Episode 26: Bust Amboy

Starsky and Hutch are determined to arrest a drug dealer by harassing him into making a rash move so they can catch him.

Amboy: Art Metrano, Mickey: Lisa Mordente, Goose: Chuck Bergansky, Denny: Nicholas Worth, Francis Bacon Stockwood: Richard Derr, Itchy: Nathan Jung, Chuckles: Howard Honig, Rogier: Roger Etienne, Officer: Ned York, Mrs. DeHaven: Trudy Marshall, Undercover Officer: Fred Rolaf. Written By: Ron Friedman, Directed By: George W Brooks.

QUESTIONS AND NOTES:

This episode is the only one directed by film editor George Brooks and some blame his inexperience for the continuity problems in the episode, such as the newspaper folded the wrong way and the contents of a bag changing from corn to celery. Still, this episode is an enjoyable series of bumbles, ironic asides, comic moves (getting in and out of the Torino’s back seat) and hilarious set-pieces. It almost feels like a Starsky and Hutch Greatest Hits. The guys are relaxed and focused on each other, and although the story is a bit hazy it seems to expand and contract according to each scene. It’s also very funny, in a dry sort of way, undercut as always with humanity and compassion.

Starsky gives Hutch flowers at the very start of the episode, slapping them into Hutch’s chest with an all-too-familiar bad-date here, flowers. I like how Hutch makes a small appreciative sound when Starsky says, “I thought I mighta worn a tie.” It’s bothersome that a close-up shot of the transmitter going into the bouquet of flowers doesn’t match the actual flowers Hutch is holding, but one can imagine the shrugging indifference at the time, the sort of “who’s gonna notice?” attitude that is so striking in the series. This is echoed in the corn-changes-to-celery scene too (double annoying because Amboy makes a scene about the corn moments earlier).

Amboy’s henchman says the “weekend take” is $141,000. This amount of money, according to Starsky, turns into $140,000 at Dobey’s. This may imply Starsky and Hutch have lifted a thousand bucks much like they take money for Vicky’s disabled daughter in “Las Vegas Strangler”, a little under-the-radar filching for a good reason. But if they did take a thousand off the top, what would they use it for that would be justifiable in their minds in this episode? Mickie’s start-up makeup-for-men business? This is unlikely. Starsky is just being casual when he gives the amount. He’s not going to be note the “one”.

Hutch is always on the side of children. Micky’s young age affects him as he argues with Amboy’s lawyer about the evil that Amboy does in the world.  It’s very specific with him – “who strung her out, Stockwood? Along with thousands of other kids like her?” Notice how Starsky backs off, letting Hutch do his thing.

One of the nicest set pieces in this episode is the scene in the disgusting fast food place. Starsky knows Hutch wouldn’t like the burrito place he takes him to (peanut butter burritos con jelly?) And yet he’s hyped up about it to the point of mania.  The whole scene generates into a slap-and-cuff that is more about siphoning energy than anything else. Starsky is irritated when Hutch steps on the dying grass; Hutch uncomplainingly allows himself to be manhandled. The fly strips are truly horrible and they actually have bug spray on the tables. All this Hutch endures with an astonishing lack of ill will although this is the one time a bit of the old Hutch Sneer wouldn’t be out of place. When the Torino’s horn goes off he’s mild; it’s Starsky who’s in a lather.  Is this a neat reversal of the scene they’ve just had in Dobey’s office? A sort of it’s-my-turn-to-spaz sort of thing? Starsky doing his best to entertain Hutch with his plebian ways, as Hutch so often flies into a rage to entertain Starsky? Of course, Hutch is the master of sarcasm, repeating exactly Starsky’s earlier entreaty to get off the grass, these people work very hard, etc., at the end of all this, so some things never change.

Hutch has a millisecond moment of psychic oh shit as he sees Starsky freeze; he goes for his gun, only to be thwarted.

Amboy mistakes one for the other.  The guys, apropos of nothing, correct him in murmurs.

The whole Beluga caviar scene: the napkin, the “you got your fingers in it” kvetching, the pouring of champagne. They’re more focused on each other than the issue at hand, namely Amboy. And yet it’s not as simple as that, although it’s pretty amusing, there is method to this madness. The act – rube versus snob – both amplifies and distracts from the scene at hand. Hutch isn’t pulling his snob routine because he wants to, or even because he believes it. He’s at work, and so is “grape jelly” Starsky. And Amboy falls for the trick, losing his edge and so underestimating them.  Distracted, he now endeavors to astonish the Dumb Starsky and impress the Smart Hutch. These are two very strenuous activities. First time viewing makes you think this is all innocent, that Starsky has no idea about anything, etc, but subsequent viewings reveal this is all a sort of mutually understood plan to get the most out of the situation. Starsky’s comment that caviar would taste better with “peanut butta” is a hint all is not what it seems. Now, I don’t care who you are: you know seafood when you taste it. This is all for Hutch’s amusement, and a private joke, perhaps, on the burritos they never had.

Along with continuity problems there are also two amusing mishaps: the license plate falls off the Torino when it turns sharply into Amboy’s driveway at the end, and then there’s the door that refused to stay shut during the early fight scene at Amboy’s. It keeps swinging open and the henchman guarding it keeps pushing it shut with his foot. Maintenance came and tightened the door in between shots, but they overdid it and you can see Soul having to noticeably tug at the door to open it when he leaves.

Hutch eats – and then keeps – a lemon slice.  Precognition for its use as a weapon, or happy coincidence?

Amboy eats: kidney and baby veal ragu, caviar, really, just-picked corn (which he doesn’t even swallow, instead spits out) and baby boar with small potatoes. All of these are young or immature foods, symbolic of Amboy’s abuse of the children he deals drugs to, and in particular his relationship with young Mickey. It could also illuminate Amboy’s own immaturity: for all his wealth and power, he suffers from a bully’s insecurity, going after the young and the weak.

Starsky’s comment at the restaurant later confirms his participation in the whole scheme: “Ah Hutch,” he says in a passable French accent, “perhaps we lack ‘couth’”.

Hutch has a dream in the back of the Torino, and it’s ominous.  “No,” he says.  “No, get away from me.”  Starsky starts talking to him and he answers even though he’s asleep.  “Man, was I having a nightmare,” Hutch says, climbing into the back seat.  “A 300-pound hairdresser with a curling iron.” A metaphor for the avaricious (and slightly effete) Amboy, poised to make trouble, or a fantasy he would later fulfill in “Dandruff”?

To Bee or Not to Bee: the whole scene in which the detectives hide in the shrubbery seems indicative of this episode’s underlying theme of pretense and role playing. Hutch, comically distracted, doesn’t answer the walkie-talkie until Starsky calls him “Blondie”, then complains about the bee buzzing around him. When Starsky tells him the bee is just making an “inn-quiry” the bee, angered by Hutch’s flailing, stings. Starsky replies laconically, almost with Gallic lasses faire, “misfortunes of man.” Who’s the rube now?

Despite the seriousness of the subject matter, this episode takes an unusually light approach to drugs and drug dealing. Amboy is not depicted as a threatening character, and his criminal empire seems loose and ill-managed. Mickie doesn’t appear to be either strung out or enslaved in any meaningful way, appearing more misguided than truly endangered.

Watch and wonder at Hutch’s incredibly graceful leap from tackling the bad guy, to taking his gun and vaulting toward Amboy, who has grabbed the briefcases full of money and drugs. He then throws the (loaded!) gun to Starsky and says “hold the fort” while simultaneously chucking off his sunglasses; Starsky, equally graceful, somehow catches the gun and holds both his and the caught gun on the felon he’s just arrested.

Tag: Hutch is talking to Dobey on the phone while Starsky has his ear against the door, no doubt listening to Dobey himself. “Why doesn’t he just call us in there?” Hutch asks. “Protocol,” Starsky says with the kind of authority that always cowers Hutch, who says meekly, “Oh! Yeah.”

Mickey’s “legitimate” job is miles ahead of its time. If she sticks with it she’ll cash in on the metrosexual revolution. I can imagine her in the new millennium, coolly in charge of some multi-billion-dollar corporation.

Clothing notes: nothing beats Starsky’s time-honored medium-washed low-waisted jeans. And Hutch is wearing his green leather jacket, plus his guitar shirt and forest-green t-shirt.

Advertisements

Tags: , , ,

10 Responses to “Episode 26: Bust Amboy”

  1. Kit Sullivan Says:

    The assertion that novice director George Brooks did anything other than a great job on this episode astonshes, and maybe angers me a little in his defense. This episode, like many in the canon has some glaringly stupid continuity mistakes, but none worse than some of the many others in other episodes.
    I belive the gauntlet for editing and continuity mishaps for this show was firmly established in the pilot, when when captain Doby, through a mid-sentence edit snafu screams at Lt. Henderson “I’ll tell my men where to go…and I’ll tell ’em where!”
    Can any of the mistakes in this episode be considered worse than a flipped negative making it appear that Starsky’s beloved Torino has instantly been transformed into a right-hand drive car?(“Captain Doby, you’re dead!”)
    Or how about the boys chasing after a yellow truck in the Torino, clearly possesing leather bucket seats, only to stop the car seconds later, now possessing cloth bench seats? (“Moonshine”)
    No, I think Mr. Brooks did a fine job with this episode. In fact, I think it is probably my all-time favorite episode of the entire serie’s run, for the simple fact that it has great examples of every single thing that made this show such a hit: Great acting, great comedy timing, funny little bits of business from the boys, fantastic stunts, tense drama when it counts, and a satisfying conclusion.
    Special mention must be made of the terrific stunt work in this episode. Whereas most of the time, the car chases and the fight scenes seem merely tacked on to an already-existing script, just to fill a need to satisfy an expected formula, the stunts in this episode actually seem to drive the narrative forward. Both of the major fight scenes are so well choreographed between the characters that it seems more of a well-reherased dance routine than a spontaneous fight…a display that these two guys, Starsky and Hutch know each other’s moves so well that they fight as a team without even thinking about each other’s moves.
    Two awesome Torino-in-hot-pursuit scenes rank as the best in the series. In the second car chase sequence, stunt-driver Chuck Picerni’s skillful tossing of the barge-like Torino around multiple sharp turns is masterful and a joy to behold.
    A full-face view of Picerni-as-Starsky is too obvious in the first big car-chase piece, but is nevertheless a joy to behold.
    Art Metrano’s portrayal of Amboy makes him seem more of a bufoon to be upended by the heroes as opposed to an actual evel villian. It is hard to imagine what events in Amboy’s life would have resulted in him wielding so much vitriol and power.
    This is the first appearance of the new-for-season-two’s new-and-improved Torino. Chrome door mirrors, a bigger, more powerful 460 cubic-inch engine and a revised stripe design (over the front fender) are the obvious differences in this car (actually, two of them) over the first-season Torinos.
    The very first shot of the Torino in this episode features a close-up of the rear tires spinning and smoking away dramatically, something the underpowered first-season cars were incapable of doing.
    All in all, a great episode, the quintessential “Starsky & Hutch”.

    • merltheearl Says:

      Kit, normally I would compose a more thoughtful reply to your excellent comments, but work has claimed all my attention of late! So I will just say a big thank you for your participation, and hope you keep enjoying the blog and taking the time to respond.

  2. June Says:

    As a try always to be and sometimes fallen vegetatian over the last 30+ years – I looked up baby boar and baby veal. Gee! I didn’t for a moment think they’d be so tiny, so very baby. It’s late and I’m tired so I’ll just say euwww! Good call on why Amboy might choose/eat these vulnerable (hey, a 700k bull is no match for a slaughterhouse so what chance do these tykes have?) innocent creatures.
    June.

  3. Gigi Says:

    I would firstly like to apologize for my english… I am Italian and I find your blog interesting and pleasantly unusual.
    I just want to try considering a peculiarity of Italian translation. As you maybe already know, in Italy we have a long
    and important tradition of dubbing movies and television programmes (subtitles are not used at all).
    It is interesting to compare the American and Italian version of S&H, seeking cultural differences in the approach to some social
    issues in the seventies and in the eighties (“Starsky and Hutch” was broadcast in Italy since 1979).
    I considered, in this episode, the scene where Starsky and Hutch are hidden in the shrubbery. The theme of pretense you noticed in your blog, is totally lost in the Italian translation: “Italian” Starsky does not talk back “misfortunes of man”, but “Mmmm…what a lucky bee..!” This Starsky’s joke gives an explicit homoerotic dimension, which was not originally coinceived for this scene by the authors.

    Another remark and a question about the episode called “Hutchinson for murder one”: when the “bad cop” replies to Cobey
    “and what about the actual Mr Hutchinson?”, staring at Starsky, what do his words mean in this scene?
    In the Italian dubbing, the “bad cop” says: “and what about the actual Mrs Hutchinson?” referring to Starsky, with a sarcastic joke,
    as if he was the actual wife of Hutch! Also in this case, is the dubbing a misinterpretation of the original script or not?

    I hope my observations could be a little bit thought-provoking or just amusing.

    Thank you!

    • merltheearl Says:

      First of all, thank you for reading, especially since this is not your first language; my writing style is a challenge even to English readers, I’m sure. I was frankly amazed by your revelation that the Italian dubbing had so many inconsistencies! “Lucky bee” indeed. It seems as if the translators were having a little fun at the expense of the characters. As for “Hutchinson For Murder One”, I assure you there was no line about the “actual Mrs Hutchinson.” The line is “I assume you wanted to see me about the ex-Mrs Hutchinson,” says Dobey, reaching for the file. “And the present Mr Hutchinson,” says Dryden, with a look at Starsky, which implies he thinks Starsky is about to get in the way of their investigation.

      Actually, to tell the truth, I kind of like the Italian version. It’s smart and amusing, and if the series was written today I suspect the original script would contain all sorts of sly jokes and inuendos that were inconceivable in the 70s.

      Gigi, thank you again.

  4. Dianna Says:

    There is a lot of silliness in this episode, especially in the fight at the farm stand, the dart incident, and seat-switching during the stake-out. I enjoyed seeing the 70’s prices at the farmstand: 25¢ for celery, 5¢ for corn, 25¢/lb. for canteloupe. I wish I could read the others!

    Other things don’t make much sense. For instance, why did they bother with the flowers when they had a warrant? Also, hot pursuit across county lines is allowed by neighboring jurisdictions. I’m sure it was allowed in the 70’s too.

    Why aren’t kidnapping two police officers at gunpoint, and attempting to bribe them enough cause to arrest Amboy?

    I love Merl’s observation about Amboy consuming young things. I’ sure I wouldn’t have caught that on my own.

    But what is it with grape jelly? It was mentioned in Gillian, but in this episode it goes with the repeated mentions of peanut butter.

    This is also the second mention of fruit flies, the first being in Murder at Sea, when Capt. Dobey was contemplating excuses to keep a ship from sailing.

    Hutch was the college dart champion? Is Starsky making this up because Hutch wants to throw the darts, or has Hutch always been the very best at whatever he does?

    Hutch says the bee inquired about “a not too distant relative,” which prompts Starsky’s remark about the “misfortunes of man,” so I think the Italian translators did understand what was going on. When Hutch gets up after that, though, he puts his hand on his butt, which is not where I would expect a “not too distant relative” to be located.

    Another injury moves around, too. When Goose punches Starsky at the beginning, he does it with his left hand, catching the right side of Starsky’s chin. Yet during the car chase, he is cradling the left side of his chin.

    I really expected the stiffness of Starsky’s neck later on to be related to the punch, rather than to posture. And Starsky’s neck hurts again when Hutch makes him stop the car. Starsky is far from “stiff-necked” in this episode, though.

    Merl’s descriptions of the fast food and caviar scenes are fabulous, and the scenes themselves are brilliant. “Amplify and distract” — yes!

    Hutch takes the lead in the caviar scene, but Starsky may think he is going a little overboard in the play-acting, because he grimaces and rolls his eyes when Hutch puts the napkin on his leg. Or maybe he’s communicating to Hutch his opinion of what Amboy is saying. He seems to be having a harder time pretending to be enthusiastic than Hutch does, based on the number of sidelong glances he gives him.

    Amboy is so wrapped up in his own act that he does not even notice the loathing in Starsky & Hutch’s expressions when the play-acting grinds to a halt and Hutch asks about the nine-year-olds. (This is certainly a contrast to the way that the guys usually notice each other’s expressions and body language immediately, although Starsky looks irritated when Hutch refills his champagne and his elbow nudges the arm Starsky is eating with. Or is the irritation for Amboy’s benefit? Or, speaking as a lefty myself, it may actually be Glaser’s actual annoyance at having a right-hander stick his elbow out when he eats!)

    I know I’m not the first person to point out that Starsky and Hutch often turn a blind eye to victimless crimes (e.g. Huggy’s mouse racing scheme in The Omaha Tiger), and really hating those who prey on the innocent and vulnerable. It is clear that Mickey trusts Hutch completely. However, Mickey’s “legitimate” job at the end bothers me, because it seems likely to be with one of those companies that preys on unemployed young people by selling them a suitcase full of samples that will be impossible to sell. I hope Merl is right, and her job leads to big success, despite my pessimism and Hutch’s allergies!

    Thank you again, Merl, for your comments & questions, and for giving me motivation to look so closely at each episode.

  5. Anna Says:

    I really like this episode. It is too impersonal and light-hearted to fit into my list of faves, but as you say, it is like an episode of “greatest hits.” You got Starsky and Hutch being their quintessential rebellious maverick selves in their wonderfully tenacious, relentless, and thoroughly altruistically-motivated pursuit of a scumbag mobster pickled in wealth, toadies, and casual infliction of suffering. And they’re hilarious at it the whole time, and not in a silly, embarrassing way that makes them hard to take seriously, but in a deliberate, daring way that makes you root for them. A great episode for casual rewatching, just for the sheer pleasure of watching them in the various scenes where they are scheming with their heads together, or driving Amboy apeshit.

  6. stybz Says:

    I thought this episode was entertaining. I hate the title, though. It just doesn’t work for me.

    I loved it when Starsky said, “Those flowers are heavy,” after Hutch puts the radio within them. 🙂

    Did anyone notice that the chauffeur is the same guy who played the ditzy waiter in Death Notice? 🙂

    The bag of produce mix-up is perplexing unless there were two bags and we were seeing the second one in Dobey’s office. Some money was in the briefcase and some were in the bag.

    The fly-paper against Hutch’s face… ugh. LOL!

    I’m not sure what to think of that entire scene. On the one hand, this type of scene of Starsky being overly enthusiastic and Hutch reluctant *sometimes* seems contrived and played up for the audience’s benefit rather than it being either Starsky’s legitimate enthusiasm or a means by which he can get on Hutch’s nerves. I’m having trouble believing it’s the latter, as I am not the type of person who gets her jollies irking my friends. I know people enjoy that, but it’s not something I like to do. So if it is the latter, I often wonder why. I understand that picking on each other is a means by way of masking affection, but sometimes it goes just a bit too far on this show, at least if this is what we’re to believe in a scene like this. The effort that Starsky goes through – if this is the case – is immense, especially since he rarely gets to eat what he wants (being that he’s always interrupted), so why bother?

    I would much rather think he seriously believes the food is good. In fact, If we think of it as his own honest enthusiasm, then we begin to see that there’s an underlying theme of him trying to find the diamond in the rough. He’s convinced that there is beauty below the dirty, buggy surface. This explains a lot about his character and his approach to life in general. He and Hutch work in a dark and dirty world, and yet they can dig below the surface and see the beauty in the people embroiled in it. This is true for both Starsky and Hutch, though Starsky is more inclined to seek it out, given his more upbeat nature. 🙂

    I think the reason why they didn’t arrest Amboy for kidnapping them, is because they didn’t really have any witnesses and it’s their word against his. And he had enough clout to accuse them of harassment even if at that point they didn’t begin to do so.

    During the caviar scene in addition to being jostled by Hutch, Starsky also got annoyed because the champagne bottle was dripping all over the place as Hutch was pouring it. 🙂 In fact I’ve always noticed that first before any elbowing. 🙂

    The lemon incident: I think Hutch figured he was going to need something since they were both unarmed and a lemon seemed like a good choice to distract or disarm someone temporarily. Too bad Starsky (or was it Hutch? I forget now) had to run back for the ragu to disarm the Japanese henchman, not because it was a waste (considering the type of food, good riddance), but the time it took him to run back and get it.

    Them taking shifts in the car was amusing to watch, as was their maneuvering from front to back and back to front. For some reason I see a nice parallel with this and Murder at Sea when they take shifts in what’s-her-name’s stateroom with Hutch taking the first watch. Not cumbersome, but still nice, especially the way Starsky wakes up Hutch when the ship stops moving.

    I think Starsky’s stiff neck was related to the maneuvers the two men did to get to and from the back seat of the car, and not the punch or Starsky’s posture. It only got aggravated when Starsky stopped the car suddenly. I think Hutch was making a joke about the latter. 🙂 The punch hurt his jaw, though. Not a good episode for Starsky from the neck up. LOL!

    Poor Hutch, too. Mother nature doesn’t agree with him, despite his healthy diet. Allergies to flowers and stakeouts in shrubbery just don’t bode well. Remember the dog in the pilot and the sneezing. I guess Mother Nature isn’t very accommodating for him. 🙂

    I didn’t realize that Hutch tossed the gun to Starsky. I slowed that part down and replayed it. I thought Starsky already had two guns in his hand when Hutch gets up and says, “Hold the fort.” As Hutch runs by, Starsky holds up the one in his right hand to ensure he doesn’t have it aimed at Hutch, then lowers it once Hutch is out of harm’s way. 🙂 In fact the one in Starsky’s right hand looks a lot smaller than Hutch’s. I also doubt Hutch would risk being unarmed when he still had to chase Amboy.

  7. Wallis Says:

    I have heard elsewhere that one of the alternative titles for this episode was “Nightlight.” Try as I might, I cannot figure the logic of this name. How is anything in this episode even symbolically related to a nightlight? I don’t get it. Does anyone know what it’s supposed to refer to?

    The scenes where Starsky and Hutch repeatedly corner Amboy to annoy him are some of the funniest things I’ve ever seen. I get into fits laughing at them every time I watch this episode. Better than most comedies! The scene where they crash Amboy’s posh dinner party and disgust the guests right out of their chairs by behaving as crudely as possible is my favorite.

  8. Kit Sullivan Says:

    Four years after my first review of this episode, this is still one of my favorite episodes in the entire canon.
    The reasons are simple: the plot ( what there is of it), the snappy dialogue, the goofy comedy bits by the boys, the preposterously-written ( and performed) villian, the inventive and amusing action and fight-scenes, as well as the top-flight Torino stunt-work all jell perfectly within the established format and premise of the show.
    These elements work so well together that the viewer can easily fire-up their own personal ‘cognitive dissonance’ and simply disregard the continuity errors, the gaping plot-holes and discrepancies, and the numerous absurdities of the episodes details as well as those of the entire series in general.
    For example: two early-thirties cops already promoted to senior plainclothes detectives seems unlikey for such youngish cops in a big city like “Bay City”…a faux-Los Angeles stand-in. By the way…even though all uniform patches and such on the show have consistenly displayed “BCPD”, in reference to the presumed “Bay City Police Department”, I am unaware of even a single verbal reference made by any character at any time on the show to “Bay City”. However, there WERE several mentions of the neighboring fictional “Mandalay Heights” throughout the series.
    I am of the opinion that the intention of the producers was that they ARE in fact in “Los Angeles”, but the reality of the notoriously-restrictive publicity department of the real-life LAPD would not allow tbis show to use that moniker. Kind of a “nudge and a wink” to the viewers, if you will.
    And the near-impossibly good-looking and “street hip” appearance, hair styles and clothing of the boys is miles away from what any typical plainclothes detective would be allowed under typical police department regulations. S & H dress more like detectives “deep undercover” than normal detectives.
    The Torino? The realities of what would constitute a normal detective’s car make the appearance and use of the Torino an absurdity that just cannot really be explained.
    Starsky and Hutch violate so many people’s rights on this show that “Bay City” would probably be broke from paying off lawsuits.
    But…NONE OF THAT MATTERS in the least! The viewer is invited to “just go with it” and if they do…they will enjoy the ride!
    This episode plays perfectly within the internal inconsistecies of the show’s premise…and every scene is a treat because of it.
    This is the very reason the show suffered in later seasons: PNG and DS wanted more thoughtful, realistic and dramatic storylines…and those “improvements” did not always mesh well within the show’s established dynamic.
    I love a good prime rib, but I probably would not go to “McDonalds” for it if they offered it. It just wouldn’t work.

    Couple of notes: Hutch does not throw his gun to Starsky, he tosses him the gun from the thug he knocked out moments before.
    When Amboy slaps his underling, the sound-effect of the slap is WAY too loud to me…makes it unconvincing.

    But beyond all that…it still remains near the top of my favorites list.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s


%d bloggers like this: