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BrainRaps.com Today's Date:
Time:
Already working the possibilities that artists on HBO's Def Poetry Jam might one day achieve; Saul Williams is a poet, screenwriter & actor who rocks all three with ease. Raised by politically aware parents & inspired by the music of Public Enemy, KRS-One & other socially aware Hip-Hop; Saul Williams launched into a career as a spoken word poet & then MC. He first gained notoriety as a screen writer & actor on the indie film "Slam". Through the attention came collaborations with KRS, DJ Krush and a record deal with Rick Rubin's label. One Brilliant EP; "Elohim (1972)", a full length album "Amethyst Rockstar" & currently on tour with Ozomatli & Blackalicious; it's only the beginning of Saul William's career.
Bio by BrinDaNoize
posted by Rudy - Rudy
--- posted on Dec 23, 2007 at 9:07pm est --- post #000013 ---
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posted by Asa - Asa
--- posted on Dec 10, 2007 at 1:58pm est --- post #000012 ---
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posted by Esmond - Esmond
--- posted on Dec 10, 2007 at 4:25am est --- post #000011 ---
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posted by dsfasf
--- posted on Dec 8, 2007 at 9:15pm est --- post #000010 ---
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Saul,
I don't know if you remember us or not.
We live in Memphis, TN. We came to Newburg in the summer
of 1998. We first met you here in Memphis in 1997.
You had accompanied your father to Memphis where he spoke
at our church. My father was the host Pastor, Melvin
Charles Smith. Memphis has grown by leaps and bounds
since then, we are actually sort of on the "map".
I took you to see the film "Titanic" when you were in town.
It was getting a lot of press and since you had been on the road so much you had missed it.
I try to keep up with your career. I have seen you on
Def Poets and of course as Lonny in "Lackawana Blues".
We just wanted you to know we still wish you well with
your career. I love poetry and the spoken word also and I am excited about your work. Hope your family is fine,
sorry to hear your father passed away.
My last name is no longer Smith, I got married in 1999.
Its Chiodo, its Italian, don't even try to pronounce it.
Take care,
Memphis fans |
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posted by ROBIN SMITH
--- posted on Apr 4, 2006 at 6:18pm est --- post #000007 ---
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Hey Saul,
Peace & Love to you. I was talking with my little brother "Raphael S." last week (Thurs. Nov. 10, 2005), and he was checking out your live performance somewhere in LA. He told me a lot about your talent and encouraged me to check out your website. Know that I will be listening your and/or reading your poetry and sharing it with others. jj |
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posted by Janice Johnson
--- posted on Nov 14, 2005 at 7:39pm est --- post #000006 ---
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For more on Saul Williams (both in english & spanish) check out www.idol.2ya.com
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posted by Idolo - Idol.2ya.com
--- posted on Nov 24, 2002 at 4:28pm est --- post #000004 ---
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Saul Williams has realeased a 4 track cd entitled Not In Our Name. The tracks can be heard at www.notinournamemusic.com. You can request a copy through the site. Check it out. It's deep! |
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posted by Aisha
--- posted on Oct 9, 2002 at 12:33pm est --- post #000003 ---
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| Another Saul WIlliams interview |
-From hiphopcongres.com:
Saul Williams:
Art, Life, Expression
Words: Ron Gubitz
Saul Williams exudes quite a presence to back up his enunciated deep voice. I had recently seen him speak at University of Wisconsin in Madison, so I thought I was prepared. I was wrong. Saul didn't give me an interview, he gave me a lesson.
Most of the questions I asked, he exposed to be silly and one dimensional. He challenged me as a interviewer and a person to not only think outside the box, but to discount that the box ever existed at all. And this was before he performed with Blackalicious and Karl Denson's Tiny Universe.
Saul Williams has been making waves with his Art for awhile. You may have seen him in the movie Slam. You probably haven't heard him on the radio-unless it was in St Louis.
"The first station to give us airplay was the Point in St Louis. It's a sister station to KROQ in New York. They heard Omni American and played it. They had a battle and we beat Weezer and Marilyn Manson. We won five nights in a row so it is rotation now."
So one station. Not the vast exposure Brittney gets. But if you don't wanna pay $200 for XM satellite radio, or sit at your computer listening to Internet Radio shows (which may soon have to be exorbitant royalty rates), what do you listen to?
"I am somewhat optimistic by the idea of at some point, radio programming embracing actually what people listen to. I would love to turn on the radio and hear Ani DiFranco, I mean why the fuck not? Why not hear the people that I listen to in my spare time."
You could argue that Ani is not mainstream, therefore she isn't going to be played on the radio. But Saul deconstructs the mainstream/conscious debate:
"People that I listen to music-wise, I don't hear them on the radio. I just don't think that the bullshit has to be the extreme. We shouldn't have to say 'Fuck You' to mainstream culture to be thinking people. I like to imagine the possibility of mainstream culture being thinking. Meaning people have to search the crates to find Justin Timberlake remixes. You should have to go record shopping for that."
There's a market for the mainstream culture, and it is being perpetuated by people who both buy and sell these products. If there wasn't a buying audience, they would sell something else. So there seems to be some intellectual snobbery in the air.
"Instead of underestimating the intelligence of our generation, I'd rather overestimate it. But I don't think it's overestimating it because I meet individuals in Compton, Harlem, Humboldt County hippies, all saying 'that thing, that thing made me think.' We're all thinking people. I think that the entertainment industry does a great job of underestimating the intelligence of mainstream audiences and they start dumbing down the music and they start dumbing us down. Then we start turning to entertainment for escapism as opposed to something that can feed us and nurture us."
Art as sustenance. Something that not only touches us, but that nourishes and sustains us. This concept is central to Saul's belief system. Art is expression, self expression. And this self expression helps us understand, interact and affect this world.
For a while now, I have been arguing that our words create our own reality. Our words and ideas can come true once they have been expressed, thought about and wrestled with. You always hear the expression, "Life imitates Art" or conversely, "Art imitates Life." Saul views Life as a work of Art-a series of expressions, compiled into one big expression.
"My daughter's mom is a painter, and her paintings are what help her articulate her experiences, her ideas, the definitions of what it is she is experiencing so she can move on and not let history repeat itself and become this dog eating it's own tail. Your experience and ability to comprehend this experience…
My son's mother is a choreographer. Are words the most important thing in her life? No. She is intuitive and that is her nature. The way she lives her life is one big beautiful choreographed statement. Expression and finding the mode of expression that suits you-finding your voice, is important."
In Madison, he talked about the word "person." Per = being, son = sound. "When we speak we use words. Words are spelled with letters. Words are spelled. When we speak, we are casting spells." This is no David Copperfield trick though.
I asked Saul, "How do you think our words create our own reality?"
Then he dropped a lesson on me:
"It's weird to hear it relegated to something that 'I think.' I see it as something that IS."
My embarrassment at something so subtle yet obvious caused me to blurt, "That's what I live by."
Saul shot back:
"I think everybody lives by it. People who are just like 'sometimey' or 'It's alright' (whiny inflection) have 'alright' (whiny inflection) experiences. People who operate off the Power and are like "I will do this," they do it. The most powerful thing you can do is think as an individual and then connect yourself to the community that invests in themselves.
Basically, words are powerful. Words are extremely powerful. But not just words: expression. Expression is what's powerful. Words are the tools that I use for expression.
"In this country, there is a big mishap when we don't focus on nurturing the idea of people investing in the arts. It's a shame the way the arts are relegated to chance, like 'go that route…you'll be waiting tables.'"
"The highest compliment we pay people who work in engineering or science or anything for that matter is, 'Oh wow, they've made an Art of it'. People realize the power of Art, and realize the power of connecting ourselves…when I speak of Art I speak of creative expression, and creative expression is the founder of reality-true creative expression.
When they wrote the Declaration of Independence and the Constitution-it was full of hypocrisy-cause they were slave owners, but on the other hand, it was the high point of their creative expression as intellectuals. For them to right, "We the People." That hadn't been done before.
All the other nations were age old and they had done things that were not written. So the idea of what this country was founded-not to overlook that it was founded on slavery and the other things-like the World Trade Center was built on slave burial grounds-but through that mode of creative expression and creative visualization that reality perpetuates itself."
So on one hand, high praise for the founding fathers, but not far behind is some criticism too. To me, Saul sounded a little torn, a little fence straddling.
"I'm not torn. A family friend was a firefighter that was lost. I am not torn. I don't believe that we should be at war. I realize that because I am in America I have the freedom to say these things, but I think that it is nonsense for us to be pointing our fingers at an individual like Osama Bin Laden who 1) was created by our government, 2) funded by our government, 3)funded by the father of our President who is now nominated for a Nobel Peace Prize for his war against terrorism. I am not torn at all. I think it's bullshit.
"I remember the debate between Bush and Gore-when they asked Bush about the middle East…he said 'well I'm torn, I have property, oil there.' The Bush's go back. They own oil wells over there. It is gonna be in our interest for the middle east to be in our crosshairs and Israel's our ally. If we wanna talk about the incident of 9/11, we lost 3000 lives. That's terrible. Pearl Harbor lost 2407 lives. Anyways, we killed 190,000 or 100,000, at Hiroshima and Nagasaki.
"So this idea, that Conservatives-that it is conservatives are the people who are willing to go and take the lives of other people and it is radical to say I don't want to go and kill anyone. Those are the radicals? Cause we can't imagine killing someone. The radical says, 'I don't know you, I don't wanna kill you, you may be innocent.' That's radical. Conservative people go ahead and just kill.
"Reciprocity? From this land? African Americans were promised reciprocity with 40 acres and a mule. Never got it. Countless lives that were lost. The number of lynchings, where people were not charged with murder. That would add up to the number of the world trade center. Not to mention the fact the center was built on native American and African American burial grounds. If Native Americans were to get reciprocity for the number of lives that were lost to smallpox blankets-where we sent cold people infected blankets-from the government. Infected? To kill them off. They killed off way more than 3,000.
"To be asking for reciprocity, I mean Viet Nam, Gulf War, we have the lives of a lots of people on our hands. Hundreds everyday are killed under our name as Americans. Yes, it's terrible. These twin towers in our capitalistic society have been destroyed. Lives were lost. BUT, kamikaze in Japanese means 'divine wind.' So be it. Which in ancient Egyptian means Amen."
So I guess he isn't torn at all. What about worried? With the Patriot Act, he can be declared a terrorist, have his assets seized and put in jail indefinitely without being charged. Is he worried?
"They can blacklist us the same way the same way they blacklisted Paul Robeson. It's definitely worries me. You realize that Rage Against the Machine's chat room was closed the week of 9/11 because Tom Morello said something that the CIA thought he said something un-American. So, yeah the blacklist is real. But I think we're realer than that.
"I cannot yield to the powers of be, because I yield moreso to the powers of being. And I think more people in our generation are operating off of the power of being versus the powers that be. It is only a matter of time before we start realizing the disconnection between the two and start aligning ourselves to the powers of Being and saying 'Fuck this shit.' That doesn't mean, 'fuck this country' but it is to say 'To be patriotic, doesn't mean to be for war. I mean there are just certain lines that we have to draw.'"
I ask him to recommend some books. Again, he makes me feel like a fool.
"I don't think I should be recommending books. On an individual basis, I think that is the level on which to recommend books."
But quickly flips his viewpoint: "no no, I take that back. Everyone should read the Autobiography of Malcolm X, and the Autobiography of Assata Shakur."
He spells it out to emphasize. "It is the story of Assata-who goes through what she goes through as a woman-and it balances it out in an amazing way."
I ask him for some advice to the Hip Hop Congress, exposing my lack of forethought almost immediately:
"Everything I've said. I don't have something particular, but all that I have said. Even though I am a contradiction. It's like Whitman says 'I contain multitudes.' Or Oscar Wilde said 'I contradict myself, question mark. I contradict myself, exclamation point.'" |
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posted by BrinDaNOiZe
--- posted on Jun 13, 2002 at 12:28am est --- post #000002 ---
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-Had the oportunity to interview Saul last month. It was as enlightening as his lyrics; check it out:
J. :You're on that Blackalicious track [“Release”]; so let’s start with that; how'd you hook up with the Quannum crew?
SAUL: That came about primarily thru management. They contacted my manager, we met and it was just perfect. We met in the studio one day while they were recording at Mario Caldato’s house, which is a famous place to record made famous by the Beastie Boys. I went there, and me and Zack De La Rocha were there on the same day. I’ve known Zack for a little while, so we all just had a nice day just chillin’, talking and they played me the music of the song that they were thinking of. They gave me a copy of it, let me take it home for a night and I brought it back the next day with words put on it. And now I’m touring with them and it’s really cool.
J. :It’s a great song, it’s got 3 different “movements” almost.
SAUL: Exactly
J. :That song for me personally, it somehow brings images of 9-11
SAUL: It’s crazy, I wrote it way before 9-11 but yeah; I do say; “I can think of nothing heavier than an airplane…no stronger conglomerate of steel and metal” something like that…
J. :Freaky right?
SAUL: :laughter: Yeah it’s a strange thing. That happens, it happens to a lot us when we’re writing, the connections are there to be made and when we make them it makes things a bit more understandable in a sense. But yeah I do see the connection.
J. : Now you mentioned Zack De La Rocha. I always thought you would have made an interesting addition to Rage Against the Machine after he left. You sample a bit of Rage too on “Om Nia Merican”. What are your thoughts on RATM and would you have ever considered joining the band when they had an open slot?
SAUL: :laughter: well uhm…well uhm, first of all, I was friends with Zack before that whole thing happened and so I didn’t really think it was cool. So no, I wouldn’t’ have done it. You know, I didn’t think it was cool the way that it happened really. Yeah so that’s basically it. You know that song “Om Nia Merican” was supposed to be a song to do with Zack. Zack was busy doing some other stuff the day that I wanted to record the song and I didn’t want to postpone it anymore. And I had this epiphany of just sampling this sound from Rage’s from that song “Born of a Broken Man” and did it that way; and it worked out beautifully.
J. : Let’s go with that line of thought as far as Rock. I’m sure everybody always asks you about Hip-Hop; but what are your thoughts on modern Rock n Roll or Rock music:
SAUL: Well I think that there’s a few interesting things happening. I think the most interesting stuff is with Radiohead because they’re so connected emotionally and intuitively to the sounds that they’re creating.
I think that we’re about to redefine it. I think Hip-hop is about to redefine Rock N Roll by connecting it to its past which is the blues; which is connecting it to the African American experience. I find it interesting that like, it seems as if slowly but surely…I’ve been spending sometime in the Midwest now. I’m in St Luis, before this I was in Madison, before that I was in Milwaukee and I had some days off in those towns. I was checking out the vibe and going to concerts. And I was like wow, it’s real...it’s crazy. White people are in a sense taking over hip-hop; and you know what; and I’m not, I don’t say that in an angry way at all. and I was like wow, I think they’re substituting the poverty and oppression; with guilt and depression. and I look at a lot of the African American cutting edge artists that r doing stuff right now. From like Mos to Outkast; and all of those artists are picking up instruments.
J. :yeah, you’re right I never thought of it that way.
SAUL: Yeah, we’re all picking up instruments and all of our sounds are getting closer to rock. Seems like more of them are dropping their instruments :laughter: getting closer to Hip-Hop. It’s a weird musical chairs :laughter: “musical chairs” literally, that’s going on. And it’s crazy because I said that about the substitution that was taking place and I was like; you know what? I think that’s a valid substitution. I think that it might actually work, because from listening to these groups I was like yo; these cats are dope. I was listening to these rap groups there and I was like, yo there’s some that I saw that there was some originality…of purpose, of what they were doing, the beats were wicked, know what I’m saying, they were coming with something.
J. :I’m interested to see how Mos Def’s band handles it, but they have, I mean , Bad Brains and..
SAUL: Right
J. :Living Colour and Funkadellic…
SAUL: Yeah he’s got his help lined up…and I know the sounds that I’M working on for my next album are preeeeeeeettttttttttttty out therrrrrre, pretty out there.
J. :That’s great, that’s one of the great things about your album, it just goes thru all kinds of terrain; Drum N Bass and Rock, you know fearlessly, and most other hip-hop acts will do it a little bit but they’re not as bold about it.
SAUL: Thank you.
J. : Ok; how about Public Enemy, or more to the point; if there was something you could say to Chuck D what would you say to him?
SAUL: I would say…(you recording this?)
J. :Yeah
SAUL: :takes a deep breath:
I would say…thank you, thank you, thank you…for…granting me; along with the beautiful upbringing of my parents; for granting me thru a voice and a means and a medium that I found most recognizable and associated with more easily than the voice of my parents…I would thank him for parenting me, in a sense that thru listening to his lyrics AND the music - you know because it wasn’t just his lyrics, it was the music and the whole, EVERYTHING that went into Public Enemy - that helped me come to an understanding of who I was, what I represent. And had me walking thru life with a greater sense of courage and belief and realizing that…I, man, like when I listen to PE, I realized, I mean that was the hip-hop that I was definitely at a point where I was like, I would bring it to my parents. You know, just like KRS-One, because before then your parents were like “turn it down”. Then I’d be like; “[but] listen to this”; and they’d be like; “Wow; turn it up!” That was the first hip-hop my parents said ‘turn it up’ to ::laughter:: you know as opposed to ‘turn it down’.
And it’s amazing; I was an exchange student to Brazil my junior year of high school from 1988 to 89 and “It Takes a Nation of Millions…” had jut come out. And I brought that album with me to Brazil, and school was in strike when I went to Brazil, so I learned Portuguese by translating that album into Portuguese. That’s why I learned Portuguese.
Furthermore, PE wrote the first song that ever made me cry. First rap song that I felt so closely connected to it - it wasn’t feeling some grief it was just that overwhelming power - cause every time I listen to hip-hop like that I would be like; “oh my god, I can’t believe this is happening in my lifetime; Oh my god look what WE’RE creating, look what we’re doing? “ you know what I’m saying? That’s how it affected me. Like; “this is what we’re doing, oh my god”.
I remember listening to “Fight the Power” in 1989, in fact when I got off the plane from Brazil after being gone for a year. I arrived at John F. Kennedy airport and my cousin - who lived with us, was the same age as me, who had been sending me videotapes of Yo! MTV Raps and The Cosby Show - he was like; “Yo, you’re not gonna believe it…there’s this film called ‘Do The Right Thing’”. And literally I was getting my baggage. He was just like; “Yo, you’re not gonna believe it; Public Enemy...” I was like; “what?”, he’s like; “wait..” But I’m talking to my parents I haven’t seen them for a year. I put the luggage in the car, we get into the parking lot of JFK airport and eventually after the talking stops; they turn on the radio. As soon as they turn on the radio I hear; ::sings:: ”fight the pow..fight the pow..fight the pow..NINETY EIGHTY NINE! THE NUMBER, ANOTHER SUMMER…” THAT was my fucken introduction to welcome back home to America. This is what the fuck is going on, and it gets to; “Elvis, was a hero to most but he never…” YO! I don’t know if I will ever feel the exhilaration that I felt in that moment; of like; what the fuck did I miss?!! And the next day going to see “Do The Right Thing”, and just feeling like; THAT affected me like how 9-11 affected people. When I heard that song and watched that movie and knew that there were riots going on in certain theaters. I thought that this was the beginning of World War Three. I was like this is it, they did it, they started it; with the song, and the movie…it was crazy…crrazy.
So yeah, actually I think it was “Bring The Noise” that had brought me to tears initially.
So anyway, there’s a thousand ways in which I would say thank you. And it’s crazy ‘cause as much reverence as I have towards them; I don’t idolize them in any way; at all. Like I’m not trying to carry on the torch of Public Enemy; it’s not that. But I am eternally thankful for; one; the fact that I was in a position where I could be so inspired as a child - which had to do with the fact that my parents opened me up, cleared the passage ways so that things could hit me directly. And then secondly; that it was them that reached me, you know. And so I would say thank you, thank you, thank you to him. To Chuck D, to Professor Griff, to the whole S1W posse, and to my man with the Ostrich farm, ::laughter:: to Hank Shocklee; who I did get to meet. Just all the thought that went into it is amazing to me.
I think my favorite Public Enemy moment in a song is in “Welcome To The Terrordome” at that point where they address the Proffessor Griff thing. And it’s like; “Crucifixion ain’t no fiction, so called chosen frozen, apology made to whoever pleases, still they got me like Jesus...” And then when they get to the part of the shooting of Huey Newton; ”from the hand of a nigga pulled the trigger…” and they throw in that fucken sample there; that just sonically exemplifies what was just said: that is the greatest expression of genius in hip-hop music that I’ve ever experienced. It’s that guitar [sample]…it’s like; what the fuck? like it was, like that brought tears to my eyes every time. Not the tears that…it’s the tears that come out of your eyes when you’re fighting, and you’re winning, and you’re loving the fucken fight. It was that, it was just amazing. They’ve just brought so much exhilaration to my experience of hip-hop…
J. :And he remains down to earth. He actually had an open house a couple months back for people on his site, he ‘literally’ invited us over to his house.
SAUL: ha ha ha
J. :We were hanging out in his living room talking to him…People showed up and just hanged out, it was crazy…
SAUL: crrrazy…
J. : What about these days. Are there any MCs these days that you like?
SAUL: There are things that I like. I like Dre from Outkast, I like Gift of Gab from Blackalicious, I like Mos, I like Talib. I like, you know, the list is somewhat predictable; The Roots and the Commons, it’s somewhat predictable who I like now you can probably guess at it. Then there are others that I respect as having great talent, but not being focused enough to point it towards shit that I can appreciate. And those would be like the Jay-Zs, sometimes Eminem, although I appreciate more what Eminem says than Jay-Z half the time because I feel like he addresses what people say about him in his songs. And so I find that interesting. Although I think both of them are extremely talented writers and I definitely respect their talent and sometimes find their music undeniable, like wow, that’s undeniable. Which is the power of hip-hop, that beat gives you an instant affirmative as you nod your head saying yes.
J. :What about yourself; your artform; what drew you to the performance aspect of poetic art as opposed to just writing?
SAUL: Hip-Hop.
J. :At what point did you realize that you wanted your work to be heard by the masses?…or has that always been…
SAUL: always, always…from the beginning. From the thing that made me start writing; which was T. La Rock “It’s Yours”. When I was young, I started writing rhymes at the same time I decided I wanted to be an actor. My father told me he’d support me as an actor if I got a law degree, my mother told me to do my first biography report in school on Paul Robeson; he was an activist/lawyer/actor. And my parents were activists so to me the biggest thing you could be on this planet was an activist. I was raised in a household where those were the people we revered; people who spoke up. My parents were friends with Pete Seeger ‘cause I lived in upstate NY not far from him. Pete Seeger was the folk-singing activist; so all types of different activist would come thru. Farrakhan came thru my father’s church and house during the Tawana Brawley trial. That was where I grew up, that happened in the city where I grew up. The same Tawana Brawley that PE had in the “Fight The Power” video. That happened in my hometown and all those rallies were started at my father’s church.
So I just grew up in a household where activists were seen as the greatest thing you could be. Even in my braggadocio state of rhyming – which definitely did exist :laughter: I would always try to balance that with writing my political rap. But luckily my views have grown a bit, but I still was always about reaching people with what was being said. I never saw it - even as I was approaching it as poetry - as a periphery art form because I knew the effect that Amiri Baraka and Maya Angelou and Nikki Giovanni and Sonia Sanchez had on my parent’s generation.
J. :You’ve been touring all over the place. What’s been your most memorable time and has any of it directly influenced your work?
SAUL: Still the most memorable stuff is still “Slam”. Just from being in that prison and interacting with real prisoners. and having that courtyard scene with hundreds of people who did not know we were shooting a movie. And reciting that poem as people that thought it was my first day in prison and that I had jeopardized their freedom by allowing cameras to follow me in, started to circle around me, and I go into that poem; and they stopped for real. Those are still the greatest moments I’ve experienced with poetry.
Other than that it’s been in places like the Czeck Republic, where I’ve recited to like 1,600 Czeck students at the same time who didn’t speak English but would sit on the edges of their seats crying just because they’d felt the power. Like realizing that there’s no language barrier when you’re speaking from your gut.
J. :Totally out of left field; you don’t have to answer; somebody wanted to ask why you cut your dreads.
SAUL: I literally think that when you grow your hair; certain ideas and principles that you’re formulating at the time, you lock into those. I feel that when you lock your hair you lock yourself into the ideas and ideals that you have at the time. So I usually cut my hair when I’m ready to open my mind to approach things in a different way.
J. :What’s next for you? Apart from music, you mentioned an album; are you going to be doing films as well, books?
SAUL: All of the above.
There are books that I’m working on right now, there’s one book that I’m working on that’s collaboration with a graffiti artist by the name of Mier-1 (sp?). There’s other books of poetry that I’m working on, and this new play I’m working on.
My focus primarily right now is music but all those things are happening. and I can’t really say my focus is music. It’s just you have to give a certain kind of attention when you’re in the industry and it takes away a great deal of energy…but yeah it’s the writing. |
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posted by BrinDaNOiZe
--- posted on Apr 26, 2002 at 12:44am est --- post #000001 ---
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