Author Archive

Call for Papers:  “Performing Stardom”: New Methods in Critical Star Studies

February 14, 2015

NoRMMA (Network of Research: Movies, Magazines, Audiences), University of Kent, UK

Friday 29th May, 2015

NoRMMA invites proposals for an interdisciplinary conference on non-traditional approaches to star studies research. The one-day event will be held at the University of Kent on May 29th, 2015.

Confirmed keynotes:

Dr Catherine Grant, University of Sussex
Dr Kieran Fenby-Hulse, Bath Spa University

The event will focus on ways to explore film studies research through non-traditional approaches. Examples include: performance, video essays, interpretative dance, creative fiction/non-fiction, poetry, music, and any kind of multimedia project. Through this symposium, we would like to explore the connections between scholarship and fandom, research and creativity, the benefits and disadvantages of exploring an (audio)visual art through (audio)visual means, and the development of the innovative and ever-emerging field of practice as research.

Potential topics include, but are not limited to:

– Star studies

– Film History

– Fan magazine research

– Audience reception studies

– Archival research

– Genre studies

– Aspects of film analysis

Potential contributors should submit abstracts of 300 words and a short biography to normma.network@gmail.com by Friday 27th February, 2015.

Intensities CFP: Fifty Shades of Grey (2015)

February 13, 2015

The cinematic release of Sam Taylor-Johnson’s Fifty Shades of Grey (2015) has already garnered speculation, derision and debate equal to its highly controversial source text, E. L. James’ homonymous trilogy. Its alignment with mass media, a predominantly female audience and mainstream cinema make it a concurrently anticipated and abhorred rich contemporary text. Intensities: The Journal of Cult Media thus invites papers which will interrogate this adaptation from a plethora of new perspectives including industry, text and reception analysis.

Focuses may include, but are not limited to:

* Adaptation Studies
* Audience Studies
* Comparative film analyses
* Criticism analyses
* Genre and Formalism
* Fans and Fan-Fiction
* Kink, BDSM and Sexual Politics
* Pornography Studies
* Publicity, promotion and paratexts
* Psychoanalytic textual analysis
* Queer Theory
* Social Networking and the Blogosphere
* Star Studies

Authors are expected to familiarise themselves both with the pre-existing literature on Fifty Shades, and with the submission guidelines available at:

http://intensitiescultmedia.com/about-intensities/submission-guidelines/

Considering the timeliness of this topic, the deadline for submissions of 6-8k papers accompanied by 250 word abstracts and 150 word bios is April 30th 2015 for publication this year. Submissions should be emailed to assistant editor Sarah Taylor-Harman at Sarah.Harman@brunel.ac.uk.
Inquiries and expressions of interest are also welcomed.

Intensities is a peer reviewed open access online journal. www.http://intensitiescultmedia.com

CFP: Gendered Politics of Production: Girls and Women as Media Producers

February 13, 2015

June 16, 2015 at Middlesex University London

Keynote by Mary Celeste Kearney (University of Notre Dame, USA), author of Girls Make Media

Girls and women are arguably producing more media than ever before. As bloggers, vloggers and “tweeters”, filmmakers, television showrunners, web designers, game developers, and musicians – to name only a few – girls and women are active contributors to contemporary media production cultures. Yet, recent incidents such as Gamergate point to the continuous precarious positioning that girls and women occupy as both amateur and professional media producers within a context shaped by what Sarah Banet-Weiser (2015) has recently called “popular misogyny.” What is at stake for female media producers within this context? How do identities such as gender, race, class, age, sexuality, nationality, and ability shape one’s participation in production cultures? How are gendered neoliberal imperatives to be constantly productive informing who is producing media and what these media texts look like? And in what ways are girls and women mobilizing media production as an activist strategy to challenge sexism, racism, classism and other social inequalities across local, national, and international contexts?

We are seeking papers for a one-day symposium that aims to examine these questions and explore girls’ and women’s production of a wide range of commercial and alternative media texts.

Papers may address, but are not limited to, the following themes:

• Historical analysis of girls and women as media producers

• The production and circulation of feminist and activist media texts

• Gendered labour in media industries

• Methodological approaches to studying production cultures

• Relationship between gender, media production, and neoliberal entrepreneurship

• The politics of media production training programs

• Female media producers across global media networks

• Participation in digital media cultures

This one-day symposium, featuring a keynote lecture by Mary Celeste Kearney (University of Notre Dame, USA), will be held at Middlesex University in London UK on June 16, 2015. It will serve as an opportunity for discussion and networking for feminist media scholars focusing on production cultures prior to the Console-ing Passions Conference in Dublin from June 18 – 20. This event is organized as part of Middlesex University’s FemGenSex Research Network and the Media Department’s Gender and Sexuality Research Cluster.

Please submit abstracts of 250-words and a 50-word bio by March 15, 2015 to Jessalynn Keller (j.keller@mdx.ac.uk), Feona Attwood (f.attwood@mdx.ac.uk), and Mariam Kauser (m.kauser@mdx.ac.uk).

Networking Knowledge Journal: Expressions of Interest

February 6, 2015

For the attention of all postgrads/early career researchers (please pass this email on if you know one),

Networking Knowledge - the Journal of the MeCCSA Postgraduate Network – is seeking expressions of interest from prospective editors, authors and peer reviewers.

Guest Editors:

The journal publishes specifically-themed guest edited issues throughout the year. The journal is now calling for prospective guest editors who are interested in editing collections of articles on a theme of their choice. This will include conceiving the theme and its parameters, seeking and selecting authors of 5-8 articles through both commissioning and an open call for papers, managing the peer review process, copy-editing articles and contributing a short editorial introduction to the finished collection. Guest editors will be supported throughout the process by the Journal Editor, who will also prepare the final articles for online publication.

This is a valuable opportunity for PG researchers to gain experience of all aspects of peer-reviewed journal publication, as well as developing interaction with peers who have similar research interests. Teams of two or three Guest Editors are acceptable, as well as individuals. Themes can be drawn from any aspect of the subject areas covered by MeCCSA. They should represent a cutting-edge and specific research focus, but be open enough to accommodate a range of disciplinary, methodological and/or geographical areas.

As a guide, some previous special issues have focused on:

•Time and Technology in Popular Culture, Media and Communication
•Branding TV: Transmedia to the Rescue
•Protest and the New Media Ecology

And our forthcoming issues will be on:

•Mediatizing Gaza
•Digital Comics
•Selfies
•New Perspectives on Cinematic Spectatorship and Digital Culture
•New Approaches to Music Listening

Proposals should be no more than 500 words and include:

•A provisional title for the collection
•The proposed theme, including a brief explanation of existing relevant research and what the collection will seek to contribute
•Brief examples of potential contributors (to be commissioned) and article topics (to be included in a call for papers)
•Name(s), institution(s) and e-mail address(es) for the prospective guest editor(s)

Articles:

As well as guest editors of themed issues,Networking Knowledge is now also seeking material for open submission.

Such articles, interviews, reviews and conference reports are to be published in standard issues. These pieces will be firstly screened by the Journal Editor for relevance and suitability, then peer reviewed by two members of our PG advisory board. Submissions can be on any of the broad subject areas covered by MeCCSA. Abstracts of no more than 150 words can, in the first instance, be e-mailed to the journal editor. The editor will then inform the author if a formal submission will be relevant and suitable. Alternatively, full submissions can be sent unsolicited to the journal editor.

More detailed author guidelines are available here: http://ojs.meccsa.org.uk/index.php/netknow/about/submissions#authorGuidelines

Peer Reviewers:

The journal is also looking for experts across all areas of media, communications and cultural studies to join its advisory board of peer reviewers. As a member of the advisory board, you will get hands-on experience of the peer reviewing process and be part of this dynamic and multi-disciplinary journal. All postgraduate and early career researchers who would like to be involved in encouraging cutting edge and high standard scholarship in this open access online journal are invited to volunteer.

Members of the advisory board are required to write a single page report on articles that relate to their specific research interest(s) and make a recommendation as to its suitability for publication. It is a ‘double blind’ process so both authors and reviewers remain anonymous.

If you are interested, please send the following information to the Journal Editor:

•Your name
•Your institutional affiliation/s (if applicable)
•Your position (e.g. PhD candiate, lecturer, etc.)
•Your current e-mail address/es
•3-6 key words or phrases identifying your areas of expertise (no need to mention ‘media, ‘communications’ or ‘culture’!)

NB. those who are already members of the advisory board, please contact the editor to update contact details and areas of expertise if they’ve changed recently.

Expressions of interest in editing a special issue, contributing an article or other material, or joining the advisory board of the journal, should be sent to the Journal Editor, Simon Dawes, atsimondawes0@gmail.com

CFP Series Journal

February 6, 2015

We are pleased to invite submissions for the second issue of SERIES, a new international open access journal on TV serial narratives. The main focus of the journal is to promote a global discussion forum and an interdisciplinary exchange among scholars engaged in research into TV serial narratives. SERIES encourages methodological innovation in academic research, providing new contributions for a better understanding of the narrative, technological, economic, social and cultural impact of TV serial dramas. Articles should deal with television series, web series and/or telenovelas. According to that we will welcome submissions on every topic related to TV serial narratives for our second issue. 

In addition, a relevant issue at the moment seems to be the size of serial production that now more than ever have been so diverse and manifold. New broadcasters/producers and new forms of fruition are outlining a scenario in which the size of the series have become particularly important, also in determining the performance of the product in terms of ratings/advertising/sponsors/product placement, etc. Papers devoted to the study of this topic will be specially welcomed.

If you are interested in this call for papers, please send your full manuscript before June 30, 2015. The deadline for the editorial work (open and peer review process, editing and improvement of articles if needed, etc.) is September 30, 2015. Expected publication date of the issue: November 2015. 

For more information about the journal, please visit the website: http://seriesjournal.org

CFP: ECREA TV Studies Section MAB Joint Conference

January 31, 2015

TV in the age of transnationalisation and transmedialisation: a two-day, international conference

Date: Monday 22nd and Tuesday 23rd JUNE 2015

Venue: University of Roehampton, London, UK

Organisers: ECREA Television Studies section and the Media Across Borders network (www.mediaacrossborders.com)

Television is crossing borders in multiple ways. Throughout much of the 20th century it seemed to resemble the geometrical elements of a Kandinsky painting from the Bauhaus phase: each element clearly distinct but overlapping and carefully positioned in relation to other elements. Television was perceived and studied similarly; mostly separate from the other mass media, including film, radio, video games or consumer magazines. Moreover, in Europe television content was clearly separated from advertising through the distinction, or separation principle. In addition to these distinct media elements, state borders clearly separated television markets in the perception of academics, audiences and TV executives. After all, television was mostly conceived and regulated by state institutions and predominately broadcast and consumed within state borders. Cross-border production and trade in television programmes were consequently viewed as international; organised between national institutions and companies. But gradual and ongoing transnationalisation and transmedialisation are making the neat geometrical forms more and more permeable, manifold and unsteady. Kokoschka’s style of painting, blurred and blended, seems a more appropriate metaphor to describe today’s television-scapes. This conference offers a space to reflect on the changes pertaining to the processes and workings of transmedialisation and transnationalisation, and on the theoretical and methodological consequences this has for television studies. It also offers opportunities for networking.

Papers are invited on topics related to television’s transnationalisation and transmedialisation, including:
• Transnational and international production and distribution of TV programmes
• Transmedia/cross-media storytelling (with global examples particularly welcome)
• The trade in TV Formats
• Adaptations and remakes of international franchises
• Localization of television and related content at the textual and paratextual levels
• Dubbing, subtitling and re-versioning of television content
• Marketing and branding of global (trans)media franchises
• Global television aesthetics
• Transnational television consumption and reception
• Professional negotiations of internationalisation, transnationalisation and localisation
• Organisational relationships and trends in a transmedialising/transnationalising media environment
• Attempts to re-conceptualise television and television markets
• Theoretical reflections on the international, transnational, global, national and/or local
• Methodological reflections: researching television in the age of transnationalisation and transmedialisation

Plenary speakers
Liz Evans (University of Nottingham)

Giselinde Kuipers (University of Amsterdam)

Industry panel to be confirmed but will include Senior TV Executives from BBC Worldwide, Channel 4, FremantleMedia, HBO Europe, Media Xchange, Northern Europe and 360 Degree, Shine International and/or Warner Bros.

Information/details
Submit your max. 300 word abstract along with institutional affiliation and a short bio (max. 150 words), or a panel proposal (minimum 3 speakers, 300 words rationale plus 300 words per paper, relating them to the focus of the conference to Lothar Mikos (l.mikos@hff-potsdam.de) and Andrea Esser (a.esser@roehampton.ac.uk) by March 9, 2015.

Decisions on abstracts will be communicated by 6th April 2015.

The conference fee for ECREA and MAB members is £95 waged (approx. 127 euro/$144; £45 unwaged/student (approx. 60 euro/$68/); for non-members it is £110 waged (approx. 147 euro/$167 and £55 unwaged/student (approx. 72 euro/$83/). The fee includes lunch and refreshments for both days and a drinks reception.

Conference papers on TV Formats will be considered for a special issue on ‘Trade in TV Formats’, for VIEW: Journal of European Television History and Culture (http://journal.euscreen.eu/index.php/view) for publication in June 2016. The issue is jointly edited by John Ellis (Royal Holloway/University of London), Andrea Esser (University of Roehampton, London) and Juan Francisco Gutiérrez Lozano (University of Málaga/Spain).

The conference is hosted by the University of Roehampton’s Centre for Research in Film and Audiovisual Cultures (CRFAC) in the Department of Media, Culture & Language.

Please direct any academic queries to Dr. Andrea Esser (a.esser@roehampton.ac.uk), other queries to Julia Noyce on julia.noyce@roehampton.ac.uk or 0208 392 3698.

Transmedia Storytelling and Its Reception: Economies and Politics of Participation

January 13, 2015

Transmedia Storytelling and Its Reception:
Economies and Politics of Participation
Schloss Herrenhausen, Hanover
25-27 February 2015

Hailed by many as a paradigm shift in the way stories are told and experienced, transmedia storytelling has in recent years become a firmly established practice and presence in mainstream media. The conference “Transmedia Storytelling and Its Reception: Economies and Politics of Participation” brings together a group of national and international experts who will engage with mainly two aspects of the phenomenon. The first is the theorisation and specification of transmedia storytelling as a storytelling mode and a cultural product, for example in relation to intermediality, franchising, games and the notion of storyworlds. The second concerns the reception of transmedia narratives. Transmedial story set-ups can be highly complex and, especially when they involve the so-called social media, can challenge the traditional unidirectional model of textual communication. At the same time they raise questions about the means of creating audience immersion, about offers of participation and interactivity – or a lack thereof – and about the implications of transmedial narratives for notions of production and reception. Addressing psychological and physiological aspects of transmedia reception as well as questions of transmedia literacy and reception aesthetics, the conference offers an array of perspectives on the reception of transmedial narratives.

The conference brings together experts from the fields of media studies, literary studies, communication studies and cultural studies, as well as practitioners, journalists and editors. Speakers include Sarah Atkins (University of Brighton, UK), Martin Butler (University of Oldenburg), Elizabeth Evans (University of Nottingham, UK), Dorothea Martin (Das wilde Dutzend Verlag), Irina Rajewsky (FU Berlin), Pamela Rutledge (Fielding Graduate University, USA), Eckart Voigts (Braunschweig University) and Mark J.P. Wolf (Concordia University Wisconsin, USA).

One of the aims of the conference is to offer a platform for exchange among young scholars. We would therefore like to invite them in particular to join us and contribute to the interdisciplinary discussion that we are hoping to generate. For further information, please see the conference website:https://www.tu-braunschweig.de/anglistik/seminar/liku/forschung/projekte

Conference convenors: PD Dr. Monika Pietrzak-Franger (University of Hamburg)
PD Dr. Lucia Krämer (Leibniz University Hanover)

Contact: transmedia@tu-braunschweig.de (Registration possible until 10 February 2015)

The conference is sponsored by the VolkswagenStifung.

CFP: Media Archaeologies Forum: Journal of Contemporary Archaeology

January 3, 2015
Media Archaeologies Forum: Journal of Contemporary Archaeology

The recent emergence of ‘media archaeologies’ is an exciting theoretical and methodological shift within media studies. In 2010, in The Routledge Companion to Film History (ed. William Guynn), Erkki Huhtamo defined ‘media archaeology’ as ‘a particular way of studying media as a historically attuned enterprise’ that involves researchers ‘”excavating” forgotten media-cultural phenomena that have been left outside the canonized narratives about media culture and history’ (203). In the same year, Jussi Parikka added that ‘media archaeology needs to insist both on the material nature of its enterprise – that media are always articulated in material, also in non-narrative frameworks whether technical media such as phonographs, or algorithmic such as databases and software networks – and that the work of assembling temporal mediations takes place in an increasingly varied and distributed network of institutions, practices and technological platforms’ (http://mediacartographies.blogspot.ca/2010/10/what-is-media-archaeology-beta.html). German media theorist and trained archaeologist, Wolfgang Ernst, describes media archaeology’s focus on the ‘nondiscursive infrastructure and (hidden) programs of media’ (2013, Digital Memory and the Archive, p. 59). If media archaeologists such as Thomas Elsaesser, Wolfgang Ernst, Lisa Gitelman, Erkki Huhtamo, Jussi Parikka, Cornelia Vismann and Siegfried Zielinski are interested in scalar change, material-discursive assemblages and deep time relations as they pertain to media technologies and networks, how might archaeologists with interests in the media actively contribute to the shaping of this field?

Alongside archaeology’s discursive travels across the humanities, most notoriously via Michel Foucault, archaeologists have long engaged with media. From Silicon Valley to Atari dumps, from the mobile phone to the media technologies of post-war astronomy and from telegraphy to the material-discursive actions of media as sensory prostheses, the global archaeological community has produced a large number of important studies of media techno-assemblages that both map specifically archaeological approaches and push at the limits of archaeology as a discipline. What are the archaeological specificities that mark out a distinct disciplinary approach to understanding media? How might the practices of media archaeologists such as Huhtamo, Parikka, et al challenge assumptions that archaeologists located within the discipline might have about their methodological and conceptual specificities? In short, where are the boundaries between media archaeologies and archaeologies of media? How are those boundaries drawn, performed and maintained? And how might we work together to ask new questions of media technologies and their relations?

This forum invites contributors to submit responses to the provocations contained in the first paragraph. The forum invites contributors to draw out key archaeological theories and practices to contribute to the rich field of media ecologies, archaeologies and ‘variatologies’ in order to explore the implications of distinct yet diverse archaeological approaches to media assemblages. Commentaries are welcomed in the form of short texts (1,000 – 3,000 words) or in any other genre suitable for print, including drawings and images. We welcome especially original thoughts and specific examples from around the world.

Commentaries will be selected in terms of originality, diversity and depth and will be published in a forthcoming Forum in Journal of Contemporary Archaeology (http://www.equinoxpub.com/journals/index.php/JCA). Deadline for submissions is 3 February 2015.

For submissions and questions, please contact Angela Piccini, a.a.piccini@bristol.ac.uk.

CFP: Extending Play: The Sequel

December 3, 2014

Are we the species that plays—or are we better understood as the species thatrepeats? Walter Benjamin suggests that, “For a child repetition is the soul of play.” Is play always at its core a form of re-play, an iteration of an earlier moment that resists a complete recurrence, yet is found in a series or sequence? We accept replication as a matter of course: Successful games and films always already have a sequel in the works, fashion is fueled by a recycling of its past, and images are increasingly manipulated to mimic the earlier eras of photographic technique. But what is the impact of these repeats, echoes, and continuations? And how do we understand the experience of play as a chain of sequels in the age of digital surrogates, cybernetic archives and networks of distributed storage?

Extending Play: The Sequel asks how conceptions of repetition, iteration, mimesis, chronography and sequence emerge through the dynamics and modalities of play in an increasingly repetitive, yet always playful world. We aim to continue the mission of the previous Extending Play conference, to entertain all approaches to the traditions, roles, and contexts of play that extend its definition and incorporation into far-flung and unexpected arenas. With The Sequel, we hope to focus on how play is culturally reproduced, repeated, continued, remixed, recycled, resequenced, and reimagined, and how play re-orders issues of power, affect, labor, identity, and privacy.

We invite scholars, students, tinkerers, artists, visionaries, and players to the second iteration of the Rutgers Media Studies Conference: Extending Play, to be held April 17th and 18th, 2015 on the Rutgers University campus in New Brunswick, NJ. Submissions are welcomed from scholars working in media studies and related fields across the humanities and social sciences. Our keynote conversations will include a conversation between Miguel Sicart (IT University of Copenhagen) and Anna Anthropy (Author, “Rise of the Video Game Zinesters”). Also, Marcus Boon (York University) will discuss the play of repetition with another guest who will be announced soon!

Potential topics for paper, panel, roundtable, and workshop submissions include, but are not limited to:
–Sequels, serials, remakes, covers, reprints, reissues, remixes, remasters, reprises, series, and sagas
–Media industries, including the business of sequels, franchises, and brands
–Social media and re-circulation, including memes, retweets, repins, and reblogs
–Resequencing, repetition, and the news industry
–Biomedia, genetic sequencing, and clones
–Sequels and repetition in history and historical knowledge, including global conflict, archives, and dynasties
–Mimicry, mimesis, and mirroring
–Repetition, continuation, and sequencing in digital networks, databases, and big data approaches
–Cultural Studies, Media Studies, Game Studies, Fan Studies, Critical Cultural Studies, Critical Media Studies, Critical Game Studies, and more!

Rutgers Media Studies Conference Extending Play: The Sequel promises to offer a memorable meeting of ludic inquiry, and to that end, we are looking to play with standard conference conventions. One track throughout the conference will be a series of public workshop sessions in which scholars and practitioners will host roundtable discussions on contemporary issues that bring together an audience of experts and interested parties. In the academic panel track, each presenter will have a maximum of 15 minutes to offer his or her ideas as a presentation or interactive conversation, and will choose one of the following methods of presentation:
–material accompaniment (hand out a zine, scrapbook, postcards, etc) 
–performance (spoken word, song, verse, dance, recording, etc)
–limited visuals (a maximum of 3 slides and 25 total words)
–game (create rules and incorporate audience play)

For additional ideas on how to play with media, play with time, or play with space during your presentation, visit our website atmediacon.rutgers.edu.

The deadline for proposals has been extended to Friday, December 12, 2014. We invite individual proposals, full panel proposals (of four members), and proposals for roundtable and workshop sessions. Please use the submission form on our website at http://mediacon.rutgers.edu/submit/ . If you would like to submit supplementary materials, or have trouble with the form, please send a 256 word abstract toextendingplay@gmail.com. Notifications of acceptance will be sent out by February 1, 2015.

CFP: Exploring 30 Years of Studio Ghibli: Spirited Discussions

November 22, 2014

Exploring 30 Years of Studio Ghibli: Spirited Discussions

A Cardiff University and UEA collaborative project – 18th April 2015 Cardiff University 

2015 marks the 30th anniversary of Studio Ghibli, and with that anniversary it is time to reflect on the domestic and global success of Japan’s most famous animation studio. With the retirements of Studio Ghibli’s most famous director, Hayao Miyazaki, and it main producer, Toshio Suzuki earlier this year, the future of Studio Ghibli is in turmoil, provoking rallying cries from fans and critics alike. The Wind Rises may have been Miyazaki’s swan song, but this is not his first retirement. Despite Miyazaki’s professed departure, Ghibli’s other directors like Miyazaki’s founding partner, Isao Takahata, and Hiromasa Yonebayashi have produced recent hits of varying degrees for this powerful studio that suggest overlooked aspects of the Studio in need of further analysis and discussion. This anniversary year is therefore a pertinent time to celebrate and critically reflect on Studio Ghibli, not only exploring Miyazaki’s famous films, but also considering other facets of the Ghibli universe. This symposium explores a diverse range of topics, exploring the wide international appeal of Studio Ghibli and the cultural significance of everything from the studio’s canon to its more obscure local activities.

Submissions from a variety of theoretical and methodological perspectives are welcomed, with possible topics including (but not limited to):
• Discourses of national and transnational cinema
• Animation methods and the role of cel animation versus CGI
• Ghibli anime in comparison to other animation
• The role of children in Ghibli cinema
• Adaptation of literature stories to cinematic texts
• Ghibli’s relationship to other media such as TV series, commercials, music videos, and videogames
• Merchandising and fan objects/creations
• The Ghibli Museum and discourses of space
• The role of auteur(s) and mass media production
• Postcolonial Studies
• Subtitles, dubbing, and translating texts
* Ghibli as brand and business
• Cross-cultural fan practices
• Wider socio-political issues played out in Ghibli narratives
• The studio’s history, development and relationships with outside institutions

Please send a proposal of 250-500 words and a CV/resume, or if you have any queries, to rendellj1@cardiff.ac.uk by the 15th January 2015.


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