Amina Baraka by vagabond ©


Last week i had the honor and pleasure of doing both a film interview and photo shoot with Amina Baraka in NewArk New Jersey. If her name sounds familiar it may be because she is the widow of Amiri Baraka and the mother of the mayor of NewArk Ras Baraka. What you probably aren’t familiar with is that she is a poet in her own right and she has a new collection of poems coming out soon on 2Leaf Press who are turning out an amazing roster of writers who have been ignored by the publishing world for far too long. Original Nuyorican poet Jesus Papoleto Melendez, Shirley Bradley Leflore of the Black Arts movement and Abiodun Oyewole of the incredibly influential Last Poets, just to name a few of the older poets who made an impact and continue to shape how we see the world, all have books out on 2Leaf Press.

And that’s the reason i was out in NewArk doing a film shoot and photo shoot. Amina was talking about her new book of poetry Blues In All Hues due out soon. When i got to her home in she was sitting in a room listening to John Coltrane and Billie Holiday. i took a few shots of her as she meditated to ‘Trane and Holiday.

Jeff “AK” my DP set up the new Red Epic we are shooting with i took Amina outside on the stoop of her home in NewArk and shot these portraits of her. A few of these will be used as press photos for her book. i don’t pose my subjects when i shoot. i put them in a place and try to get them to relax and we shoot the shit as i shoot the pix. i try to keep it relaxed and informal. Joking around brings genuine smiles and laughter but i like to leave room for spaces of silence and contemplation and seriousness.

As i shot her i kept seeing so many people in her face and in the way she moved and in the way she carried herself. She look like my  grandmother, my mother, who are from Puerto Rico, and she moved and carried herself in ways that reminded me of my other grandmother born in Panama to Irish and Scottish parents, raised in Nicaragua and settled in Jamaica. i told Amina this and she said ‘I got people in me’. That phrase really struck me, ‘I got people in me’ and Amina told me that it came a song by Abbey Lincoln. She told me of her Native American roots intertwined with her African roots and i think you can clearly see the people in her in these photos…


Last shot photo by Omar

Death Art And Taxes


“We have art in order not to die.”
– Nietzsche

i’ve come to understand that filmmaking for me is not something i do or something that i want to do… It’s not some hobby or a means to making a living (i definitely am not making money with filmmaking).. Filmmaking for me is survival… If i go long periods where i don’t make a film my soul literally gets sick… i feel uneasy with myself and with the world…

For a long time i was afraid of admitting to myself that this was the case because being a filmmaker reeks of privilege… It’s an expensive art and to say that you need it to live seemed pretentious, seemed abusive in some way… Abusive because filmmaking requires so much of me and by making demands on my time and energy and finances and it also has the potential to take away from those who love and support me in the form of time and energy and finances… And if they are to continue loving and supporting me they have to accept that i need to make films…

It seems completely unfair… Having me in your life means understanding that i need to make films in order to be sane… That understanding carries with it some level of time and energy and sacrifice on that persons part… In some cases it may even require you to understand that i may hit you up financially to get my next film fix on…

That seems to me to be completely unfair to loved ones… i feel as though my whole life is going to be lived in debt… Not just a financial debt… (i’m an anti-capitalist… i don’t give a fuck about money…) But a physical debt, a spiritual debt, a debt of time and energy that i feel can never be repaid in full… i’m always surprised when friends and family continue to stand by me while i go off into the next project… i live in a kind of low-level constant fear that if i don’t “make it” (whatever that means) that they will abandon me…

To make matters worse the films i make are probably not commercially viable… i’m not in control of my filmmaking… i didn’t choose to be a filmmaker… When i was younger i thought i had chosen to do film… But i didn’t… Filmmaking chose me… i know this because i’ve tried to quit and painfully realized over the years that quitting it means quitting on a huge part of myself… Letting go of that large a part of myself would just mean being someone else… And how can you be someone else…?

Not being in control of my filmmaking means that the films take hold of me and use me to bring them into creation… More often than not that means i’m not making a film that has some financial reward attached to it… Which means that i’m forced to try to find some other value for those who contribute their time and energy and life force to my films… They need something in return, after all it’s only fair…

“Nobody rides for free… motherfucker.”
– King Of New York

The 800 pound gorilla that lives in a room inside my head is the financial hardships my filmmaking brings not just on me but on the ones who love and support me and it’s something i don’t take lightly because it wears on me more than i can ever express… The financial burden of it all envelopes my existence on a daily basis… There’s not a single day that goes by that i am not searching in my mind for a way to lift the friends and family who have donated their time and energy (and yes even money) to my films with some kind of financial remuneration…

It’s gotten to the point where i feel like that 800 pound gorilla has taken my head as collateral and is demanding payment for every film i want to make… Demanding some kind of potential financial reward for every project i embark on… The more i try to put it off the more collateral it takes in the form of space in my head… The more it tries to crowd out any other thoughts, the more it demands a larger sum for the space it claims in my thought process… The financial aspects of filmmaking are like a virus that’s overtaking my system and only “making it”, only making money will cure the disease… My mind is literally being colonized by the idea that i must monetize the thing that helps keep me sane, that keeps me able to deal with the world…

Capitalism sucks… The problem with living within a capitalist society is that everything must be monetized… Including art…  Its taken me all these years to become mildly comfortable with the idea that art and money are two separate things. If i said i was a writer and i needed to write in order to stay sane and alive it would be understood. If i said i was a painter and i needed to paint in order to stay sane and alive it would be understood. If i was a singer or a musician and needed to my make music in order to keep me sane and alive it would be understood.

However when it comes to filmmaking the idea of needing to make a film in order to stay sane and alive seems a harder concept to grasp because it requires so much capital to make a film… And that idea isn’t just harder to grasp for everyone else but for me as well… Becoming comfortable with the idea that my sanity and my life depends on making films is difficult for me to process, difficult for me to swallow… Even a no budget film requires some capital even if that capital is the time and energy it takes to make it. And if that capital of time and energy is being spent on making a film then it’s not being spent on creating capital for myself or others… And so i have struggled with the elitism of needing to make a film in order to stay sane and alive…

“And to all my friends
who’ve been the best to me
Soon will be the day
I’ll repay you handsomely”
– Big Audio Dynamite

It’s all coming to a head though… i’m maturing enough to understand that being an anti-capitalist in this capitalist world means being forced into living the contradiction… It means learning to balance the idea of doing something for love without abusing the ones who support you… It means learning to weigh your idealism against your reality… It means walking the tight rope of keeping your options open to selling your art to keep your soul and your self intact and in doing so maybe on a certain level keeping the soul and self of everyone who supported you along the way intact as well…

They say only two things in life are unavoidable – death and taxes… But for artist’s it’s much more complicated… For artists it’s death, art and taxes… Usually when people say taxes they mean paying the state a portion of your “earned” wages… But it’s all taxes to me… The concern for me as to how i will make a living is taxing… The concern of my friends and how they will make “a living” is taxing… The idea of “making it” so that my friends and my family don’t ever have to explain why they stand by me (not that i know if they do have to explain or not but i imagine that they do) is taxing… The 800 pound gorilla in my head collateralizing more and more of my thoughts and energies is a tax…

i’m finding it hard to find a way to end this little essay of self-indulgence… It was not my intent when i started writing this to say any of what i have said… My intent was to write about the joy of making another film with a new camera and how much it pushed away all the sorrow and hurt and depression and bad feelings i have been living with for so long since i was last shooting a film… i guess it’s difficult to write about the joy filmmaking brings me without talking about the pain it also brings…

Look at the picture at the top… That smile is me at my happiest… me at my most joyful… Look at the crew… Jeff “AK” my DP with the long board that double as our dolly, Omar’s daughter Mo, on my right shoulder (who is the star of this latest short film) seeing her work for the first time that night… Joe my producer who doubled as the sound man with his daughter Soliann finally seeing the fruits of our insanity… And Omar who is also a filmmaker and took the production stills, who i know is feeling good because he has a camera in his hands… Even the strangers – the woman looking over my head and the young girl in the background with the baseball hat on – are curious about what could be so important and what could be making so many people happy to on that little screen…




i’ve never been one to shoot stuff i don’t really intend to use so when i wanted to shoot another test for the Red Epic i had to come up with something that could have a life beyond being simply a camera test. For a while now i’ve wanted to shoot a time-lapse of an art project that i thought would be fun and interesting to do. It entailed some posters i had silkscreen years ago from some designs i did for my company Audio Visual Terrorism. So i combined that idea of making this art piece with the camera test and voila… the future is written…

Jeff “AK” Akers my cinematographer on MACHETERO (go see that film – it kicks ass and not just because i made but just because it does) and co-conspirator on more than a few other films. Jeff not only handled the cinematography duties but he also literally jumped into the film. My pit bull Mya makes a short cameo at the end because who doesn’t love adorable pit bulls?

vagabond on stage
vagabond on stage
vagabond doing his best Ivan from The Harder They Come
vagabond doing his best Ivan from The Harder They Come
Jumping Jeff's
Jumping Jeff’s
vagabond & Mya
vagabond & Mya


Dylcia Pagan on the set of MACHETERO

MACHETERO History Lesson

Dylcia Pagan on the set of MACHETERO
Dylcia Pagan on the set of MACHETERO

Today being International Women’s Day i’d like to share this story that came from my film MACHETERO about a very strong woman, Dylcia Pagan. The role that women play in the ongoing revolution to make the a world better place than when we came into it is something that i think is completely exemplified here by Dylcia. This is the story of how Dylcia Pagan, a former US held Puerto Rican political prisoner of war who served 20 years in US prisons for fighting to free Puerto Rico from US colonialism came to be in my film and in the process gave the film a much need dose of feminine power that brought into focus what it was that MACHETERO was really all about.

MACHETERO started out as a short film but as i worked on it, it began to take on it’s own life and i needed to respect that and allow it to take me where it needed to go. As an artist i believe that the ego is a dangerous thing and the more you get in the way of the ideas that are flowing the greater the chance there is for polluting what needs to be said. i think the artistic process is really a process of creative meditation and that as the ideas flow through you they take on your own unique shape. The danger is in the ego wanting to take those ideas as they flow through you, claim them for their own purposes and shape them for their own selfish desires. The hard part is being able to recognize the natural shape that the ideas will take as they flow through you, from the ideas that the ego wants to distort. This is the artistic and creative battle i feel every artist faces.

While in the midst of my artistic struggle with MACHETERO i found myself in the Brooklyn studio of the great Puerto Rican painter Juan Sanchez talking to him about this particular creative journey that I was on. He had seen the short version of the film and was going on and on about how much he liked it and how bold and courageous a work MACHETERO was, not just in terms of its political stance but also in terms of it’s artistic aesthetic value. Although I was flattered because Juan’s opinion is something that I greatly respect and appreciate it made me think how I had better stay on track and not let things get out of hand.

While talking to Juan he suggested that i call one of the Puerto Rican political prisoners that President Clinton released at the end of his second term in 1999 for the role of the mentor. This was a really amazing idea and we started to talk about who we thought would be a good natural fit for the role. We came to the conclusion that Dylcia would be perfect.

Dylcia Pagan was born in the Bronx and raised in East Harlem to Puerto Rican parents. She was a child actor on a show called The Children’s Hour on NBC in the 1960’s. As an adult she continued to work in television as a producer working for ABC, NBC, CBS, and PBS. As a member of the FALN (Fuerzas Armadas de Liberacion Nacional – Armed Forces for National Liberation) she fought for the independence of Puerto Rico. While pregnant with her first and only child, the father of that child, William Morales was arrested for seditious conspiracy to bring down the US government after an accidental explosion in garage in Queens. While recovering from his injuries in a hospital bed, William escaped custody.

Shortly after that Dylcia gave birth to her son Guillermo. The FBI began was not pleased with William Morales escape and suspected Dylcia of also being involved in the FALN. They were looking to arrest her for seditious conspiracy to overthrow the US government as well. Dylcia felt that the FBI was closing in on her and she was forced to give her son to sympathetic supporters of the Puerto Rican independence movement in Mexico and go underground. That Mexican family raised Dylcia’s son as their own. A short while later Dylcia was arrested and convicted of seditious conspiracy and sentenced to 55 years. She served 20 years until her pardon by President Clinton in 1999. There was a documentary produced for PBS about the hardships that she and her son Guillermo endured called The Double Life of Ernesto Gomez Gomez. It’s an interesting film that people should definitely check out.

i needed to get in touch with Dylcia to talk to her about the project. Not4Prophet (who plays the lead character Pedro Taino in the film) got Dylcia’s phone number from Jesus Papoleto Melendez one of the founders of the Nuyorican Poets movement and a life long friend of Dylcia. At the time my main concern was that Dylcia was still on parole and i was worried that her being involved in a project that dealt with the question of political violence as a means of liberation could get her put back in jail. i don’t mean to over inflate MACHETERO’s importance but the US Federal Parole Board needs very few excuses to bounce you back into the joint and i didn’t want in any way to supply them with that excuse.

When i called Dylcia and re-introduced myself (we met briefly when she first got out in ’99 and came back to El Barrio, NYC) i told her about MACHETERO and what it was that i was trying to do. i let her know that i knew she was still on parole and that i didn’t want this project to in any way jeopardize her hard-won freedom, she’d done enough time as it was already. She then laughed and told me that the phone call she had received just minutes before i called. It was a call from her lawyer telling her that she was no longer on parole and that she was legally, (Dylcia has always been spiritually free) completely and without restriction a free woman. i was totally relieved to hear it and she said that she couldn’t refuse the role because it was too much of a coincidence. A few months later we flew down to Puerto Rico and shot this scene on the beach in Loiza a short walk from where Dylcia lives today.

In this scene the Young Rebel is dreaming of Puerto Rico and he dreams that he is at the grave of someone he loves. It’s not clear who the person is but as the dream goes on he dreams of his mentor (played by Dylcia) and the idea is that it’s her grave that he’s visiting. The grave is actually in the cemetery of Loiza and is the grave of a famous Puerto Rican mother and grandmother Doña Adolfina Villanueva who was killed as she stood outside of her home with a machete in her hand to defend against an eviction that police were sent to enforce. The killing of Doña Adolfina Villanueva was meant to send a message to other poor landowners in the area who were also being evicted.

His dream then moves onto a memory of himself as a child (played by Francisco Sanchez Rivera, Dylcia next door neighbor’s son) bringing a coconut to Dylcia. The “FUTURE” title that comes up on the screen as we see the Young Rebel as a boy is not so much a chronological representation but one of character. In the film Pedro Taino “the terrorist” is the “PAST” and Jean Dumont the journalist is the “PRESENT” while the Young Rebel represents the “FUTURE”. So when these titles appear on the screen throughout the film they are not chronological representations but characteristic representations. As the young boy comes running through the tress with his machete and his coconut Dylcia is sitting on the beach smoking a cigar (as older Puerto Rican women will) and proceeds to tell him the history of Puerto Rico’s 500-year struggle for autonomy. She tells him that he must one day continue to carry on that tradition of struggle when he grows up.

i never wrote any dialogue for this scene. i spoke to Dylcia about what it was that i was looking for and what it was that the story needed in terms of tone and intent. She took it from there and improvised all the dialogue compressing 500-years of history into a 3-minute story. It was amazing to watch.

The role that Dylcia Pagan played in the film although small (she’s only in two scenes) was crucial. Her specific role was as a mentor but her specific relationship to the Young Rebel and to Pedro Taino however was intentionally left open to interpretation. In Puerto Rico as in the African tradition a village raises a child and so i wanted Dylcia to be mother, grandmother, aunt and neighbor. Her role also helped solidify two concurrent ideas in terms of the relationship that the Young Rebel and Pedro Taino share with Dylcia.

One interpretation that could be drawn from these scenes was that both characters are sharing flashback scenes that incorporated the same grave and memories of this mentor that Dylcia played because she influenced them both as two separate characters. Another interpretation that is inferred is that the Young Rebel and Not4Prophet are the same character living in the same time. This is physically impossible in real life but completely possible in cinema and makes for an interesting idea that only served to further illustrate the cyclical themes of violence presented in the film.

This scene takes place pretty late in the film and it’s the scene that really illustrates what it is that’s at stake in terms of revealing the natural beauty of Puerto Rico. Up until this point the film has been full of rage and anger and although that rage and anger may be completely warranted and justified i wanted to switch gears with this scene and have the emotional core of the scene be one of sadness. i wanted that sadness to be the seed for all the rage and anger that is felt throughout the rest of the film. It was difficult to pull off, the scene had to be played with a certain subtlety and without an air of nostalgia. The way to do this was to have this dream scene be a scene in which the Young Rebel remembers who he is and what he must do going forward. This took the nostalgic edge off the scene and gave the scene a relevance to his future.

None of this would have been possible had it not been for the creative generosity of Dylcia Pagan. MACHETERO would not be what it is, had it not been for Dylcia bringing a strong, rebellious, nurturing feminine energy into the film. Although her scenes take place late in the film, those scenes set the stage for everything we have seen that comes before them and after them. They become the lynch pin by which everything else hangs. It was a true honor to have Dylcia be a part of this film. Looking back now MACHETERO would not have the power that it has without her participation and i wanted to take this moment out to honor her on this International Women’s Day.

You can watch MACHETERO on Vimeo On Demand


Lit-by-lighter by vagabond ©

Successful Guerrilla Filmmaking

Lit-by-lighter by vagabond ©
Lit-by-lighter by vagabond ©

Guerrilla Filmmaking Rules

1 • No permits or permission
(art is its own autonomy)

2 • Skeletal crew & gear
(be lean and mean)

3 • Be ready to cut and run
(avoid being busted)

Successful Guerrilla Filmmaking

1 • No one gets arrested

2 • No gear is lost, damaged or stolen

3 • You got footage


Went out the other evening to shoot a book cover and to test the Red Epic DSMC. i wanted to shoot a sunset shot on a rooftop for the cover to Ezra E Fitz soon to be published novel Morning Side Of The Hill to be published by 2Leaf Press this fall. My nephew Kelvin knew of a spot where we could shoot in Jackson Heights Queens in NYC. We scouted it out and found the building front door open and no alarm on the roof door. Perfect spot.

The next day we went up to do the actual shoot. Skeletal gear and crew. One camera case and a backpack of lenses with a small AA battery operated hand-held LED light. Crew was me and Joe with Kelvin (who you can see in my film MACHETERO) as our model.

The front door was locked and there was a sign on it letting people know that they should use their key and not force the door. We pretended to text and ring a buzzer as someone came in with a key and opened the door. Stealth our way onto the roof. Shoot until dark and come down. A successful guerrilla shoot. No one got arrested, no gear got lost, damaged or stolen and we got footage…

Once again art wins out over legality and authority for the sake of legality and authority… The risk is always worth the reward when it comes down to having art or not having art…


A quick rehearsal

Asking For Mercy From The Victims Of Violence

Prison Interview Rehearsal with Isaach de Bankolé, vagabond & Not4Prophet
Prison Interview Rehearsal with Isaach de Bankolé, vagabond & Not4Prophet

This is another excerpt from the script of the six-time award-winning film MACHETERO. Watch it VOD as a rental for 48 hours or download it to own it.



For some context to the script excerpt below… Jean is a French journalist who is interviewing Pedro about his decision to use violence as a means of liberating Puerto Rico from US colonialism. The interview takes place in a prison where Pedro is being held for trying to overthrow the US government in Puerto Rico. Pedro describes himself as a Machetero, a historical and cultural symbol of resistance to colonialism in Puerto Rico.

In the film the questions and answers are all in voice over with other images contrasting the dialogue. This scene is the climax of the film where for the first time we see and hear Jean and Pedro face to face and understand for the first time that the interview we have been hearing all along is this interview. In the film this dialogue goes on for much longer than is here so if this interests you consider renting or buying MACHETERO digitally…

Jean in the film is played by international film star Isaach de Bankolé who you may recognize from such films as Ghost Dog, Manderlay, The Limits Of Control, night On Earth, Chocolat and Casino Royale. Pedro is played by lead singer of Puerto Rican punk band RICANSTRUCTION and MC of the hip hop duo X-Vandals, Not4Prophet. MACHETERO’s story revolves around this interview between Jean and Pedro.


The US government has a policy of not making deals with terrorists.

“For the strong to hear the weak their ears will have to be opened with bullets” – Albizu.

You had to know that you would have been caught eventually.

“It took seven of them to break my jaw, but the power of the whole American empire could not break my spirit.” – Rafa

Sedition is a crime punishable by death in this country.

“I didn’t come to kill I came to die.” – Lolita.

So you thought you could change the mind of the US congress with bullets? How will violence liberate you? Hasn’t the time of political power through violence passed? Haven’t the examples of Gandhi, Martin Luther King Jr., and even someone still here with us today Nelson Mandela shown us a new way? In South Africa black Africans are forgiving their white oppressors in an attempt to break this cycle of violence and hatred. Do you really believe violence will change anything?

Are you asking for mercy from the victims of violence? Have you asked those who want me dead, to show me mercy?

Are you asking for mercy? Are you asking your oppressor for your freedom?

My freedom is not something that my oppressors can give me. My freedom is something that I take.

Killing US congressmen and CEO’s and bombing US military targets is taking your freedom?


Your freedom? Doesn’t that sound egotistical, self-centered and selfish? Is that what this is all about? Your freedom? I thought you were fighting for more than that? I thought you were fighting for the freedom of your country. I thought you were fighting for ideals. I thought you were fighting for something greater than yourself.

No one is free until all of us are free. Steven Biko said “The most potent weapon in the hands of the oppressor is the mind of the oppressed.” The decolonization of self is the decolonization of the nationless nation.


These are some stills taken from the prison set which was shot in an actual prison. The prison is the old Bronx House of Detention on River Ave just a stones throw from the old Yankee Stadium. The Bronx House of Detention is now gone. Replaced by a shopping mall. A Target now sits in its place.




July 4 by vagabond ©

A Self-decribed Machetero

Isaach de Bankholé as Jean Dumont from MACHETERO
Isaach de Bankolé as Jean Dumont from MACHETERO

An excerpt from the script of the six-time award-winning film MACHETERO. Watch it VOD as a rental for 48 hours or download it to own it. For some context to the excerpt below… Jean is a French journalist who is interviewing Pedro about his decision to use violence as a means of liberating Puerto Rico from US colonialism. The interview takes place in a prison where Pedro is being held for trying to overthrow the US government in Puerto Rico. Pedro describes himself as a Machetero, a historical and cultural symbol of resistance to colonialism in Puerto Rico.

Jean in the film is played by international film star Isaach de Bankolé who you may recognize from such films as Ghost Dog, Manderlay, The Limits Of Control, night On Earth, Chocolat and Casino Royale. Pedro is played by lead singer of Puerto Rican punk band RICANSTRUCTION and MC of the hip hop duo X-Vandals, Not4Prophet. MACHETERO’s story revolves around this interview between Jean and Pedro.

Do you find it strange that in your struggle for freedom you find yourself in prison?

No. I’ve been in one prison or another all my life. Just because there aren’t any bars on the windows, locks on the doors or guards at the gate doesn’t mean you aren’t in prison.

What was a self-described Machetero doing in the US Army?

I was educated on the streets with the hustlers and the pimps and the dealers and the thieves and the dope fiends and the winos and the cops and the killers. From La Pearla in San Juan to El Barrio in NYC, I did what was necessary to survive. When I was 16 I was looking at a state bid, looking at doing some hard time. They were going to send me to Sing Sing, where I could get my Masters in criminology but the US Army offered me less time.

Does the US Army make it a policy to recruit convicted criminals?

Militaries kill and steal. That’s what they train you to do. Prison is a good place to find killers and thieves.

And you got a dishonorable discharge after you did your time in the army.

I just wanted to be free. There are no stories there to tell, military time was about following orders, I just didn’t always do as I was told.


Mya after surgery


Mya and her whip cream

My pitbull Mya and i just came across the #NOTABULLY campaign started by photographer Douglas Sonders in 2012 to change the perception of dogs who have unfairly been labeled “bully breeds”. There are 14 breeds of dog that are considered “bully breeds” Boxers, Alapaha Blue Bloods, American Bulldogs, American Staffordshire Terriers, Boston Terriers, Bull Terriers, Bulldogs, Bull Mastiff’s, French Bulldogs, Olde English Bulldogs, American Pit Bull Terrier, Renascence Bulldog’s, Staffordshire Bull Terrier’s and Victorian Bulldog’s.

These so-called “bully breeds” make up 40% of the animal shelter population. Many of these dogs are passed over by people looking to adopt from animal shelters because of the reputation that people have given them and as a result many of these dogs are euthanized. Regardless of a pit bulls temperament 22% of all animal shelters euthanize them.

Mya and i decided to help by doing our share so we went through some of the photos we’ve taken over the years and selected a few.  We hope this helps in helping people understand that so-called bully breeds are as loving and lovable as any other dog. Adopting a rescue dog from an animal shelter is an amazing thing. Adopting a “bully breed” who’s chances of being euthanized for nothing but being who they are is even more rewarding. i was once under the impression that it was my girlfriend and i that were rescuing Mya but it’s turned out that the opposite was true… Mya really rescued us… Do yourself a favor and join the #NOTABULLY Campaign with a donation or better yet a local adoption and help spread the word…


less than ideal art and ideas for a less than ideal world…


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