Killian Rides Again November 8th at the Midland Theatre!

Posted by: on September 29, 2015
Chris Delgado as Killian Cog

Chris Delgado as Killian Cog

What’s new with us, you ask? OK, maybe you didn’t, but this is fun.

“The Bizarre and Curious Quest of Killian Cog” will be wowing the crowds of Newark, Ohio at the Midland Theatre on November 8th! We’re super excited, and taking this opportunity to add a few new things to make “Killian” better than ever.

Working With a Dramaturg

Dramaturg and all-around-awesome-person Lauren Feldman has jumped on board the Killian creative team! She is going through our script with a fine toothed comb, and helping us make sure our story is being vibrantly and carefully told. As you can imagine, it’s not easy to communicate theatrical nuances and stories without dialogue, but by golly – we’re doing it! Her beautiful articulation of ideas and talent for storytelling are really making “Killian” shine.

If you’re going to be in the area, don’t miss it! Tickets are selling quickly, so zip over and snag some for yourself and your family. Click here to run away with the circus for an afternoon!

New Music!

We’ve also been working with masterful composer Joshua Green, who’s creating some fresh tracks for the show. It’s a very cool thing to show someone an act, describe the feel you want, and then have it manifested in sound! We absolutely cannot wait to add the new music – it’s like Christmas came early.


Ever wondered what it’s like to run away with the circus? “Like” us on Facebook and get updates on where we are, what zany things we’re doing, and quirky peeks backstage!


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What is Bubble Performance?

Posted by: on September 23, 2015

What is Bubble Performance?backbend bubble edited

Bubble performers are just plain fun! From human snow-globes to luminous orbs floating in the pool, this act packs a lot of punch. The orb can be used indoors, outdoors, or in water, and can be filled with sparkling confetti, feathers, snow, glowing balls, or left plain.

What does Bubble Performance look like?

What does this act need to perform?

This act requires a smooth surface, completely free of anything that might burst the orb (gravel, sharp stones, etc.). The artist also requires a path at least 8 feet wide to the performance area (or a pipe and drape) with electricity nearby to inflate the orb. Email us at or call us at 212-252-3131 – we’re happy to answer your questions!


  • This act is 6 minutes long for stage shows, or can be performed in 15 minute ambient sets.
  • This act requires a surface free of sharp objects which could burst the orb.
  • This act requires a path of at least 8 feet to the performance area, and a performance area of 8-10 feet.
  • This act requires electricity to inflate the orb.
  • This act is appropriate for all audiences.
  • There are multiple costumes and orb “fillings” (snow, confetti, feathers, glowing balls, etc.).


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Hanging Out and (NOT) Bursting Bubbles in the Hamptons!

Posted by: on September 22, 2015

“You guys are always a delight to work with! Looking forward to another soon!” – Sasha

This weekend, ImaginAerial was deeeeeeelighted to jaunt off to the Hamptons to bring some sassy fabulousness to a “Gatsby” themed event! Featured acts included Aerial Champagne Pouring, and Bubble Dancer (floating in the pool, no less). A marvelous time was had by all!

No Artistic Business Margin? No Business. Enjoy Starving.

Posted by: on September 9, 2015

Way back in Ye Days of Olde when Angela and I first teamed up, we did a lot of things very wrong; BUT, we did one thing very right: we established and upheld a business margin.

What the Heck is a Business Margin?

Let’s explain it this way. Pretend I’m a plumber. You call me and ask me if I can come and fix your toilet. Now, there are three costs that are actually in play here:

  1. The cost of my labor. This is what I personally am paid to come and plunge your potty. I use this money to pay rent, buy food, and the rest goes to hookers and blow. In short, this is my salary. Let’s say it’s $50 (though I personally would charge you a LOT more to come and fix your porcelain throne).
  2. The cost to run my business. We love to forget how much money it takes to make a business happen! Everything from equipment (toilet snakes) to website to gas in the truck. These costs are very real, and they add up fast!
  3. The cost to grow my business. Times change, and the needs of a market change with them. If plumber A has set aside $$ to grow his business, but Plumber B has only charged what he needed to get by (aka just his salary), Plumber A now has enough for new, modern, better equipment, and can quickly put Plumber B out of business.

Cost #2 (see what I did there?) and #3 are a business margin – a buffer you charge clients to cover your expenses, both presently and in the future.

The meme above is from the fabulously funny and talented David Engel, who has a phenomenal show called “Pirate School” (check it out!). He absolutely nailed it! The performance is just the tip of the ice burg – it costs money to produce artistic work!

But I Don’t Need One – I’m Not a Business

HAHAHAHAHAHAHAHAHA (deep breath) HAHAHAHAHAHAHAHA! Yes, my dear, you are. And until you start treating yourself like a business, well, enjoy that day job (unless you have a trust fund, in which case we should talk about investment opportunities…). When you buy equipment, web costs, costumes, insurance, makeup, rehearsal space, etc, those costs should be covered by your business margin. A healthy business margin is usually around 30%, but can be more. For example, if my salary is $50, I would charge the client $65; $50 goes to me, and $15 goes to the business. If my salary was $650, I would charge the client closer to $850.

I know, it doesn’t seem very “artistic”, does it? This is a tough thing to reconcile. What helps me, aside from my yearly reckoning with my accountant, is remembering that art has, at least in some respects, been a business for a loooooong time; for example, Leonardo da Vinci, Michaelangelo, and countless other artists worked on commissions – as in, they were paid to produce a particular work of art, often with significant input and stipulations from the patron.

You are not a bad person for wanting to make a living producing art. You are not greedy, unethical, or suspect for charging what you’re worth, and what it takes to run your business. You may be bad/greedy/unethical for a whole host of other reasons, but that ain’t one of ’em. Go forth and create wondrous things, and ask for enough so that you can KEEP ON creating wondrous things! Dare to imagine, Laura

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Put a Sock in It! When to Offer Input on Someone Else’s Work

Posted by: on September 2, 2015

Spanish Web

This is a really simple answer: NEVER.

Unless there is clear and immediate danger (think lava,sharks, or mono-filament & coat hanger rigging), your mouth should remain firmly and definitively closed.

Now, to be fair, I am the worst about this. I teach aerial silks, and spend a good part of my day barking corrections and shattering the dreams of unsuspecting students; it’s sheer torture to hold my tongue when I see poopy technique, snoozy transitions, or have a zillion and one (clearly genius) ideas about what should go where. But here’s why we should all just stick a sock in it:

  1. They may not be ready for feedback. The creative process is, indeed, a process; things evolve and change. We need LOTS of room to play, experiment, look eye-wateringly bad, and make mistakes. When you offer unsolicited feedback too early in the process, your seemingly innocent comment can shut that whole system down, and be truly detrimental to the work in it’s embryonic stages. Artists and entertainers need space to hear their own voices, not yours. Even if it’s a “have you thought about trying this” comment, hold your tongue.
  2. “It’s not your place, so shut your face.” We used to say this as kids, and it’s so true! Unless someone has specifically asked for feedback, it’s not your place to give it – even with the best of intentions. Whether you’re in a shared rehearsal space, class, or just walking by, unless they have solicited your opinion, shut your face.
  3. Are you just going to ignore this and give feedback anyway? At least give the person the opportunity to say no. Try something along the lines of, “Are you open to feedback right now in your process?” Then, listen to their response AND the vibe they give. Some folks are really, really nice (I wouldn’t know what that’s like), and may say yes when they really mean no. Try to be genuinely sensitive here.

Summing up, if you don’t have anything nice to say, don’t say anything at all. Your mother was right after all. Dare to imagine, Laura

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Booked a Gig? Book the Day!

Posted by: on July 28, 2015

Michael is a consummate professional – we love working with him!

Question: When you book an event, how much of the day should you plan on giving to the show? How long should you expect to be there?

Answer: All day. All. Day.

Wait – Really? All DAY?!

Well, yes! I know it seems extreme if you haven’t worked a lot of events, but hear me out.

First and foremost, we are part of a larger “event machine”. The banquet manager, event planner, etc have to juggle catering, room set up, DJ or band, stage set up, flowers and decor, sound system, lighting, and about a thousand other things. Consequently, rigging and rehearsal doesn’t happen at our convenience! Let’s break this down so you can see how this might work:

“If cocktail hour starts at 6:00 with champagne aerialists, rigging needs to be completed no later than 4:00 so they can finish setting the tables. Rigging seems straightforward, but the decorator wants to swag fabrics from the center of the ceiling, and can’t do that until everything is up. Normally we would start rigging around 2:00 or 2:30, but we need to start earlier to accommodate the ceiling swag. OK – rigging at 1:00. The gig is in NJ, and we’re leaving from NYC. It’s a Saturday, so we can expect more traffic. On an easy day, it takes an hour and 15 to the venue, but we have to allow an extra hour in case of delays. Departure at 11:00. We want to do a quick spacing rehearsal for the ground acts, but the floor won’t be down until 3:00. At that point, the genie lift will be on the floor for the decorator to do the ceiling. Can we come earlier to rig? The decorator doesn’t need the floor down to use the genie lift, so we can rig, he can swag the ceiling, then the floor goes down, and we can see if the German wheel has enough space on the dance floor. Departure is now at 10:00 am.”

Do you see how that sometimes works? Good – it’s important to know that we are not trying to waste your time. You might ask why you’re even there early to begin with; I mean, after all – you’re just doing a hand balancing act at 9:00 pm! Believe me – we get it, sometimes we’re asking ourselves the same thing. The easiest answer boils down to two things: transportation, client. If we need to send everyone in the same van, ground acts are going to be there earlier and stay later to accommodate the aerialists. If this doesn’t work for you, another option is to plan your own transportation on your own dime. BUT, consider that this may be a client issue. Often, clients want everyone there early so they don’t have to worry, or they want everyone there for rehearsal, or they want a little sneak peek at what they’re getting. Remember – the client signs our paycheck, and in essence signs yours too. We advocate heavily for our artists, but if the client wants to see you, you’ll be there.


Are There Exceptions?

Of course! Here are a few:

  • You let us know when we booked you that you were only available after a certain time, or needed to leave at a certain time. Totally acceptable, as it places the onus on us as to whether or not to cast you knowing your time constraints.
  • You’re trying to squeeze something else into your day. It’s perfectly fine to ask for time parameters for an event – we’ll give them to you if we know them. That said, know that things change all the time in events, and you should be prepared to cancel whatever else you’re squishing in if something shifts.
  • If you’re doing someone a big favor. The bigger the favor, the more leeway you have.


Events are a weird kind of showbiz, and anyone who’s worked in showbiz for even a little while knows that it’s little things that separate the pros from the no’s. We hire the best of the best, and they consistently prove it to us by going above and beyond – doing whatever has to happen to make a gig shine. Committing to a full day of whatever is needed is a great way to get noticed – and hired – again and again. Special thanks to Chris Delgado and Michael Karas, who made us look goooooood this weekend in Atlanta! Best of the best. Dare to imagine, Laura


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You Can’t Learn if You Pretend You Know Everything

Posted by: on July 14, 2015

In an age of competition, grandstanding, and every kind of pride under the sun, today I wanted to give a shout-out to a forgotten virtue: humility. What is it? Does it have a place in the artistic market? And, most importantly, is being too big for your britches keeping you from learning anything new? (hint: yes.)

“Real learning comes about when the competitive spirit has ceased.” ― Jiddu Krishnamurti

Kate editFirst, let me say that I’ve spent a good deal of my professional life being too big for my britches, literally and figuratively. It’s practically de rigueur for artists stepping into a cut-throat market to pose, posture, and puff up in the face of their competition; I surely did my share, and suffered for it.

Know What You Know… And What You Don’t Know

Knowledge is good. Experience is good. Knowing what you don’t know? Extra good.

Now, before you say, “How do I know what I don’t know??!!”, I invite you to think that through. There are lots of levels in the knowledge/experience game, but let’s condense it down to three for the sake of the inter-webs.

  1. High Level/Expert – You know your stuff, and have been at it a long time. You are recognized by your peers as an expert in your field, and your advice and input is often sought.
  2. Mid-Level – You have a solid knowledge base, and have been working hands-on for a while. You have a good sense of the multiple elements that make up your chosen field (ex: rigging, performance, training, marketing, etc.), and have a clear understanding of where you need more education or experience.
  3. Low-Level – You’re just starting out. Most of your knowledge is theoretical in the sense that you haven’t been able to put much of it into practice yet.
  4. BONUS LEVEL – Delusional. You have no idea what you’re doing, people routinely tell you so, you ignore them and proclaim yourself a god. Your foolishness knows no bounds. Try not to take anyone with you.

Now, no matter where you fall on the knowledge/experience spectrum, one thing is certain: you still have more to learn. The trap of pride is that it keeps us from acknowledging this – the high level expert may think she has no more to learn and become rigid, the low level novice may pretend to know more than she does, and place herself and others in danger, or just make foolish choices.

Research, Opinion, and Common Sense

So, what? Where does all this leave us? Well, pursuing humility and it’s best friend, wisdom.

Someone once told me that, even when I was VERY sure about something, I should occasionally preface statements in my head with, “I might be wrong, but…”. This helps us remember that things change: new facts come to light, we gain an different understanding of something, we see another way in which things could be done, etc. It doesn’t mean not having well-informed, strong opinion; it does mean keeping our ears open for ideas, knowledge, and perspectives we might have missed the first time around.

For newbies, become little sponges. Little pro-active sponges. Do your homework, ask questions, google until your fingers bleed. Don’t wait for someone to spoon-feed you information you are ultimately responsible for having, and don’t try to bluff your way through it all. DO present yourself professionally, and consider pursuing a mentoring or apprentice situation (ideal – you can learn oodles of stuff, ask tons of questions, and comfortably acknowledge what you don’t know).

And while we’re chatting about all of this, a few things to keep in mind while gleaning information:

  • Opinions are not facts. All opinions are not equal – some are better informed than others.
  • Be careful where you get your information – consider the source.
  • Ask yourself, “Why should I believe that?” Is it from a credible source? Does it have the ring of common sense to it? Is there hard science to back it up?
  • Are you researching to get a better understanding of something, or to “prove that you’re right”? There’s a big difference.


We all have so much more to learn, to consider, to pursue. There is ALWAYS someone who knows more than you do, so keep your ears open, and keep movin’ on up. Dare to imagine, Laura

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Pro vs Hobbyist: Aerial Smackdown, Part 2

Posted by: on June 3, 2015

should i donate

Not sure what this is about? Click here to read Part 1! 

Unions, Guilds, and Industry Standards

Do you believe people should be paid fairly for work? Do you regularly champion raising the minimum wage? What about when it comes to artistic work? (did you catch a little voice in your head saying, “but that’s not really work”? See “The American Attitude Towards the Arts” section in the next post).

Circus professionals are engaged in a constant battle to educate up-and-coming artists, clients, producers, etc about appropriate working conditions, safety standards, fair wages, and the general realities of what we do (as well as trying to convince people that it is, in fact, work). We do not currently have a union, though we seem to be headed in that direction. Consequently, it’s up to us to police our own community before a) some insane regulatory body does it for us (read: everyone’s performing in helmets) or b) the bottom falls out of the industry, and no one makes a living. Some will call it “shaming” – OK. I call it educating – protecting my industry – and I encourage every professional who cares about what they do to speak out whenever you see everything that you’ve worked for being thoughtlessly undermined.

When non-professionals accept work at a professional level, and do so without pay, they reinforce the idea that art/entertainment is not “real” work, or at least not valuable work. A) I assure you, it is real work (I do more pencil pushing than I had ever dreamed possible) and B) there’s a reason people who do choose to work free or cheap don’t do so for long: events and shows are really, really involved. It’s not usually a matter of just popping into a venue, quick rig, quick show, take it down, post to Insta-gram. For a better idea of why we charge real money for real work, CLICK HERE.

Performers Only Want to Make Money

Yes – we DO want to make money. Just like you do when you go to your job. We would very much like to be fairly and adequately compensated for our work. Because when the glamour and glitter wears off (and it does – surprisingly quickly), it IS work. Work. Not play, work.

Professionals Should Just Be Better – Up Your Game!

I will only accept this argument from card-carrying free market capitalists (that’s probably not you).

For the rest of you, once upon a time, this was how the industry worked. You started your training young, apprenticed through your middle years, put in your time, and maybe – just maybe – made a career out of it. You had to know somebody who would vouch for you to move up in the ranks. What’s changed? The inter-webs. The internet has leveled (some would say destroyed) the playing field, since anyone can hang out their shingle and call themselves whatever they want. But where does that leave the consumer?

… Bewildered. Let’s be very clear: the consumer is not informed. They have very little basis for comparison, and have no idea what questions to ask, what to look for, how to tell a good aerialist from a green aerialist. When the consumer has no idea what “good” really looks like, and is unaware of meaningful standards, how can they possibly make an informed decision? They can’t.

Take a poorly informed consumer who is TOTALLY WOWED by an inversion mid-air, and combine it with !!!FREE!!!, and you can see why this is such a losing battle. Professionals can be as great as they want to be, but it’s hard to compete with free or dirt cheap when the consumer doesn’t understand what they are (or should be) paying for. It’s why Walmart still exists.

Stay tuned for Part 3 of this marathon post! Whew! Dare to imagine, Laura

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Pro vs Hobbyist: Aerial Smackdown, Part 1

Posted by: on June 2, 2015

should i donateTruth? I’m writing this, and then fleeing the country for German wheel world championships in Italy. See ya, suckas!

Actually, I started writing this all as one post, but it got tooooooooo looooooooooong. So, I’m carving it into 4 easily digestible parts! Stay tuned for 2-4.

What is the difference between a professional and a hobbyist? Recently, I posted this meme on the F-books (click it to make it bigger). Most responses were positive, but a couple brought up some commonly held (if not voiced) opinions:

  • the only difference between a pro & a hobbyist is that the professional accepts/demands payment
  • I shouldn’t have to turn down a performance just because someone else wants to make money at it
  • performers should focus on being better, thus edging out amateurs
  • me performing at events (charity and otherwise) for free does not “take away” a gig from a professional

Hear that sound? It’s the sound of a hundred professionals grinding their molars in frustration. Why? Because these questions so boldly illustrate the misunderstanding and lack of awareness surrounding our business, it’s enough to make a gal want to hang up her sequins for good.

This is a HUGE topic, so I’ve included several links to additional posts so as not to reinvent the wheel.

Is There Really a Difference Between a Professional & a Non-Professional?

Yes. Yes there is. First, I would like to direct you to this awesome blog post by Allison Williams, which is aimed at individuals interested in pursuing a professional career, who may or may not be ready to call themselves pros yet. This post details many aspects of the work that laypersons don’t consider.

Second, let me tell you The Tale of The Ceiling Fan in My Bedroom. A few years ago, the Mister and I decided to install a ceiling fan in our bedroom to combat the misery of NYC summers. We went to Home Depot, picked out the perfect fan, dragged it home and … wondered how the hell to install it. We considered calling in a professional electrician/handyman, but wait! The guy down the hall said he could – and would – install it for us! It would be a breeze!! WIN! He brought over all his tools, and hammered and sawed around in the bedroom for a while. Three hours later, he came out and proclaimed it done! “The plaster is a little bumpy, but I’ll be back in a few days with some more plaster to smooth it out.” Long story short, the plaster was A LOT BUMPY, looked awful, there’s a small hole in my ceiling, and he never did come back. We also can’t put the fan on the highest speed or I’m pretty sure it will just fly off the ceiling. Sigh – should have hired someone. See where I’m going with this?

Being a professional is more than just being good at something; it reflects a level of dedication, experience, and investment (emotionally, financially, physically), that the layperson simply does not have. It involves expertise – something Americans seem to pooh-pooh in our age of WebMD, Pinterest, and YouTube. Thing is, expertise is a real thing, and my expertise trumps your hobby. Every time.

Let’s have a look at a few of the myriad ways pros and hobbyists differ. In addition to Allison’s substantial list, hobbyists are:

  • unlikely to have invested sufficiently in equipment, costumes, rigging, rigging training, and insurance
  • more likely to leave questionable safety practices or situations unchallenged, often simply because they are unaware that there’s a problem
  • unlikely to have a well-informed understanding of the nuances of event work, and are thus less able to anticipate common missteps or snags
  • often invested heavily in their own experience, and less interested in maintaining professional standards and working conditions

On the artistic side, there’s this.

What is a Professional Gig?

For the purposes of this particular discussion, it’s any event for which the client wishes to hire a professional. Does the person who is asking you to perform know that you’re not a professional? You may not think they’ll care, but trust me – even when they’re asking you to “donate” your talent, they care. In fact, people tend to get reeeeeeeeally uncomfortable when they find that the person they want to have rigging and dangling from the venue’s (very expensive) ceiling isn’t a pro.

Prior to any sort of agreement, if you do not clearly convey to the client that you do not do this for a living, you are misleading them; as in, “I do want to make sure, before we move forward, that you understand that I am not a professional aerialist. I (insert qualifications here), but I do not make my living doing this.” Does saying that make you uncomfortable? You should ask yourself why.

Click here for Part 2! Dare to imagine, Laura

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Dyeing Aerial Fabric – the Fabulous T Lawrence-Simon Guest Blogs!

Posted by: on May 26, 2015

T Lawrence-SimoneIf you don’t know T Lawrence-Simon, I’m very sad for you. In addition to his aerial and coaching awesomeness, he is a GENIUS with a sewing machine. Here is a recent post he put up on the F-books, which he has generously agreed to allow me to use as a guest blog. Thank you, T!!!!

“How Do You Dye Aerial Fabrics?”

T: I get asked this a lot. When dyeing aerial fabrics, start with “What is my fabric made of?”…most likely nylon or polyester (I am not familiar with other fabrics if used, but keep reading anyway). There are many types of dye out there because different fibers need different processes and chemicals to accept pigment into/onto the fiber. This is where your average neighborhood grocery/pharmacy store screws you over…if they carry any dye at all, they’ll have RIT dye.

RIT dye is the Voldemort of dyes. The dye that must not be used…

Here’s why.
RIT Dye is what is known as a union dye. It is meant to “dye” any fabric you throw it on. The way this works is that the dye product contains a little bit of as many types of dye as they can. If you throw cotton in, the cellulose fiber dye will kick in and do the trick, if you throw silk in, the protein fiber dye will kick in…etc. Raise your hand if you’ve thrown an entire bottle of RIT in the washing machine with an aerial fabric, and out comes a fabric WAY more subdued in color than the bottle seemed to advertise. This is because, while the amount of liquid in the dye bottle seems to be nice and opaque and saturated in color, you’re only gonna get a reaction from SOME of that, but the amount of water stays the same…dilution=less saturated color=sad aerial fabric.
Let’s put it this way, I have a dance company, I have 100 people in this dance company. In my company, 25 of them are trained in tap, 25 others are trained in hip hop, 25 others are trained in ballroom, and 25 others are trained in ballet. This event hires my company to perform because they see my website with 100 people and they’re like “wow, that many dancers will really spice up my event”…they ask us to present a tap number…sadly only 25 dancers show up to perform at the event… womp womp.
That, my friends, is RIT dye.

  • If you are trying to dye cotton spandex for a costume, cotton is a cellulose fiber, use cellulose dye (hint, you can’t really DYE spandex itself, so just focus on the blend fibers).
  • If you are trying to dye nylon spandex fabric for a costume, or nylon fabric for aerial silks, you’ll want a “protein dye”/acid dye (nylon reacts in the same category as silk and animal fibers).
  • If you are trying to dye a polyester aerial fabric, (tricky but doable) you must use a special dye JUST for polyester (it really is a b*tch).

Also, note, each of these dye processes needs other things to work, so make sure you bone up on the process (or hire a fiber artist with experience if you want a top notch job – ya know, so you can call it hand dyed because it is pretty and not as a euphemism for patchy). Also, some of these dye processes involve not-so-healthy chemicals, so don’t dye in enclosed spaces if possible, or at least open doors/windows, fans…etc, also keep the wee ones away, babies don’t need that in their lives.
Over and out.

If you haven’t visited T’s website, get on over there! And if you haven’t taken a class or workshop with him, keep your eyes peeled for the next time he’s in your town – he is utterly fabulous in every way. Dare to imagine, Laura

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.


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