Kill Bill, Vol 1

"You didn't really think it was going to be that easy, did you?"
"You know, for a second there...yeah, I really did."
"Silly rabbit...."

So just what the hell has Quentin Tarantino been doing since 1997? I have to admit -- when I saw that "The 4th Film by Quentin Tarantino" card in the trailer, I had to restrain a whoop of delight. Yes, I am a Tarantino fan. Yes, I can recite pretty much every line of dialogue from Pulp Fiction from memory. And yes, I have an enormous Reservoir Dogs poster. Call me a fanboy, call me an apologist -- whatever. I get what Q.T. is saying.

And I knew within five seconds I was going to love this movie: Tarantino opens it up with a hilarious -- and very appropriate -- reference to Star Trek II. It's that kind of love (and encyclopedic knowledge) of film that's apparent in all of Tarantino's work, but none more so than Kill Bill.

The story is strikingly simple: a group of assassins known as the Deadly Viper Assassination Squad hit a wedding in a small church in El Paso, killing everyone. Well, almost everyone -- despite their efforts, the main target of the hit, the Bride (Uma Thurman) -- who is, or was, one of their own -- somehow survives, though comatose. When she wakes up four years later, to discover she's lost the child she was carrying at the time, there's only one course of action: REVENGE~! And in appropriate action-movie style, she aims to take them out one at a time, trotting across the globe to kill them all, finishing with the leader known only as Bill (David Carradine).

In the hands of another writer/director, this would be a dark, serious character study, watching as the Bride slowly becomes more and more machine-like as she moves toward her goal of killing Bill. But not Tarantino -- he's always had an unabashed adoration for those bloody kung fu movies from the 70s, and Kill Bill is his version, complete with cheesy wocka-wocka music cues and characters with names like "Black Mamba" and "Copperhead." Along the way, Q also finds time to give us a short anime film, a horrifying subplot about certain liberties taken with the comatose Bride, and a master swordmaker's reluctant return to his craft.

One of the more remarkable aspects of the picture is the gorgeous cinematography -- colors just burst out the frame, especially in an early sequence in suburbia. The film's climactic fight scene in the snow is probably the most beautiful image I've seen all year. A scene where the Bride, clad in a yellow jumpsuit rides her motorcycle through the neon glow of Tokyo, is similarly stunning. Credit to Robert Richardson for impeccable work. Sally Menke's editing is also noteworthy (and award-worthy).

As far as the acting goes, everyone pretty much hits their marks perfectly. While there's cheese in the music and occasionally in the writing, there's none in the performances, which I have to commend. Tarantino also taunts us, letting us know at the beginning David Carradine is playing Bill, but never letting us see any of Bill other than his hand (that's a tactic Tarantino loves: amping up a character's image in the minds of audience by refusing to let us see his/her face). I should mention Lucy Liu, whom I normally don't care for: I just loved her in this movie. Thanks to the film's obligatory time-jumping (it is Tarantino, after all), I'm not sure if she'll be in Volume 2. Here's hoping.

There's been a lot of talk about Kill Bill's violence, and it's warranted -- this is one of the most graphically violent mainstream movies I've seen. We're talking heads chopped off and spraying blood, hands and feet severed and flying around, and other slashed body parts. It reminds me of nothing less than Monty Python's Black Knight scene, really. But unlike such ritual bloodlettings as Hannibal and the like, Kill Bill takes none of it seriously, so the whole movie as a Looney Tunes/Roadrunner feel that makes it hard to be offended at the various vivisected henchmen. Your mileage may vary, however, so consider yourself warned.

The movie does come to a rather abrupt conclusion, complete with gasp-inducing cliffhanger. I loved it, but I heard a lot of boos from the audience; I have to ask, "What were you expecting?" It does say "Volume 1" right there in the title. I should point on that it's much a better ending than The Matrix Reloaded, and Tarantino doesn't gives us a cheesy "To Be Continued" title, either. It just cuts to the "Written and Directed by Quentin Tarantino" card, leaving us breathless with exhaustion and antcipation. Though I didn't like it at first, I'm happy about the split -- I don't think I could sit through much more of this one, as much as I loved it.

So will Kill Bill, Vol. 2 be the 5th film by Quentin Tarantino? Or still the 4th? Fourth-and-a-half? Only a few months to wait and find out. I do know this: Vol. 1 is the best film I've seen this year, by far. Welcome back, Q.

Rating: *****

In the fuzzy, depressed mental state in which I wrote my previous post, I neglected to mention my acquisition of the new Barenaked Ladies release, Everything to Everyone. It's the same Canadian goodness we've come to expect. And honestly, that's really a incredible accomplishment, when you consider the BNL style; there's a fine line between quirky goofiness and annoying juvenelia, and BNL's ability to land on the positive side of that line so consistently for fourteen-plus years now is truly impressive.

(Someone out there is reading this right now and thinking, "Fourteen years? Dude, was that chickity-china-the-chinese-chicken song fourteen years ago?" No. No no no. "One Week" may have big their biggest hit [in America, anyway], but it was by no means their first. Their first radio hit was "Be My Yoko Ono," back in 1989, and they were very popular in the Canadian club scene for some time before that. They are not one-hit wonders, despite what the clueless sales clerk at Wearhouse told me. Moron. Uh, anyway...what was I talking about?...oh, yeah....)

I've become particularly enamored with a song on the disc called "Upside Down." This may be my new favorite song of theirs...yes, I might like it more than "Alcohol" or "Box Set." I decided to submit the lyrics here for your approval.


I always knew it'd come to this
Sooner or later there must be another's kiss
Behind that kiss a promise of a life of bliss
Yeah, great -- I won't be taking the bait
I'd rather drown
And I will not turn my whole life upside down

Imagine everything you've done
Under a microscope on view for everyone
And if the King of Circumspection's here
He's come in vain -- I won't be sharing the blame
I wear the crown
And I will not turn my whole life upside down

Nothing's good enough for me
To shake me from complacency
I make my mind up and I'll never be...

The kind of man to make a choice
For if I hold my tongue, I'll never lose my voice
If each attempted act of sabotage destroys all hope
I won't be needing the rope
I'm gagged and bound
But I will not turn my whole life upside down

And if the genie was set free
And, by the laws of things like that, he's indebted to me
I'd bury my three wishes deep down in the ground
Cause I will not turn my whole life upside down

Though I appreciate the aim
Tell Andy Warhol's ghost that he can keep his fame
I'd only use to make everything the same again
So don't applaud 'til the end -- I'm not around
And I will not turn my whole life upside down

Nothing's good enough for me
To shake me from complacency
I've made my mind up -- I won't make a sound
And I will not turn my whole life upside down


Well, I like it. And you should, too. So go buy it. And yes, I mean buy it. And yes, I'm talking to you.

And if the clerk tells you that Barenaked Ladies are a one-hit wonder, clock him in the jaw. Moron.


I never though that you would love me
The way that you do
I never thought that you could love me
Half as much as I do

In memoriam: Elliot Smith. Nothing I could say would be better than what a friend of mine did, so I'll just say it's a sad, tragic thing.

I actually came up with an idea for a short play I was going to start writing tonight, but a large part of it involves two characters discussing suicide at length; it seemed a little unnerving (not to mention depressing as all hell) to write this after hearing about Elliot, so I'll put if off for a week or so.

Onto baseball. In the fictional world, the Oklahoma Tornados are now 42-16, far and away the best team in baseball. It's actually scary how good we are. Out of boredom, I simmed the rest of the season just to see what would happen. We ended up 110-52 and walked away with the world title. Awesomeness.

In the real world, the Marlins tried to give away Game 4, but came back to win in the 12th off a homer by Alex Gonzales. So what we have is now the exact same situation as in the ALCS: Yanks lose Game 1. They win Game 2 at home, then beat the other team's ace (Pedro for Boston, Josh Beckett for Florida) in Game 3, then lose Game 4 despite late inning heroics from Ruben Sierra. It's scary, isn't it?

I still hold to my prediction (delusion?) of the Marlins' victory in seven games. Yes, I'm a lunatic.


Next door, the TV's flashing
Blue frames on the wall
It's a comedy of errors, you see
It's about taking a fall

To vanish to oblivion
Is easy to do
And I try to be, but you know me
I come back when you want me to
Do you miss me, Miss Misery
Like you say you do?

Mystic River: ****1/2. The Best Actor race is now a heated three-way between Johnny Depp, Bill Murray, and Sean Penn, who is all kinds of awesome here.

I saw the trailer for Tim Burton's Big Fish. It will either be really good or absolutely unbearable. Not sure which yet.

Oh, and the Red Sox. I'm disappointed, but not surprised, really. I mean, it's the Red Sox. I'm used to it. "Wait till next year," as Dodger fans used to say. And still say, I'd imagine. Next year's dream playoffs -- Astros vs. Dodgers in the NLCS; Red Sox vs. Mariners in the ALCS. I think I would have a stroke trying to decide who to root for.

So it's the Greatest Team Ever vs. Those Crazy Marlins for the prize. As much as I hate the Yankees, they probably are the best team in baseball. You'd have to be a lunatic to bet against them.

Marlins in seven.


You can have anything you want
But you better not take it from me

Five outs. There were five friggin' outs away. And they blew it.

If you didn't see it, the Cubs were up 3-0 in the 8th. Someone for the Marlins...Castillo, I believe, tapped a short pop-up in foul ground down the third-base line. Into the stands, but definitely playable. Moises Alou -- Cubs leftfielder -- sticks his glove in the crowd to catch the ball....

...and some stupid fucking drunk fan tries to catch the ball and slaps it away.

The Marlins go on to score EIGHT in the inning.

Game 7 tonight. I am afraid. Very afraid.

In other news, Mystic River opens today. Aw yeah.


It'll work out. You'll see it already. In the end, it's all nice.

ALL HAIL THE RED SOX! DIE YANKEES DIE!

Yes, the Red Sox managed to hold on to win Game 4, despite their best efforts to give it away in the ninth. So it's tied up at 2-2 now, which means that the series is definitely going back to New York for at least one game. I guarantee some stupid Yankee fan is going to start some shit. Watch.

In just a few moments, Game 5 starts. And then, tonight, Game 6 of the NLCS. The Cubs have the chance to go to the World Series for the first time since 1945. One can only hope.

There's a new baseball poll over there. You know what to do.

In other baseball news, my expansion team on All-Star Baseball 2003 -- the Oklahoma Tornados -- are now 27-11, still in 1st place in the NL Central. We're the most powerful offensive team in baseball, and we have one of the best pitching staffs in the league. The other teams cower in our presence. Yeah.


People will come, Ray. People will come.

Oh. Hell. Yeah.

So I saw Intolerable Cruelty yesterday: ****1/2. I also saw Kill Bill, which I just had to write about at length. And I saw the Return of the King trailer. *Twice.* And the Cubs won!

It was a good day.

But now the Red Sox are losing, and Pedro is totally falling apart. Grrr.


Wiggle your big toe. Wiggle your big toe.

Good news: The Lion King (#28 on the Essentials list) is out on DVD. It's about freakin' time.

Bad news: "Morning Report," the all-new song added to the film, is really quite bad. It's unnecessary and messes with the flow of the movie. Plus, it means it takes longer to get to "Just Can't Wait to Be King" and "Be Prepared." Luckily, you can watch the film without it, so I won't have to firebomb Disney in retaliation.

In keeping with the whole Lion King madness, there's a new poll over there. VOTE!

Speaking of voting: Ahnold is the governor of California. Since I don't live there, and haven't lived there since 1989, I really don't much give a damn, but I also don't think it's an "embarassment to democracy" or anything. I mean, why do we assume that just because he's Ahnold, he'll make a bad governor? Sure, he might make a horrible leader, and if he does, I'll be the first to say so. But hey, Ronald Regan was an actor before he became governor of California and eventually President, and he was a....

Okay, bad example.


I know it sounds sordid
But you'll be rewarded
When at last I am given my dues
And injustice deliciously squared
Be prepared!

Okay, so it's been a while. Why haven't I posted? Short answer: "I didn't feel like it." Long answer: "(pause) I didn't feel like it."

So, yeah. I saw Lost in Translation: ****1/2, best film of the year so far. Great flick. Saw The Rundown: ***1/2. I think the Rock might just become an action star after all. How about that. Now it's all about Kill Bill and Intolerable Cruelty.

I was complaining about our government (I know, big surprise) to someone yesterday, and I had to once again listen to that stupid "Well, why don't you just go live somewhere else then?" garbage. They ask me how I'd feel if I was living in a country where I wasn't allowed to complain about the government.

"You mean," I said, "what if I lived in a country where, if I spoke out against my leaders, I would be harrassed and told to shut up or leave the country?"

"Yeah!"

"Um...I do."

Can anyone tell me where I can get a desktop wallpaper of an upside-down American flag?


And as we wind on down the road
Our shadows taller than our souls
There walks a lady we all know
Who shines white light and wants to show
How everything still turns to gold
And if you listen very hard
The truth will come to you at last
When all is one and one is all
To be a rock and not to roll

WHOO-HOO!

Rarely have I taken such pleasure in being wrong: Lost in Translation will indeed be opening at a theater...well, maybe not near me, but close enough.

And as if to make sure this movie-related happiness is stomped into the ground and crushed before it can blossom into full-blown optimism, New Line has announced that the long-awaited Return of the King trailer will appear in theaters starting tomorrow...with Secondhand Lions. Yeah, fuck you, too.


I thought about the army
Dad said, "Son, you're fuckin' high"

To answer someone's question: No, I'm not reviewing Underworld. I might write up a paragraph or two for one of my end-of-month capsule reviews, should I choose to do one. But otherwise, you'll have to do with just the knowledge that I hated it with the furious intensity of a thousand suns, and that's all. Sorry.

Album of the week: Some Devil, Dave Matthews. Good stuff. Not that radical a departure from DMB stuff, but different enough. It's spectacular.

And Lost in Translation will, most likely, not open anywhere in this state, thus depriving me of yet another critically adored film. AARGH!


Gravedigger, when you dig my grave
Could you make it shallow
So that I can feel the rain?

During a screening of Underworld....

My friend Robert: "So, why do the vampires have to be the good guys?"

Me: "Um....because Kate Beckinsale is a vampire. And she's really hot."

Robert: "Oh."


Holy crap, did I hate Underworld. I mean, I knew it was going to be bad, but...damn. The worst movie I've seen all year, and that includes Jeepers Creepers 2. And when a flying, cannibalistic homosexual rapist in a stupid hat has you beat, you suck pretty badly, don't you? But seriously, a horrible script, goofy FX, and atrocious acting all lead up to a definite Worst Picture of the Year candidate. I'm stunned White Wolf would sue: why would they want people to believe they were in any way responsible for this horrible piece of shit (though I do believe they have something of a case)?

You know what's a cool feeling? When two friends of yours have been wracking their brains on a puzzle in Silent Hill 3 for seven hours (yeah, seven hours), then you show up and solve it in ten minutes. That's a cool feeling. The not-cool part of it is that now I want to play SH3 again really bad.


If you want to destroy my sweater
Hold this thread as I walk away

Star Trek II: The Wrath of Khan

(Essential #73)

A question: when the Reliant attacks the Enterprise, and that engineering cadet (who is Scotty's nephew according to the novelization) is mortally wounded, why the hell does Scotty bring him to the bridge? I mean, to get to the bridge from Engineering, you have to pass Sickbay. What's going on here?

Ah, Star Trek. One of my earliest movie-related memories is lying on the floor of our apartment in Canoga Park, California, pretending to be asleep while my mom watched Star Trek V. Perhaps it would have been better for my sanity if I actually had slept instead of watching a film directed by William Shatner, but I was hooked. Right there, I was instantly a Star Trek geek.

Our cultural landscape is littered with movies adapted from popular television shows -- Charlie's Angels, Scooby Doo, S.W.A.T. -- but most are disasters. The only series to truly breakthrough and suceed on the big screen was Star Trek (unless you count Maverick, which I loved but not too many others did). But it wasn't easy for Gene Roddenberry's creation: the first film, Star Trek: The Motion Picture, was a slow, ponderous mess that was so awful that I'm surprised they greenlit a sequel.

But oh, thank Paramount they did, because Star Trek II: The Wrath of Khan obliterates the bad memories of the turgid first film. Leaving behind that movie's "We are making serious science fiction" tone, director Nicholas Meyer injects Khan with the thing that made the series great in the first place: the interaction between Kirk (William Shatner), Spock (Leonard Nemoy), and Doctor "Bones" McCoy (DeForest Kelley). He then throws in some great action, an outstanding villain, and one hell of a shocking climax, and ends up with what is arguably the best of the Trek films.

Classic scene: Spock's final moments. "I have been and always will be your friend. Live long...and prosper..."

His days of galavanting across the galaxy long since passed, Kirk (now an Admiral) presides over Starfleet Academy, grading the cadets under Spock's tutilage. He projects a happy air -- "Galloping around the cosmos is a game for the young," he tells McCoy -- but everyone can tell he'd rather be doing just that.

Be careful what you wish for: while scouting locations to test the experimental Genesis device -- a bomb that creates life, rather than destroying it -- Chekov (Walter Koening) and the crew of the Reliant stumble upon the shelter of Khan Singh (the gloriously over-the-top Ricardo Montalban) and his crew. A genetically-engineered superman from Earth, Khan was marooned on this barren world decades ago by Kirk (in the episode "Space Seed"), and now he wants vengeance. He implants worms (don't ask) in the brains of Chekov and Captain Terrell (Paul Winfield) and takes over the Reliant, heading for his revenge and to pick up the Genesis device, which he admires for its destructive capabilites more than the creation.

The Enterprise, on a training cruise and staffed almost entirely by cadets, is somehow "the only ship in the quadrant" and must respond to the situation. In addition to meeting up with Khan, Kirk finds the creators of Genesis: Carol Marcus (Bibi Besch), who happens to be a former lover; and her son, David (Merritt Butrick), who happens to be the result of that affair. There is much technobabble, phaser fights, exploding computer consoles, and angst from Shatner (this is probably his best performance...for what that's worth).

Montalban gives Khan everything he has, and the result is magnificent. He quotes Shakespeare and Moby Dick, says "I will avenge you!" when a crewman falls, and gives us dubious Klingon proverbs: "Revenge is a dish best served cold." (That's actually Spanish.) The tension and rage between he and Kirk is impressive, especially considering that not once in the film are the two in the same room together.

Random triviata: The painting of San Francisco that serves as the background during the scene in Kirk's apartment was originally used in The Towering Inferno.

While the later films excelled with their special effects, Khan is not nearly as impressive. The budget was rather tight, and it shows -- a shot of approaching Klingon battle cruisers is footage from the first film, and the bridges of the Reliant and the Enterprise are the exact same set with different lighting. When fake heads are used in the ear worm scenes, the difference is very noticable.

But where the film fails in effects, it makes up in character. The script crackles with wonderful exchanges (Kirk: "I would not presume to debate you." Spock: "That would be wise.") and the performances are great all around. Of all the Trek films, this is the most important -- without a success here, we probably wouldn't have seen the birth of The Next Generation five years later, nor would we get any of the even-numbered films that we would love later on (the odd-numbered movies all suck). Of course, we wouldn't have had to endure Star Trek V, either...but I think the trade-off is worth it.

Oh, and another question: when Carol tries to signal Kirk, Uhura tells him the signal is "jammed at the source." But previous dialogue says that the Reliant and Khan -- who is presumably the one doing the jamming -- won't reach the station for three days. What's going on there?

Once Upon a Time in Mexico

Might as well get this out of the way right now: I've never seen El Mariachi. And I've only seen about twenty minutes or so of Desperado, and I didn't like it. So I'm not entirely sure why I was looking forward to this movie as much as I was...but I bet it had something to do with Johnny Depp. Though I've always admired his work, I've never big the biggest of Depp fans until this summer, when Pirates of the Caribbean dropped and Jack Sparrow blew everyone away. So I found myself highly intrigued in his follow-up, which also happened to be the final film in Robert Rodriguez's "El Mariachi" trilogy.

And maybe my Depp focus had something to do with my opinion of the final product, but once again, this movie belongs to Johnny. Sure, his Sands (a CIA operative) is really just a supporting character, but Depp's performance is spellbinding. When he's onscreen, the movie crackles with life; when he's off, you're waiting for him to come back.

I could try to tell you the plot, but I really couldn't discern much of it myself. Sands hires the legendary El Mariachi (Antonio Banderas) to hit a Mexican general (Gerardo Vigil). El, as he's called ("as in the," Sands is told), already has a good reason to waste the guy: he killed his wife (Salma Hayek) and his daughter. But Sands wants El to kill him only after the general as already killed the President of Mexico (Pedro Armendáriz Jr.) in an attempted coup. Somehow, another Mexican general (Willam Dafoe) ties into all of this, as does a one-eyed man (Cheech Marin), a retired FBI agent (Ruben Blades), and a little dog belonging to Mickey Rourke.

It's nearly impossible to follow, but Rodriguez keeps it moving along fairly quickly. Rodriguez is the cinematic equivalent of Trent Reznor -- he directed the film, wrote the script, operated the camera, composed the music, and edited the picture himself (or, as he terms it in the opening credits, "shot, chopped and scored"). And while it's impressive to see someone take that much control over a film (when the credit says "A Robert Rodriguez Flick," it's the truth), the film suffers a bit from that single-mindedness. Sometimes, collaboration can be a good thing; another writer, for instance, may have been able to convince him to thin out -- or at least clarify -- his narrative. Rodriguez is all alone, essentially creating this film in his garage, and it has the self-indulgent feel of someone operating without a bullshit detector.

If it sounds like I'm writing the film off, I'm not. Once Upon a Time in Mexico really is a blast. The action scenes are a lot of fun, even if I wasn't always certain why the various people were trying to kill one another, and they haven't the slightest touch of The Matrix in them anywhere, to my great relief. Banderas has a smothering intensity that perfectly embodies his character, and Mickey Rourke manages to get a lot more mileage than you'd think he could out of carrying around a little dog.

But I keep coming back to Depp. There's something about him: standing there, watching a bullfight, wearing a CIA t-shirt, Sands commands the attention of the audience. He's funny, he's dangerous, and he's probably a little bit insane...Sands, I mean, not Depp. But this character is so much fun that the rest of the movie actually suffers in comparison -- I like Willem Dafoe as much as the next guy, but he's totally forgotten about the second he leaves the frame, while Sands becomes what truly makes Mexico worth watching. Technically, I think he's supposed to be a bad guy (who can tell with this script?), but I was rooting for him all the way.

So Robert Rodriguez may have done everything on this picture short of painting the sets and acting as chauffeur, but Johnny Depp wanders onto the screen and steals it all for himself. It may be a "Robert Rodriguez Flick," but it's a Johnny Depp picture. Somebody give this man an Oscar.

Rating: ***1/2

Johnny Depp: my new hero. Read my review of Once Upon a Time in Mexico to find out why.

It appears that one of Depp's upcoming projects is the film adaptation of Stephen King's Secret Window, Secret Garden. This is yet more GOOD NEWS, folks.

And Metal Gear Solid 2: Substance is a work of exquisite evil. I will defeat thy evil VR missions! I swear to it!


I hurt myself today
To see if I still feel

I saw a film today, oh boy

I scraped together some quarters today, headed down to Movies 12 and saw Matchstick Men. Talk about a pleasant surprise. Consider me back on the Nick Cage bandwagon after this and Adaptation. But the best part here is Alison Lohman, who is wonderful as Cage's long-lost daughter. And Ridley Scott's visual style is superb. Call it ****...only the second movie I've seen in theaters this year to reach that. Blech.

But good news: there are good movies on the horizon. Some of the ones I'm looking forward to, in order of can't-wait-edness....

The Return of the King -- Who isn't waiting for this?

Kill Bill, Vol. 1 -- So I'm a Tarantino mark. This still looks awesome.

Mystic River -- Good lord, have you seen this cast? Plus Eastwood behind the camera? I am SO there.

Intolerable Cruelty -- Yeah, the trailer doesn't exactly inspire confidence, but it's the Coens! How bad could it be? ...Don't answer that.

Cold Mountain -- Nicole Kidman, directed by Anthony Minghella. That's all I know, but that's enough for me.

Love, Actually -- Yet another great cast. Yeah, it's a romantic comedy. So what?

The Rundown -- Call me crazy, but I loved the trailer. So the Rock's filmography is less than spectacular, but it's way better than Hogan's.

The Last Samurai -- The full trailer I saw today cemented it -- this is gonna be either really good or really bad. Either way, I can't wait.

Once Upon a Time in Mexico -- ...hey, that opened today, didn't it? All right!

The Matrix Revolutions -- sure, Reloaded was only barely a success, but I'm still optmistic. Am I being foolish?

So hopefully, this awful summer will be nothing but a bad memory soon.


And though the news was rather sad
Well, I just had to laugh

Christian Bale (American Psycho) has been signed to be the next Batman, to be directed by Christopher Nolan (Memento, Insomnia). This is GOOD NEWS, folks.

That is all.


That's why they call me bad company
And I won't deny
Bad company 'til the day I die