You can follow the summer's blog posts here.
You can read my experiences trying to learn to fly, which is here.


Interview: Troy Sterling Nies

written by Julie R. Neidlinger      1 comments      link this post     





::Troy Sterling Nies is a fellow North Dakota artist from the opposite side of the state. He has composed music for some wonderfully off-beat and independent films. Frankly, rather than writing a bio, which can be found here, I'm going to get right to the Q & A.::


Q. You have education and training as a paramedic and as a musician. I generally hate questions like this, that attempt to tie seemingly disconnected things together...but do either of these occupations help the other? Or do they function as two totally different, disconnected things that you happen to do? What led to your interest in becoming a paramedic?

It's a bit of a long story, but it started with the death of my father in a motorcycle accident in 1996. He was the type of person that believed in taking negative events and negative energy and converting them to something positive. I started working in Fire and EMS in 1999 and went through the progression of firefighter, CPR, EMT and eventually became a paramedic in 2004.

As a paramedic I see the spectrum of human emotion - when I've delivered babies it's the joy in Mom's face. Sometimes I see epiphany on an elderly person's face when they are just crossing the threshold from life to death. I see anguish in family member's faces when I have to tell them their loved one died even though I did my best.

I believe that people who work in EMS are exposed to some of the most raw forms of human emotion - we see the 5 stages of grief all too often:
  1. Denial - "It can't be happening."
  2. Anger - "Why Me? It's not fair!"
  3. Bargaining - "Just let me live to (insert task)."
  4. Depression - "I'm so sad I can't feel anything else."
  5. Acceptance - "It's OK - I'm ready."
Certainly the "dark-side" out-weighs the "light side" in EMS. I suppose that this is some of the reason why many of my compositions tend to lean toward that "dark-side." There are certainly events from my paramedic profession that have inspired me in my compositions - I just wish there were more uplifting ones.

Q. I'm guessing your big break as far as music composition was the score for the silent film "The Call of Cthulhu" -- how did you get the opportunity to compose the score for part of that film? What has happened to you professionally since that film? What opportunities have arisen?

I found the website to H.P. Lovecraft Historical Society (HPLHS) while searching for more information on Howard Philips Lovecraft, one of the fathers of American-Gothic Horror/SciFi Fiction. Also, being a literature and movie buff I found it very exciting that they were attempting a silent-film rendition of this Lovecraft classic. I submitted my resume, but was politely turned down. Almost at the last instant, I was contacted by HPLHS and they said that their composer backed out on them and they wanted me to take the position. It was an insane scramble to compose 40+ minutes of music for the feature as we had less than a month or so before it was to be premiered at the H.P. Lovecraft film festival in Portland, OR. It's been shown in over 30 countries now and has become a cult-classic.

As a result of scoring this film, I've seen more of the USA, visiting film festivals and other events. HPLHS has provided me more opportunities scoring radio dramas, theatre productions and also the next film, "The Whisperer In Darkness."

Q. In looking at your web site, there's a general interest in Lovecraft, et. al. When did you become interested in this genre of fiction? What other ways are you involved?

My grandmother, Sonja, instilled a love of books in me at an early age. She first handed me J.R.R. Tolkien's, The Hobbit when I was in the 5th grade. I spent many summers with my grandmother in New Salem. We were either in her garden or in the orchard. We had many talks about literature and music (she was also church organist for many years). She later gave me The Lord of the Rings trilogy and said it was "required reading." Reading that was the beginning of my love for literature including fantasy and science fiction. My grandmother also gave me her piano and was responsible for the start of my piano lessons. I remember my mom getting mad when my dad, grandmother and I were all watching "Alien." Yes, I had a cool grandma.

Q. What music projects have you worked on since then? What are you working on now? Do you have any projects that are not related to films i.e. composing music for a performance by an orchestra?

I've worked on a number of independent films, most recently, a documentary/horror film entitled, "In Search of Lovecraft", which will be released soon. I also compose for theatre; recently for Theatre Banshee, a theatre production company in Burbank, California. I composed incidental music for their productions of Henry IV, Part 1 and Of Mice and Men.

I'm preparing the score for 40+ minutes of music from Henry IV, Part 1 to be performed by a local orchestra hopefully. I recently collaborated with Bismarck woodwind trio, 'Apollo Trio' who performed and recorded my Of Mice and Men music. Currently, I'm finishing up a composition commissioned by the ND Music Teacher's Association which will be performed at their state conference at Bismarck State College in June.

Q. Do you create the final music on computers and keyboards, or do you do some work with orchestras or other musical groups? Have you worked with musicians in the state of North Dakota on any of these projects?

It all depends on the project. I'm a pianist, so much of my composing starts at the piano. For most independent films, I score orchestral or electronic music - I then do what is called a "mock-up" on the computer. Software now in the music industry has advanced to a point where many people have a hard time discerning between a "real" orchestra or an electronic one. I've worked with a number of ensembles and orchestras in North Dakota as well as other places - in North Dakota I've had works performed by Missouri Valley Chamber Orchestra, Bismarck-Mandan Symphony Orchestra (BMSO), Trio Apollo, as well as a number of other musicians.

Q. How does being from a sparsely populated area of a sparsely populated state affect your work and your travels for your work? (Los Angeles, etc.)

With the internet, it really doesn't matter where you live to "do" to work. As far as being hired to score a film, it's pretty much a necessity to live in Los Angeles. Now if you are A-list composer, you can live pretty much anywhere as you could afford the $1,000+ it costs to fly out of Bismarck to Los Angeles! (LOL - but really, no joke, it's TERRIBLY expensive to fly out of Bismarck! I'll add my name to the list who wishes we had better options in the air-travel dept.)

Q. Have you thought of moving permanently from North Dakota? What are your reasons for staying in the state?

I won't lie and say it hasn't crossed my mind. I still believe that I can live here in North Dakota and get my music heard. It is my goal to bring 'film music' to North Dakota. I believe I have a good start with building rapport with Missouri Valley Chamber Orchestra and BMSO. I like the idea of giving our musicians the opportunity to play for recording sessions and performing film music - an opportunity that they would only be exposed to if they lived in Los Angeles.

Q. Do you think your location has made it more difficult to find work? Or, has the "Internet age" helped reduce any geographical limitations?

Living in Killdeer doesn't limit my ability to compose. It does limit my ability to fly out to meet with potential filmmaker collaborations etc. I'm still working on the solution to this. On the projects I have worked on, internet has proven to be a very valuable tool. I used Skype and iChat on a daily basis.

Q. Was it always your intention to compose music for films or were you interested in composing music in general?

When I was 5 years old, I listened to Beethoven's 5th in C minor and the "Star Wars" soundtrack over and over and over on my Fischer-Price record player. I knew I wanted to compose music and play the piano at that age. My dad also exposed me to a wide variety of great music including Pink Floyd, Jethro Tull, Moody Blues and a number of others.

Q. What is your work process? That is, how do you go about writing a film score, or composing a piece? How do you pick your key themes?

Every project is different. I usually watch the film and I start to hear music in my head at that point. I really like directors who have notes for their movie - ideas of what they envision for scenes - because, really, you are there to realize their aural vision. I'm a visual composer - I can look at a picture, drawing, scene, event and I'll think up music that could go with it. I'm always walking around looking at things - there's a soundtrack always playing in my head.

Q. What are your thoughts on being a composer? On being a composer in North Dakota? What would you say to someone interested in doing the same?

I'd say GO FOR IT! We need more composers in North Dakota. I would warn them, though, that it's very difficult to get performed. Our orchestras are dollar driven like any other organization. "New music" is almost a swear-word in some circles of the orchestra administration. We live in a dominantly conservative demographic. New music = noise to many and the orchestra committees are worried about losing sales - and rightly so. We don't want to lose what we have, but in order to grow, I believe that they need to try new works, at least 1 or 2 a season. It's the only way to education and "desensitize" (laughing here) our audiences.

Q. What are your top musical influences? Composers?

Beethoven and Bartok are two of my favorite in the orchestral realm.

On the contemporary side, I have a hugely eclectic library. I would say that as far as influences throughout the time line of my musical life they would include: Pink Floyd, David Gilmour, Roger Waters, Jethro Tull, Moody Blues, Tangerine Dream, Radiohead, Clannad, Enya, Danny Elfman, John Barry, Coldplay, Keane, Muse, Patrick O'Hearn, Phish, R.E.M., They Might Be Giants, Skinny Puppy, Martin Denny, Les BAxter, U2, Yes and a pile of others.

Q. Anything else you'd like to add about music, North Dakota, hobbies, etc.?

I love art, art history. I enjoy drawing and painting in water colors, acrylics. I have an obscene amount of books, some read some not read - and I continue to buy more. Hiking, canoing and camping/exploring are great escapes - especially in the Badlands of North Dakota. I love cats and am similar - although I think I've used 4 or 5 of my 9 lives. Any artists composers, adventures - I'd love to collaborate - contact me!

-----------------------------------

Troy's Work:

Cthulhu Links:

Buy:

In the News:

Links:

Troy can also be found on Facebook, LinkedIn, and Twitter. Just do a search.


Labels: ,



Copyright (c) Julie R. Neidlinger      4/18/2008 02:09:00 PM      (1) comments      Links to this post    
SHARE THIS POST: Facebook | Stumble It! | Del.icio.us | DiggIt! | Technorati | Blinklist | Furl | reddit | Newsvine

  Like this post? Subscribe to the feed.     Click here to help support this site.

Interview: Experiencing a Julie phone call and the worst interview ever.

written by Julie R. Neidlinger      5 comments      link this post     





::Interview with Naomi Damschen, probable friend of Julie Neidlinger. Frequent recipient and therefore expert in phone calls from Julie. The interview quickly devolves into I'm not sure what. Naomi was sitting beside me as I typed while both talked. This is a very accurate conversational record. Sadly. Two college graduates, and this is what we came up with.::

People don't call me much. Let's find out why. And let's watch me lose 50 percent of my blog readership.

Q: Tell me about some of the funny remembrances from past answering machine moments.
A: (Laughing.) (Laughing some more.) OK. I think...I think you called me from work one day. And obviously left a message because no one was home. I can't remember exactly what the message was, but it was something like 'Uh, uh, hey Nome. Uh, this is Julie. And, I guess, we're...not gonna go on that trip. So, I guess, uh, I can go to Fargo if you still want to... do that. So, do you want to go to Fargo, then?' (Laughing.) Uh, so, I guess, just, yeah. Call me. And let me know.' You say "uh" a lot. I remember this was funny because you ask me a question and I can't answer, like you realized you asked a question and then realized it was on a machine and no one could answer.

Q. Please relay a recent funny live phone call in which Julie intended it to be a serious phone call and not a joke.
A. OK, this one will be hard because there's so many tones and sound effects that I can't describe. But I'll try.

Today, the phone rings, and I see that it's the Neidlingers on the caller ID. So I say "hello?" and I hear the quiet, semi-hesitant voice of Julie.

"Nome?"

"Yeah?"

"Uh, uh, oh no!" Terrified voice now, saying, "Oh, oh, my gosh, there is a huge spider! Mom! Mom!" Then you direct it back to me for a nanosecond. "Oh, sorry, sorry Nome, I didn't call -- oh, oh no! Another one!...THERE IS A HUGE SPIDER IN THE MIDDLE OF THE WALL! Mom! Mom, do you see that spider?! Oh, Nome, I'm sorry, I called to -- Oh no! Mom! Mom! Oh my gosh, she just killed it with her bare hands and she's making supper -- you better wash your hands! Uh, OK, sorry Nome."

So then you started telling me that Sabine sent some stuff back from Germany for us. But then that was interrupted by a whole different mood. We're no longer terrified, but now we're in the baby talk about salamanders.

"Oooh! Oooh! The little salamander -- it's so cute! Oh it's walking down the driveway!"

I think you were trying to get back to normal conversation but it was like the salamanders were definitely dominating. And then you saw a second salamander.

"Ooooh! There's another one! Mom, the salamanders are coming out! They are so cute! Oh, Nome, I really didn't call you to tell you about the salamanders, but this one's really a cute one! It's all black and shiny and stuff. Oooh! There's another one!" And that's all I can remember.

Q. Do you find it disconcerting to have a conversation like this?
A. No. I'm glad you feel comfortable to just go on with whatever is going on here. I remember that one time when I called you and I think you blogged about that, when you answered and I said "Hi Julie" and there was another call -- someone I had been trying to get a hold of for a long time -- "Can you hold on for a second?" I think you blogged about that. I don't mind getting calls like this; at least you call.

Q. Do you think people might be surprised to find out how ineloquent I am on the phone versus my skillfully worded and carefully selected prose on this blog?
A. Yeah. I think they might be.

Q. That's a really lame answer. Please continue. I have a reputation here, Naomi. Say something more than 'Yeah, I think they might be.'
A. It's a lot of pressure. Um. Well, don't type um. That's not going to help your reputation at all. Or mine.

Q. Do you realize how stupid this blog post is?
A. Can I give a simple answer or do you want me to --

Q. I'm asking the questions here.
A. "I'm the owner!"

Q. If you want the cat, you can have him. I'd recommend diapers.
A. I'm sorry, was that a question?

Q. And this is why no one calls you.
A. (Points out a typo.)

Q. You suck.
A. (Laughing herself sick.) I love how the Q & A has become completely irrelevant. (Points at something and TOUCHES THE SCREEN.)

Q. DON'T TOUCH THE SCREEN!
A. (Laughing along with me.) Ohmigosh.

Q. So.
A. Well, I s'pose.*

Q. Any news?**
A. Well at least you're asking questions again.

Q. Would you call this an interview or more like a drive by IM without the benefit of distance and anything else that would actually qualify it as an IM? Because I'm confused as to what this is.
A. (Pausing. pausing. pausing. pausing.) I'm thinking.

Q. OK.
A. (Pause.)

Q. Why did you touch my screen?
A. (No answer.)

Q. I let you sit on my bed.
A. I was just going to say, the same reason I sat on your bed. Your sacred bed.

Q. Are you mocking my phobia of having people sit on my bed?
A. Yes.

Q. Well. I'm the owner. Of the bed. And the cat.
A. (Raises her eyebrows.)

Q. What are your thoughts on jello?
A. Why do you look at me when you're typing the question?

Q. Does it creep you out that I look at you out of the corner of my eye? And still type acuratelly...oops.
A. (Laughing.) Would you like to point out that you just snorted?

Q. No.
A. (Laughing, tipping back in chair.)

Q. This is like a podcast but without the sound. Do you think this would be a funnier exchange if people could hear us?
A. Possibly, if they could hear us. But I'm really glad they can't see us.

Q. Why?
A. (Pause.) Hmm.

Q. My fingers hurt.
A. My stomach hurts.

Q. My head hurts.
A. (Laughing.) Q & A...I love it.

Q. I win.
A. Let's have some cookies and watch a movie.

Q. What movie?
A. Anything.

(We leave.)
-----

*The way people from North Dakota, having nothing else to say or are wanting to, casually and within acceptable parameters announce their intention of leaving without hurting anyone's feelings. It is an implied "Well, I suppose that it is time for us to go now."

**The standard Neidlinger-Damschen greeting, any time, any place, even if you've just been talking to the person for five hours. There's always room for the question "any news?"

----

Proof that the spoken word is seldom as erudite as the written word. True dat.


Labels: , ,



Copyright (c) Julie R. Neidlinger      8/24/2006 09:28:00 PM      (5) comments      Links to this post    
SHARE THIS POST: Facebook | Stumble It! | Del.icio.us | DiggIt! | Technorati | Blinklist | Furl | reddit | Newsvine

  Like this post? Subscribe to the feed.     Click here to help support this site.

Interview: A North Dakota screenplay that doesn't make the state look stupid?

written by Julie R. Neidlinger      6 comments      link this post     




Did you see the movie Fargo? We don't talk like that. How about the movie Wooly Boys? Yeah, me neither. Not many did. There was another movie that had a brief North Dakota connection. Did it have sled dogs? I can't remember.

Which is my point: North Dakota is used as the punchline in movies, or the place closest to purgatory and all things dreadful while Montana and South Dakota get movies like A River Runs Through It and Dances With Wolves to drag jaw-dropping tourists in. Minnesota has no shortage of films shot there. Wyoming? Wyoming is mostly an ugly plains state (it is! have you been there?! it is!) but thanks to Brokeback Mountain, they too have their moment in the sun. North Dakota is surrounded by glory states. What do we get?

We get the Wooly Boys; we get outhouses in the Badlands.

What to do? Nathan Anderson has an idea, and he agreed to an email interview today to tell us his ideas.

Q: Tell me a little about yourself and your ties to North Dakota. Do you currently live in North Dakota?
A: I moved to North Dakota when I was three from Ohio. Son of a Lutheran pastor and a then housewife, we (I’m the youngest of four) lived in Plaza (50 miles Northwest of Minot) for 10 years and we moved to Minot as I entered the 9th grade. Graduated from Minot High in ’97 and moved to Moorhead to attend Moorhead State University. Spent a year in the dorms then moved to Fargo where I lived for three years. In-between those three years I attended California State University – Bakersfield as a part of NSE (National Student Exchange): Met a girl there, we came to MSUM where I received a BA in English with an emphasis in Creative Writing. We moved back to California, spent almost a year in Manhattan and now live in Berkeley, CA.

Q: How long have you been writing? Have you written a screenplay that's ready to go?
A: I’ve been writing since I was young, mostly god-awful poetry until I discovered free verse, which inevitably ran into short-stories, prose poetry, an unfinished novel and journals full of stuff I might use. I started writing my current screenplay over two years ago and feel I have a near shooting script, which means all the written kinks are worked out (for the most part). I also have two treatments for two other screenplays (a treatment is a tool to flush out an idea and story – basically a few to a many pages of movie prose).

Q: Can you give us a synopsis or brief description of what your screenplay is about?
A: The film is based on two friends: One gets a corporate job, moves to Minneapolis, has a nervous breakdown and moves back to the small North Dakota town of his youth. The other is a writer, who lives in Fargo and struggles to find meaning in his life. Although the two were childhood best friends, they have since grown apart and have a brief meeting as adults (both main characters are in their 20's). The movie flashes back to their youth and we find that although both are oblivious to one another as adults, they are united by their past and present situations, which in turn culminates to an interesting ending and window into their futures.

Q: Why is it important to have movies of high caliber associated with North Dakota? Do you think this has happened yet?
A: I would call the movies I wish to make necessary for our state – a creative way to illuminate others to the interesting and often over-looked dynamics of North Dakota under the guise of a great pseudo-fictional film, while simultaneously sparking economic growth, creative growth, and a positive external/internal image of our state. Whether these films will be considered high-caliber is not up to me, but I’m going to make the best damn film(s) I can. To answer the second part of your question: Wooly Boys or Fargo – both films offer a slice of North Dakota, although the latter only offers one bite, which is the wrong flavor and I am not out to make a family film. I use adult language and adult situations, more specifically 20something situations.

Q: You sent out an email via the North Dakota Council on the Arts. In this email, you mentioned that you were trying to redraw North Dakota conciousness. Can you explain that a little bit?
A: By redrawing the North Dakota consciousness, in affect, I am isolating everything I know about North Dakota and redistributing it on film. My brother-in-law is a farmer in Plaza, my sister works at a bank in Parshall, my dad is a Lutheran pastor in Western North Dakota and my mom works at Minot State. I want my 10-year-old nephew to take over the farm. I want my father to continue preaching in Western North Dakota. I want my brother-in-law to continue farming. I want North Dakota to be recognized as a viable artist retreat and creative resource by using topics recognizable to every North Dakotan and interesting/intriguing to those who only think North Dakota is below Canada, near Montana and Minnesota, somehow connected to South Dakota, cold, barren, flat and utterly hopeless. North Dakota’s consciousness is really my way to change how others consciously view our state.

Q: You also mentioned in your email that there was no reason North Dakota couldn't be a center for "film, video and art." Do you really believe this? Will this tie into the state-wide efforts of creating a "New Bohemia" in the state or were you not aware of that?
A: To be honest, I borrowed that part from Mary Ann Phillips who gave a great interview in Prairie Business Magazine’s most recent issue. Her and her husband own Video Arts Studios in Fargo. She was able to articulate the same feelings I’ve been having about North Dakota and film, although she also focused on the television and audio aspect. I do believe that North Dakota could be a center for film, video and art because most movements begin under the radar and gain momentum. North Dakota is primed for this type of movement because we are under the radar as a state, but we can completely take advantage of advances in film, video and art technologies. I am aware of New Bohemia and wish to strengthen their premise. With a centralized contemporary, artistic website, New Bohemia will easily become apart of the film process because the art shown in the films I create, will then show up in the credits as a website: “To purchase any of the art seen go to www.NDNewBohemia.com.” All North Dakota artists and all their art will be featured on the site with price-points, bios, etc…

Q: To quote from your email that went out to artists across the state, you said: "North Dakota's population is about 635,000. If 40% of our state's population donated one dollar, we could make a worthwhile film and bring positive attention to our state, its artists, and the community at-large." Is this a serious idea for funding, or was it a hypothetical way of showing how your ideas could be funded? Do you think this would work? Is it fair to ask for this kind of attention for your project and idea when other artists still here struggle?
A: I am serious about my funding strategy. I want to start the first cooperative film production company, at least with this first film. To break the numbers down even further: If 2,500 North Dakotans invested $100 each into my film project, we (emphasis on we) could create a viable movie making machine. To help with the math, that’s $250,000, which would:
In a nutshell, EXPOSURE. The idea alone would draw national attention. Can you imagine the headline: North Dakota is producing a movie. If the movie fails, it will not damage the state’s image because it would only re-affirm opinions others have of the state, but when it succeeds – we’re on the map and can only move forward. I feel we have nothing to lose and everything to gain. Artists’ will always struggle because that’s the nature of an artist; even a successful artist. And the attention I crave is really a means to illuminate the end product, which will give screen time to North Dakota’s artists, while also listing there names and websites in the credits. I feel the process will be advantageous to everyone.

Q: Do you think the value of positive film experiences for the state would bring in more revenue than other art forms? Would it draw in a wider interest area?
A: I had a great conversation with Sten Iverson who is the manager of the Montana Film Office. He sent me a report produced by the Montana Commerce Department, Montana Film Commission and in conjunction with Arts Market, Inc. The report outlines the positive impacts of the film industry on Montana’s economy. The report is very detailed and shows that Montana has been the beneficiary of millions of dollars of revenue as a result of the films made there. I believe North Dakota could also be the beneficiary of substantial revenue with positive film experiences. My kind of film would draw wider interest because again, my films would illuminate our strengths as a state and not isolate the stereotypes.

Q: Would these films be all genres, eventually? (documentaries, fiction, etc.)
A: In addition to the screenplay, I have two treatments about two films, which are completely different from one another and the former so right now I have 3 legitimate North Dakota films that touch on a myriad of North Dakota topics.

Q: Have you spoken with other artisans across the state who are struggling to make a living in their art form? Do you think North Dakota is open and arts-friendly at a people level (i.e. the citizens, not the universities or art groups)? Do you think film has a better chance than more traditional forms of art?
A: When I lived in Fargo, I was a part of that scene: I lived in the Gardner, hung out at Zandbroz and Atomic Coffee and Trentinos and Bosnian House and Luigis (when they had the open mike). I was a writer though and didn’t spend a lot of time at Plains Art or the Moorhead art gallery, but I hung out with visual artists. North Dakota is arts-friendly because we have no reason to be pretentious and because there are so many traditional artists who are the only expert in the state so they want to share their talent with others. I feel strongly about film because that’s what I’m dedicated too, along with writing. I don’t have the knowledge to form a bias towards other genres, but that’s why this process will not be individualistic – everyone will be accounted for.

Anderson's Final Thoughts: That’s it for now – the other questions are more involved and I will have more long-term info when I finish my business plan, but until then will leave them mute. Although I have contacted congressional delegates: Some have responded positively and some haven’t responded, it is what it is, but the process moves on and forward.

My Recap: Here are the rest of the questions Nathan Anderson references in his final thoughts. I thought I'd include them, as well as a few follow-up questions I have after reading Nathan's response in the hopes of getting the thoughts of my readers.

Interview Follow-Up Comments/Questions:
Disclaimer: I am no longer a twenty-something. I no longer feel their angst. I have a new decade to deal with. In fact, I now spend most of my interactions with twenty-somethings rolling my eyes. Back when I was an art student at Moorhead State (four years), I did not go to art museums, coffee houses or any of the usual haunts as listed above. Instead, I sat in my apartment and watched Star Trek. What I'm trying to say is, I am very leery of the "hipness" factor often seen in art movements and revitalization, a factor that often eats itself and kills the momentum. I am not, however, making these comments or asking these questions out of spite. I think Nathan has some good ideas, plenty of enthusiasm, and was graciously willing to take serious time to answer my questions.

So now it's up to you, reader.

I invite your response, whether you're from North Dakota or not. The only responses I don't welcome are those that say things like "North Dakotans are idiots" and "no one cares about North Dakota" or "where's North Dakota, anyway." If you feel led to leave such a response, go throw yourself into traffic.




| tag: |

Labels: ,



Copyright (c) Julie R. Neidlinger      2/06/2006 10:57:00 AM      (6) comments      Links to this post    
SHARE THIS POST: Facebook | Stumble It! | Del.icio.us | DiggIt! | Technorati | Blinklist | Furl | reddit | Newsvine

  Like this post? Subscribe to the feed.     Click here to help support this site.

ARCHIVES