The Death (Or Possible Survival) Of The Independent Record Store” tells the story of the death of over 3000 independent record stores in the U.S.

Brenan Toller

Brenan Toller

Reflecting for a minute, what are your thoughts on that feature today? Thinking about the film in terms its influence on your work today – where is Brendan?

BT: I Need That Record! has done extremely well for what was admittedly my thesis project at Hampshire College in Amherst, MA. It played at over 60 film festivals and events all over the world and has over 55,000 views on Netflix instant (a big video on demand streaming service in the States), which is more than a lot of documentaries can say. That’s all the numerical measurements of success. I’m most proud of the people it’s touched and the entire collective experience of it all which I marvel at sometimes. It beat out Jimmy Page’s It Might Get Loud for the Audience Award at Melbourne International Film Festival. Hopping around with my Les Paul at age 15 I never thought I beat Jimmy Page at anything. I also got a very very nice letter from Robert Pollard, and a sweet postcard from Ian MacKaye. It certainly influenced me to take on Danny Says because I proved to myself I could make a movie in the 21st century.

Recognizing that in addition to your feature work you have a very impressive list of short projects which can be viewed at http://www.brendantoller.com, do you have a particular project that you consider to be a milepost along your professional timeline – both with respect to intellectual growth and technical achievement?

BT: After I Need That Record! was “finished” I was busy plotting my first film festival run. I learned a lot, and sort of found a deep network of people who are into rock ‘n’ roll films. Thurston Moore’s Ecstatic Peace! Headquarters was literally a ten-minute walk down the street from me. So one day I poked my head in there and asked if they needed any help. That’s how the 2008 Election Series came to be- me trouping around All Tomorrow’s Parties in upstate New York getting lectured by Curt Kirkwood. Matt Krefting is an incredible performer, vox-shredder and one damned fine arbiter of taste. I just wanted to help his record out any way I could. I did a few other video projects there and went through a lot of Magik Markers footage that I hope one day gets sculpted into some sort of document or documentary- some really amazing stuff there. In terms of mileposts I can only compare anything to I Need That Record! that’s the heavyweight of the Brendan Toller catalog thus far, after all its my first movie and I’m only 26.

Let’s turn to your most recent project “Danny Says”. For our readers that might not know of Danny Fields, he is best known to many of us as an American journalist and writers; He was a music industry executive from the 1960s through the 1980s and perhaps best known for managing Iggy and the Stooges and the Ramones. He also had parts to play in the stories of Jim Morrison, the MC5, and the Velvet Underground. The film, we should note, is fiscally sponsored by the New York Foundation for the Arts and Artspire.

BT: Danny Fields not only has had one of the best vantage points for rock ‘n’ roll, art and culture of the late 20th century, but he’s the smartest guy I know and many of his friends have said the same—including Jon Landau (MC5 manager & Bruce Springsteen manager/guru/visionary). I think a documentary would be worthy for the guy that published John Lennon’s “more popular than Jesus” quote in the U.S. alone- never mind, that Danny was at almost every watershed moment from ’68 on: Velvet Underground, The Doors, Judy Collins, Tim Buckley, David Peel, Nico, MC5, Stooges, Modern Lovers, Patti Smith, Ramones, Jeff Buckley, Rufus Wainwright and more. He also kidnapped Jim Morrison, took a swig out of Janis Joplin’s last bottle and was the first male to be censored on public access television for pretending to stick a light bulb up someone’s ass. His taste and mark on the culture is reverberating today louder than ever. In his time, a lot of the bands Danny supported and championed were dismissed. As Danny says “Stick with me, and in 40 years you’ll be a star.” Danny really is a philosopher and we don’t have too many around these days at least here in the States. The film is fiscally sponsored by New York Foundation for the Arts who are assisting us in grant development and research. Documentaries are not cheap- especially ones with music.

So, in your words, tell us about “Danny Says”. Up close and personal – what is the background of the project and how is it progressing? “I Need That Record!” has a clearly defined message. What is the message your sending us with “Danny Says”?

BT: Danny Says currently has a Kickstarter campaign rolling. We’re looking to raise $20,000 which will help us with initial post-production costs. It’s a lot of money, but in terms of documentary money (somewhere around $ XXX,XXX) it’s pretty small. I made I Need That Record! on next to nothing though so I can stretch a dollar. If we reach our goal we’ll begin editing the first film of the Danny Says series, which will most likely focus on Danny’s early life to his time with The Doors. All subject to change once we enter the editing room. At the very least, Danny Says will be a look at one’s deep influence continuing on. Danny sums it up pretty well in the first line of our Kickstarter video. But Danny Says will touch on so much its hard to define the themes and messages just yet.

Does your work on “Danny Says” pose any new challenges, or what are the key challenges facing you in making the film? Let take a look at a clip “Justin Vivian Bond, Danny Fields and the Leopard Skin Pillbox Hat”.

BT: The key challenges of Danny Says in the director role here are fundraising enough finishing funds and being able to achieve the visual look I envision for the film. Danny’s stories are very vivid and descriptive. I’d like to accompany them with strong visuals pulling from a lot of archival photographs, film and audio. We’d also like to use 2D animation and motion graphics. Danny Says will also allow me to further my aesthetics and approach as a filmmaker. If I Need That Record! was extremely focused and driven by narration Danny Says will be more meditative.

Perhaps a bit out of context, but having talked about your work to-date, can you tell us about your film and music influences? Have your influences changed over time? How so?

Brendan Toller on Collin McEnroe Show (WNPR) Photo Credit: Chion Wolf

Brendan Toller on Collin McEnroe Show (WNPR) Photo Credit: Chion Wolf

BT: That’s also part of the work: inspiration. You have to constantly keep looking, listening and thinking about new works. films that have been influencing me in a haunting way over the years are Wild Combination: A Portrait of Arthur Russell by Matt Wolf, any films by Abraham Ravett who I studied with at Hampshire College, Silverlake Life: The View From Here by Tom Joslin, Filth and the Fury by Julien Temple, Benjamin Smoke by Jem Cohen. As for music I’ve been listening to mostly stuff before 1980 these days: John Martyn, early Cramps, Screamin’ Jay Hawkins, Swampdogg, The Move, Incredible Casuals, and a lot of early rock ‘n’ roll shows on WFMU (David the Spazz, Fool’s Paradise). I don’t think my influences have changed so much as I have changed. It seems to take me a shorter time to find things that will impact me in a fruitful way. I suppose that comes with age. I tend to like things now that initially I’m puzzled or don’t like much at first, then bam two days later it cripples you.

Looking out to the horizon, what’s Brendan’s plan for Brendan?

BT: Danny Says! Its all I can think about aside from my personal life.

So, to wrap up, what are your target dates as concerns the project and how can our followers get involved? Are there opportunities to sponsor or contribute to your efforts?

BT: We hope to have the Danny Says series ready by November 2014. You can get involved by heading over to the dannysaysfilm.com website where you can make a donation anytime through Artspire and New York Foundation for the Arts after our initial Kickstarter campaign. So excited for you all to check Danny Says out.

Brendan, thanks so much for joining us. You know we follow your work with considerable interest and I have no doubt that we’ll be in touch going forward. All the very best.

Visit Brendan Toller and Danny Says at http://www.brendantoller.com and http://www.dannysaysfilm.com

Find the Danny Says Kickstarter campaign at http://www.kickstarter.com/projects/654487791/danny-says-a-documentary-series-on-danny-fields

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