Mayweather Boxing: Tips and Tricks

It has occurred to me that like the different styles of martial arts, kung fu, ect. there are different styles of boxing. Just as a round kick in Tae Kwon Do is radically different then a round kick in Muay Thai, there are also different approaches to the sweet science. Among these "styles" in boxing, there is the style "Mayweather Style," associated with the Mayweather family, Floyd Sr. and Jr. and Roger and the boxers associated with them and the rough streets of Flint Michigan, such as world champion James Toney. These fighters are tough veterans who win fights. The success of Floyd Jr. alone validates their style. However, Floyd didn't get to the top purely on skill or genetics, He utilized several tricks to cut corners and marginalize his opponents. If you ain't cheating you ain't trying, so without further ado, here are the top Mayweather Boxing tips and tricks:

1. Shell Defense
Floyd Jr. uses this well, His Father used a more stylized version of this. This defense is also called "shoulder defense," it is an emphasis on protecting the front side of the head with a raised shoulder and a deeply tucked chin. The back hand still is up, but in this style the front hand can be low, or left free to "flick" out lead punches. While this is a violation of traditional boxing wisdom of "keep both hands up or die," but can be quite effective, especially couple with rapid head movement.

2. Head Pull
Make no mistake about it, Floyd Mayweather Jr. is a dirty fighter. He is also a winner. If you aint cheating you ain't trying. The head pull is an illegal clinch move. You can't hold like this in boxing, but it happens and when it does it sets things up. When clinches happen, Floyd pulls his opponent forward, off balance. He then leans on them and uses leverage to control the body of the foe. With the head down, the boxer cannot throw a blow. This is similar to a sprawl in wrestling, except standing. Floyd uses this leverage to throw hooks to the body, especially on the side opposite the referee. I myself did this in Danbury Casino, versus John Allen, and the hooks scored as well as tired my opponent. This may lead to a referee break, but keep throwing blows until this happens. Versus Gatti, Floyd Jr. slipped in three blows and scored a knockdown while the Ref moved in. Dirty? Sure, but effective as well.

3. Pull Counter
This is one of the most famous moves in the "Mayweather Style," it has resulted in many KO's. Among other examples of this Floyd Jr. used it to batter the British Champion Ricky Hatton. It is so effective because it counters when the opponent is most vulnerable, moving in fast. The speed of the opponent radically increases the overall power. According to some guy named Isaac Newton, E=MC2.This means that Mass and speed (C) are squared. If both masses have speed the equation increases exponentially. This is why the "Head On Crash" in car accidents is so bad.
Boxers use this principle to win, the Mayweather's use this in the Pull Counter.
By leaning back and taunting the opponent, He is drawn in. He will probably jab, but either way a skip back should ensure initial defense. A rapid reversal, a right counter, catches the opponent coming in.
The move is finished by skipping back out. Effective aggression is based on explosive movement. It's only one punch, but the timing causes it to have the impact of several.

4. Sucker Punch
An effective, fight ending move, as in Floyd's blasting of Victor Ortiz. Psyche! I am NOT suggesting this tactic, though it is utilized by the Mayweathers.

Nathan Netterlund is a Golden Glove Amatuers Boxer and Boxing Trainer. He has won his last two bouts. He also holds a Brown Belt in Tae Kwon Do. If you have boxing questions, feel free to comment.

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On Boxing: The Drawings

For my senior show: Fabrication, Gallery 209, Applied Arts, November 12th-16th.

Weigh-In

Nathan Netterlund

Mixed-Media Drawing, Mechanical Pencil, Fine Line Inks, Coffee Wash, Drawing Ink and Photoshop

Round One

Nathan Netterlund

Mixed-Media Drawing, Mechanical Pencil, Fine Line Inks, Coffee Wash, Drawing Ink and Photoshop

Round Two

Nathan Netterlund

Mixed-Media Drawing, Mechanical Pencil, Fine Line Inks, Coffee Wash, Drawing Ink and Photoshop

Round Three

Nathan Netterlund

Mixed-Media Drawing, Mechanical Pencil, Fine Line Inks, Coffee Wash, Drawing Ink and Photoshop

Round Four

Nathan Netterlund

Mixed-Media Drawing, Mechanical Pencil, Fine Line Inks, Coffee Wash, Drawing Ink and Photoshop

Decision

Nathan Netterlund

Mixed-Media Drawing, Mechanical Pencil, Fine Line Inks, Coffee Wash, Drawing Ink and Photoshop

Fabrication Senior Show

Opening reception November 14, Gallery 209.

On Boxing

Though this may be disputed by those with weak hands and uninformed minds, it is largely accepted that boxing is the most difficult of sports. Golf may be more frustrating, baseball may be more complex. Wrestling almost certainly requires better conditioning and many sports require more strength. Still boxing is the hardest, if for no other reason than it requires the athlete, the fighter, to excel under the considerable duress of his (or her) opponents best blows.
Moreover, though it takes a team to properly prepare for a fight, the fighter enters, fights and stands alone on the ring. So while a team has a system for support during competition, and can deflect blame thereafter, the fighters have only themselves. Finally, the format of the competition is itself inherently difficult. While other sports have pauses in action, planned breaks and intermissions and available timeouts, boxing is continuous, from bell to bell. Stopping is, in and of itself, grounds for defeat.
Consequently, boxing represents a significant challenge, but it also presents a interesting opportunity. It is, in it's essence, an ultimate expression of competition. That is to say reflects the principles of evolution not only in terms of fitness, but also survival. Fighting is the base condition of human life, as life itself must battle its alternative. One fighter prevailing against another is an inevitable echo of the victory of lesser organisms and the existence of the world we know. In other words reality itself was formed in the same manner as the combat sport. Victory or defeat. Survival or death.
It is for this reason that the breakdown in the order of less consequential sports, such as hockey or football, results in blows being thrown, while an inverse situation is absurd. Imagine a irate fighter trying to throw a pigskin or shoot a puck! This would not, and could not, happen because the other forms of competition are elaborate constructs set up as imitations of fighting, just as fighting is an imitation of life. Accordingly, prevailing in the ring represents monumental illustration of existence, a victory that transcends the limits of sports and speaks to the shaping of reality.
You might wonder what the world would be like without you, or without life, but these questions are inconsequential. There was never a reality without you or without life. If two different variables ever existed, their diversity predicates an inevitable inequality. Victory and defeat, life and death were never an option, but a requirement of variance. This disparity shaped reality and the world with you, me and everything else was a certainty.
On my twenty-fourth birthday, on a two-fight win streak, I celebrate boxing and life.

People Eaters

People Eaters
Nathan Netterlund
mixed media drawing
mechanical pencils, spit and finger blending, ink pens and fine point sharpies
STRONG coffee wash, blended charcoal

doors

Drawing Three

Place Project

doors

Nathan Netterlund

April 25, 2011

For my Place Assignment I initially wanted to do a graveyard themed project. I wanted to do this because graveyards were always a special place to me. I had gone to graveyards often in high school and drawn from life. Graveyards were also visually interesting and they were plenty of conceptually possibilities to explore throughout graveyards. Graveyards were good examples of differences in class, religion, status, culture and other important differences in society. I was set to do a project that compared two different graveyards that were very geographically close to each other in terms of religion and social status. The project would have been quite interesting, but I postponed actual studio production on it, as I was incredibly busy working on an essential Art Education project. The project was a mock application to a High School; complete with a cover letter, resume, letter of recommendation, transcripts and DPI License application This project was the last large-scale project in the last education class. I could see the end of my time at Stout and it was quite intimidating. Did I have enough education to succeed in my future career? Had I taken advantage of my years in School as best I could? Questions like this consumed me and I was filled with doubt and insecurity. Rather than effectively combating the oncoming fear, I let it consume me. In a short time I was crippled by the sort of depression I had not experienced for some time. This got worse until I couldn’t work at all. I decided to seek advice from a Professor who I trusted. He listened to my problems, responded with relevant suggestions and I left His office feeling much better. I made a conscious decision to embrace confidence rather than fear. The first thing I did is begin to clean my room and house. I opened the door to my balcony and breathed fresh air. I decided to change my concept for the project.

I would make the place my room, which was one of the ideas on my original mind map. I would use the two doors of my room as an ubiquitous metaphor for positive and negative psychology, in particular my own. One door would be closed and exemplify the seclusion, loneliness and insecurity I was experiencing. The second door would be open to the world at large, letting in the sun and fresh air. Naturally the second door represented escape from the prison of depression and more positive attitudes towards the world at large.

The visual language I used wasn’t particularly complicated, so I was careful not to make the differences between the two compositions extreme. Instead they were stylistically consistent, with the largest difference being some brighter colors outside of my room, which made sense given light differences from interior and exterior environments.

My process was in part dictated by this emphasis on objectivity. I photographed and re-photographed the two views of my room, until I finally got pictures that I could use. I compiled a couple photos for each view to obtain the necessary visual information for the compositions. I then re-worked the lines using the pen tool in illustrator. With the lines complete I colored the piece in Photoshop, using gradients, paintbrushes and the magic wand tool. Finally I incorporated texture layers from photos of appropriate textural information. I fine-tuned the levels and the compositions were complete.

The first artist for this project is Edward Hopper. His stripped down style presented subjects with little extra stylization. This unassuming style had a natural feel to it. Hopper wasn’t trying to make the idyllic American settings something they weren’t. Rather than creating something extra-ordinary, Hopper simplified the elements a bit and let the subjects breathe. This naturalistic feel worked well for Hopper and though my piece is slightly exaggerated in terms of visual information, I feel it relates to Hoppers work by working naturally with representative forms.

Another artists I looked to was Vincent Van Gogh. Van Gogh was severely depressed through much of his life and this was reflected through his searingly over- saturated works that practically bled with bright colors off the canvas. This color theory, coupled with His painterly style worked together to reflect his perspective of the world around him. Although my use of color theory is more subtle, it is this technique that I tried to do to reflect my perspective on the subject matter.

My project is in a large part about process and craft, but it also reflects a deeper meaning that is personal important and relevant to others as well. The mind is a complex thing, but it can clearly go in different directions. The doors in my composition serve as a strong metaphor for negative and positive psychological options. My conceptual representation of this is both valid and understated.

HAPPY FUCKING COWS!

Drawing Three

Protest Project

Happy Fucking Cows!

Nathan Netterlund

March 25, 2011

For my Protest Assignment I wanted to make art that addressed the situation in Wisconsin at its base; a raw emotional issue that is tearing the state apart. I wanted portray the darkness and concern that the aggressive policies of Governor Scott Walker were inspiring around me. Education and labor rights are hot button issues that initiated international debate. Living at the center of that debate it is impossible to look past the reactions of the people around me. As a college student, an education major and a future teacher myself I too am intimately acquainted with the issue. Objectivity would be almost impossible and not particularly interesting in an artistic sense. Instead, I decided I want to reflect the aura that hangs over educators in Wisconsin in a dramatic new way. I wanted to show the grim reality of the high school librarian realizing She can’t afford Her daughter’s braces, or the elementary teacher refinancing His house. I wanted to show the faculty in the teachers lounge, heads down, looking for hope and finding none.

When I was searching for a visual language to explain the crisis around me, my initial thoughts were violent. I saw the situation around me as a struggle, an epic battle. I was going to do a narrative on a battle between forces of blue and red, called Bloody February. However, the symbolism never seamed natural and the narrative of struggle was replaced by one of defeat. Any politically “war” ended quickly in a massacre. I decided to illustrate that slaughter instead.

I decided to use the Dairy Cow as the main symbol of Wisconsin. Additionally, I chose a slaughterhouse as the setting, a solid representation of the cutting floor at the Capital. Standing on the blood stained ground zero is the butcher, Scott Walker leering at the chopping block. The elements work well together and create an interesting narrative. The linear perspective is filled with high contrast detail giving the piece a “claustrophobic” feel that incites some of the paranoia of the situation. This is aided by the sickly yellow green tones of the lighting that adds dramatic tension to the composition. Finally, the considerable violence and gore throughout the scene illustrates the gravity of the scene. While undeniably sensationalized, the piece works on a very guttural, transgressive level. Ultimately, I wanted to illustrate the scenario as high drama in a way that captured attention and provokes thought.

In creating the project I began by researching through a variety of slaughterhouse imagery, including butchers and slaughtered cows. I began sketching rough thumbnails that explained the composition in figures and in one point perspective. I also drew several studies of Governor Scott Walker, each at different levels of disfiguration. I did one final study, this one of an upside down, skewered and decapitated cow and Walker, smiling with the severed head of the cow. From here I began a large format perspective drawing in mechanical pencil. I drew in detail and inked this drawing with fine point markers, various washes, India ink and design markers. The drawing looked great but I wanted to color the composition. I used a large format scanner and imported my drawing into Photoshop. I colored the piece with brushes and gradients. I incorporated texture layers. I shaded and added highlights. I adjusted the levels and reduced the saturation. Finally, the piece was complete.

The artist’s I looked to from class were Emily Prince and Andrea Bowers. I really liked the portraits of Emily Prince. The simple colored pencil drawings of blank-faced mug shots looked good. Also Emily worked with accompanying text to explain the background of the officer. I think this narrative added depth to the piece. Also the provocative title attracts interest and inspires thought. All of these elements in Prince’s work relates to mine, particularly the stylized figurative work and the engaging title. Andrea Bowers is more conceptual and related in a similar way to my work. Bower’s use of highly symbolic imagery coupled with satirically charged political messages is effective and dramatic. Also Her mixed media approach, including India ink inspired some of my media choices.

In addition to Prince and Bowers there are several other artists who I would be remiss to not write about them. The first artist I thought of when the theme of protest art was introduced was Pablo Picasso. In particular, His large-scale piece Guernica is, in my opinion, the greatest piece of protest art in the history of art. I looked at the piece for a long time and had been thinking about it for a couple years. In the context of my piece I was especially looking at Picasso’s successful use of animals in his work. There is screaming horse in the left third of Guernica that inspired the screaming cow in my piece. Also, there is an obvious reference to Francis Bacon. Bacon is my favorite painter and much of my work is a response to His. This response is even more direct than most and I am comfortable with this. Really, Happy Fucking Cows! could be seen as a modern cover of Bacon’s Head Surrounded by Sides of Beef. Beyond that, I believe Happy Fucking Cows! could easily be a Pope painting, or a Governor painting as it is. The difference is several hundred years of history and modern figures in modern mediums. Perhaps this is the most interesting dynamic; the sharp style contrast. It can be seen throughout both pieces. Where Bacon is traditional, I am modern. Where Bacon is implied, my work is rendered. Where Bacon had religion, I have politics. Where Bacon had a paint-brush, I have a computer.

Overall, I think my piece is aesthetically pleasing and conceptually interesting. It reference’s a wide variety of quality artist’s and builds of there traditions in an interesting and exciting ways. Also, I believe a tackled a challenging theme in a unique way that spoke to the issue in ways that many way they wouldn’t have otherwise. In retrospect, a successful project.

Lupe Fiasco Beautiful Lasers

"Gun on my table telling me to come home Telling me to to put him inside my hand Then put it up right next to my dome Door keep telling me to find a reason Anything to keep me from squeezing Simplest things yeah you really like summer You really like music you really like reading, love,"
LUPE FIASCO

Lupe's Laser's has been widely criticized and with some reason.
Certainly, the album had some week songs, but it shined through
in the singles and the title track. The surrounding story of struggle
versus corrupt big labels, Lupe's own depression, suicidal thoughts
and ultimate triumph is compelling.
Sure, it wasn't "The Cool," but artists need to experiment to grow.
Kanye had his 808 and Heartbreak and then came back with his
Dark Fantasy and swept the world off its feet once again. Lupe
is a great rapper and it will be interesting to see where he goes from here.

Happy Fucking Cows WIP

Been in the studio drawing hard over spring break. I just finished inking my drawing III project, "Happy Fucking Cows," and am very pleased with it.
Some of my artists for the project are fairly evident. Others are not. I already mentioned Picasso and Guernica and I think my piece responds well to that inspiration. The themes of destruction and death run firmly through both works. Also both pieces reflect humanity through symbolically important animals. Picasso had a horse and I have cows.
Of course, I would be remiss if I didn't address the obvious Bacon reference. Bacon is my favorite painter. He's probably my favorite artist. I've read several books on Him. I consider His several of His premier paintings to be stylistically perfect.
You could certainly see my piece as a modern re-interpretation of Bacon's Pope series, with my satirically monstrous Governor Walker as the modern pope. Also of note, Bacon also used cows as a figurative reference representing the plight of humanity. Finally, Bacon includes a strong reference to linear perspective, which is seen throughout my perspective heavy piece.
The interesting dynamic is the sharp style contrast, which can be seen throughout both pieces. Where Bacon is traditional, I am modern. Where Bacon is implied, my work is rendered. Where Bacon had religion, I have politics.
Where Bacon had a paint-brush, I have a computer. Final piece colored piece coming soon!

WIP

So I had this idea or concept of an epic triptych of a battle which would have been called "Bloody February," but I couldn't get the visual language right. I switched up my concept and started to think of a composition of a slaughterhouse. I was going to present a holocaust of dairy cows at the bloody hands of Governor Walker, the butcher at the chopping block. The name of this composition will be "HAPPY FUCKING COWS!"
At the top is the first sketch I made for the piece.
Another layout. Figuring out what I want to draw.
A study of Governor Walker.

Beginning studio production of Happy Fucking Cows! This drawing is going to be great!
It might also a diptych with another piece called, "Happy Fucking Deer!" Will see how much time I have over break.

Protest

What makes potent, striking art that says something important and provocative? How can art impact the world beyond it's borders. How can art relate and even influence current events through meaningful expressions? These questions are at the heart of protest art.

Above is Picasso's Guernica, arguably the greatest anti-war protest art. It depicts the city of Guernica, Italy being bombed by the Nazi Air Force. Civilians and farm animals are dying in a blaze of raining death rendered with ferocity in cubist form. The composition is understated in terms of color, with cool monochromes and washed out grays emphasizing the shape and line quality of the rest of the piece. Picasso's Guernica is my first inspiration for this project. In this piece Picasso was referencing the masterpiece of Goya:

The painting style of Goya is really quite interesting and Goya pallet's will defiantly influence my digital painting I will be doing for my project.
What's not to like about those tones? Rich, vivid, but carefully understated in medium saturation.
My piece will be called "Bloody February." Sketches, studies and studio production are coming soon!

gangbanghettocomix

gangstabanghettocomix
All new, 32 Page Webcomic!
Art and Story by Comic Creator
Nathan Netterlund

DRAWING III MAPPING PROJECT

Critique today. What do You think?

Drawing Three

Mapping Project

Nathan Netterlund

Febuary 22^nd, 2011

For my mapping project I wanted to specifically represent something that was actually quite general, or generally true. I wanted to tie into a over-arching tradition or reality that expressed the nature of life. To me this was structured into a limited number of shapes. Basically from one single point comes all other points. This formation symbolizes creation, evolution, regeneration and also linear perspective. In strictly symbolic terms it would look like a dot or point, surrounded by a circle, surrounded by another circle. Also there would be other circles being generated from the original circle in radial symmetry. I made several studies exploring this in strictly representative terms and it looked interesting, but also quite static. I decide to approach it from a different angle.

At first all I had was a crude perspective layout, the 3-D rendering of my radial design. I broke up my canvas into divisions of thirds and created to vanishing points to generate opposing points of linear perspective. After this I developed a visual language of rising spherical forms reaching up and down towards a mutual horizon. I added intense contour lines to give well-defined form to these shapes. I generated cast shadows coming from the heart of darkness, my two vanishing points. I used a very thick coffee wash to create different tones for the different shapes. I used a variety of washes to separate foreground, middle ground and background.

My work is inspired by a wide variety of artists. Certainly, the mapping of artists such as Mona Hatoum and Julie Mehretu helped generate allot of my original thinking about structure, mathematics and topographical mapping. Without thinking about their more linear rendering I would have struggled to find the genesis of this assignment. Beyond this there is an obvious Surrealist reference in this piece. Namedropping Salvador Dali or René Magritte may seem redundant, but it is their visual language that I am most directly tying into. In particular the innovative use of perspective in Magritte’s visual puns influenced my ethereal dreamscape. While my perspective is actually quite accurate and not distorted as say, Mc Escher, there is still that idea. This is presented in both the dual perspective, there inverted direction and the shared horizon. Finally, my choice in media was influenced by multi-media artist, such as the illustrator Ben Templesmith, who uses inks, ink washes and other washes in a similar manner to me.

As an Artist I lean heavily toward process oriented art. Certainly in Drawing II and to a lesser extent Drawing I, Professors have remarked that my rendering skills were sufficient and I should focus on pushing my conceptual boundaries. I tried to take my time with research, brain storming, and refinement of concept. I tried to reserve the actual studio production until I had resolved a strong philosophy as the basis for my process. I think the ideas behind this piece are just as strong as the actual composition. Additionally, my dynamic use of perspective makes the linear concept come alive in an unexpected way. I think this works well. Also, the amount of texture that I managed to build up with a variety of washes, splatters and mechanical lines gives richness to the entire composition. Finally, the steady variation of tones works well some of the darker areas of the foreground.

There are a few areas I am looking forward to improving through Drawing this Semester. In this first composition I had repeated forms throughout the composition. This was a reflection of my concept and in that context quite appropriate. However, in future projects I want to avoid repeated forms in even more dynamic compositions. Also, my lines are a bit generalized and in the future I want to push myself into sharper line quality. The use of coffee washes was interesting and innovative. I would like to continue this journey into different forms of multimedia drawing throughout the rest of this course. I also may continue to increase the scale of my drawings, from the watercolor paper to something bigger. I also feel that I have been working in black and white and low saturation sepias for too long and that these forms of expression have become a bit comfortable for me. In future projects I will be raising the saturation and expanding my use of color in my work. Finally, in future projects I would like to work with more of a figurative reference, with less emphasis on general abstraction.

DRAWING III Update 2

Back in the studio working hard/boycotting school in Protest of Gov. Walker's Educational Policies. If Teachers and Professors are already criminally under-paid and over-educated and Wisconsin Teachers in particular are paid less that educators from the surrounding states, how important is a 10-20% reduction in yearly income. The answer, of course, is that it is a pretty big deal. So shouts out to all the Professors, Teachers and Students rallying.

For my Mapping Project Final I has several studies and this:
Which is a horrible, oversimplified perspective drawing. I had to explain my idea, I went in and laid it out on some Canson Water Color Paper. Now it looks like this:

Here is an early detail:
The center of this project is really simple. I structured it off the mathematics that I thought the World around me was based off of. This math looks a bit like a bulls-eye, a dot, a circle, a circle around a circle. This begins to generate circles radiating outwardly in some form of reproduction from the original nexus. A strict mapping of this concept would be repetitive and lack asymmetrical balance. It would look like either: a target or a Rorschach Card. It would look like a Rorschach card in that it mirrored itself, was perfectly symmetrical and evoked a wide variety of figurative references. Anything that mirrors itself is inherently figurative.

To present these ideas I put them into competing third perspectives. In this unexpected 3-D interpretation of linear philosophy I have created a unique original composition.

Now I need to finalize the drawing by pushing the contrast.
http://nathancomic.com/ coming soon!

Savage Comix

In anticipation for gangstabanghettocomix my last book, Savage Comix is on SALE!

Savage Comix, $2.99 on Indy Planet, the greatest selection of underground comics!

DRAWING III Update

Getting into the mapping project in earnest now. I am going to do a figurative based emotional map that reflects the highs and lows of life in topographical or geographic form. Or something like that.

Here is some prior work I did with maps. This is a drawing II project of WWII figures over wwii maps. I inked over acrylic paints. I really liked working with maps in this instance.
Gathering supplies. Printing maps on the plotter. Spraying them lightly with spray paint. Painted a texture layer with Kool-Aid and Coffee.

A line drawing of the Garden of the Gods outside of Colorado Springs Colorado. I inverted the color and hit it up with spray paint.
A piece of paper.
The basic mathematical or geometric shapes of my map. The structure of life, a point, a circle, a circle around a circle. Circles being generated from a circle.
Lines and some coffee wash in this picture, more to come.

NATHANCOMIC.com

fifteen hundred hits in thirteen countries in every continent. GOOGLE makes bags of money off of me, but FUCK BLOGGER FUCK GOOGLE FUCK NEXUS FUCK CELL PHONE FUCK NIKE

FUCK CUTE GIRLS ;).

Chicago Code

BEST NEW SHOW?
MON 9/8c on FOX

Break Up Song by Wale

I remember bumping this, doing hundreds of sit ups and thinking about a Girl :) who would never care about me :(. Wale, the poet and MC was so spot on.

New music video. "thats why she ignore my flowers and my call and my text spendin her time wit him I guess
I regret some sh-t I did but darling is yall intimate who was better I know I was dont you lie dont blow my buzz you ask me who I'm strokin now
I said that the pool was closed," Spot on lyrics from the mixtape about nothing.

Nas and Damian Marley Patience Video

DISTANT RELATIVES "Patience" from nabil elderkin on Vimeo.

Shouts out to: Sound Verite'

PACKERS SUPER BOWL CHAMPS

HELL YEAH!

PACKERS 2011 Super BOWL Champs!