Jaane Bhi Do Yaaro & Why Michael Madana Kama Rajan Needs a Monograph

Like how Jai Arjun Singh observes early in the book, everybody has a growth phase with the film – Jaane Bhi Do Yaaro(JBDY). You see it as slapstick, haphazard  skit and laugh along as a kid, with the Mahabharat climax being your favorite part of the film. As you grow older you catch the logic flaws, yes, but you also get the dark undertones, satire and the social commentary. But the Mahabharat scene continues to be your favorite part. Well that says something about the scene! The book is a marvelous read. Also an easy one. It starts with the man himself, Kundan Shah, his struggling days as a film student, the genesis of the idea, the people involved with the script writing process, how others joined in, the shooting gaffes and mishaps, on-location changes to the script etc. It’s worth more than the 250 bucks(or 188 if you get from flipkart) you pay for it and adds up as a nice companion piece to the movie itself.

The importance of Jaane Bhi Do Yaaro and it’s position in the broader sense of Hindi cinema is beautifully articulated by Jai Arjun Singh in his notes on JBDY in Caravan titled Reliving the Madness(I didn’t realize this had excerpts from the book when I read it first time). It talks about how he started with Kundan Shah and then progressed to every outlier with respect to the making of JBDY for the book. But the most striking part of that article is the one where he discusses some negative aspects and the datedness (that’s not a word?) of Jaane Bhi Do Yaaro, its amateurish moments  and how in spite of them it remains a seminal work even to this day in the context of India. Here the excerpt:

In an overt way Jaane Bhi Do Yaaro is a dated work—very much a product of its time—but it remains painfully topical in so many ways that matter. Watching the scene where a newly built flyover collapses because the builder “mixed cement into sand instead of mixing sand into cement,” one thinks about the countless similar incidents we read about in newspapers every day—the buck-passing that accompanied the fiascos preceding the 2010 Commonwealth Games, for example. Even lines that are incredibly hilarious carry strong undertones of rage at the world’s injustices. Making a speech about the benefits of a new bridge, the smarmy builder Tarneja says, “Aage jaake log is flyover ke neeche ghar basaaenge” (“People will make their homes under this flyover in the future”), and his listeners applaud heartily. The same scene contains the proclamation “Ek din ke liye shahar ke sabhi gutter band rahenge” (“The city’s gutters will remain closed for a day to mark the commissioner’s death”)—a funny line to be sure, but also a dig at the sycophantic tradition in India of having official holidays to ‘honour’ a leader’s memory.

And that’s what brings us to Michael Madana Kama Rajan(MMKR). The 1990 film is considered by many(ok, almost every) tamil film enthusiasts as the best screwball comedy film of all time. The sheer amount of work in terms of writing, performances, direction, jokes and moments transcends any other product from Tamil, or arguably Indian cinema. MMKR is unique in ways that few other Tamil films are. Quite frankly, MMKR is the last cult film produced in Tamil cinema. Yes, we talk about Nayagan, other Mani Ratnam films, Superstar’s films etc. but when it comes to MMKR, it is in a league of its own. This film, in more ways than one, becomes a talking point and conversation starter when two people meet for the first time. There have been several instance where you start relating to a particular person because that person would be a fanboy of MMKR as much as you are. It’s equally loved, revered and respected as a work of art across fans, enthusiasts and the general Tamil film watching fraternity.

That’s the reason Michael Madana Kama Rajan deserves a completely dedicated monograph. It’s because that things are so perfect here that this sort of pinnacle is impossible to repeat. This is the zenith. You have Kamal Haasan in his godly form with respect to writing,  fresh after Aboorva Sagodharargal armed with another interesting tweak or twist or whatchamacallit to the beaten down lost brothers theme. You have Crazy Mohan and Singeetam Srinvasa Rao collaborating with Kamal, a combination that worked wonders in the aforementioned film.(And Singeetam + Kamal did wonders with Pushpak too, the silent film, which was believe it or not, Jai Arjun Singh’s first choice for his book – about which he writes here and here. Do read. And I digress) There is very little of what could be called film based literature in India, especially for the cinema crazy country that we are. And even more so, Tamil Nadu. So when I draw up a list of films deserving of some literature/monograph, Michael Madana Kama Rajan is what comes first to my mind.

JBDY, the book, talks about Kundan Shah’s introduction to the idea of comedy. More importantly, the concept of the comic foil. It talks about a scene in Paigham with Vyjayanthimala and Dilip Kumar, the former playing the foil to the latter’s fibbing ways. And that’s where we get our laughs from in Michael Madana Kama Rajan too. Especially in the second half,  on one hand you have Madan plotting the swap with Raju for his covert plans and on the other, Avinashi sends in Kameshwaran to retrieve his cash from Madan’s safe. Now we get all the laughs from these two individuals from their own predicament of playing someone else. One does it for passion and money while the other is coerced and ends up being a reluctant performer. Therefore, they both become the foil in the grand scheme of things. Kundan mentions how your scene can fall flat if your foil is not working. And that’s why – ask anyone – Kameshwaran and Raju are the breakout characters of MMKR.

Any film would ideally pack in a handful of anecdotes through its production process as there are so many things that go into making a film, not to mention the number of people involved. It is more so when it comes to great movies with greater minds involved. As a cinema lover one would ideally be interested in the thought process and the mechanics of effort that go into the film. It need not – and in come cases it never is – be about bigger things and complex part of shooting scenes etc. The smaller ones, the moments here and there are worth a goldmine when you hear about them or read about them several years or decades later. Taking the example of Michael Madana Kama Rajan, there are so many layers here that it boggles the mind every time you watch the film. In this sequence, watch between 3.40-5.00. In a subtext laden film, here is something that has been spotted and revered by millions of fans – when Raju gets the confirmation that the guest house is free, Avinashi instructs the housekeeper to take them to the guest house. And then Raju asks him,” Indha Arumugam ogay dhane?! Dubakoorunga namba mudiyadhu, naa ootla illadha nerathla ootaye vadagai uttu sambadhichuvanga Anbe Vaa mathiri” And he says this to Nagesh, who played that exact character in Anbe Vaa! What follows is even funnier – “onnaku theriyadha vishayam kooda indha veeta pathi ennaku theriyun ya, oruthan 25 latcha rooba lautrukan!” Raju keeps trying to get ahead of his newly accepted role, that of Madhangopal, and ends up talking about Avinashi(Nagesh) to Avinashi himself! And says,”Seri onnanda solli enna prayojanam.” How do you think of something like that? Nagesh portrays that character, but is the subtext a coincidence or something that they really hit upon? Or that instance where Raju and Madan are standing in front of the mirror still reeling under the astonishment of bumping into each other, and ask Bheem,”Epdi enga double action?”, to which Bheem remarks,”Ennaku naalu theriyuthu boss“. That scene is a masterstroke. These are the kind of points a fan would possibly like a monograph to focus on and this film overflows with such examples.

The work ethic of Kamal-Crazy combo is another thing that you’d never tire hearing about. In the Pongal special program over the weekend titled Kamal Haasyam, Kamal and Crazy spoke with Mouli, Cho, KB, Chitralaya Gopu etc. and generally about humor and their work over the years. It was a lovely show and if you are a fan of the Kamal-Crazy brand of comedy, it’s a must watch. They discuss, among other things, the kind of extensive homework that went into the making of MMKR. Jai Arjun Singh writes in JBDY about the importance of enactment when writing a comic screenplay and how the trio of Kundan, Ranjit Kapoor and Satish Kaushik used to rehearse to find out if a scene is working or not. A similar homework was what Kamal and Crazy spoke about. There were some interesting quips about a chandelier at a hotel during the numerous rehearsals they undertook. They even spoke about how they had a number of rehearsals with just the three of them(Kamal-Crazy-Singeetam) taking on all the different characters of the film. There was a hint of the kind of insight into formation of the joke – “Nekka?…Nokka?… Nekkum Nokkuma?!” (Of course, this is impossible to convey in text, you can catch it here) – and how they used props that just happened to be there in the house they were shooting in. On Twitter a bunch of people(namely @equanimus, @dagalti and @complicateur) broke into a discussion on this Kamal-Crazy phenomenon days following the release of Man Madhan Ambu. There is a belief that every great one liner, joke or a piece of dialog from these movies need not be attributed to Crazy Mohan. Yes, he writes the dialogs but the way these two work it may not be true that the dialog writer came up with every funny line or a situational line in the film. This is not to undermine Crazy’s contribution but just to simply state the fact that there is no Crazy without Kamal and there is no Kamal without Crazy when it comes to these movies. This was all the more apparent in the way Kamal and Crazy Mohan discussed the effort that went into MMKR. (I am sure @equanimus was chuckling to himself all through that part of the show!) Now I wonder how many chapters this aspect would take in a book!

Yes, the eternal conundrum between the artist and the audience exists. There is always a question of whether the writer/director intended it this way or is it just us fanboys overreaching into forming our own subtexts and connotations. But then art doesn’t work that way. It’s a two way medium and the artist and the audience only compliment each other when they take their thoughts a step further this way. In the JBDY book, Kundan Shah says, ” When people talk about the ‘deeper meaning’ of the Mahabharat scene, I don’t know what to say to them“. It’s also true that only a fanboy can bring out such details and tap into the loop of thought process inside the creator’s mind. And that’s why we need someone as fascinated and as excited by this piece of work to write a book about it. After a conversation on similar lines on Twitter, I suggested this to Bardwaj Rangan and he said how a publisher has to bite something like this. He said it’s probably a far easier job to entice a publisher with a book on a more far reaching film like Nayagan(TIME Top 100 Films of the Century et al) than MMKR. But I hope it happens at some point in the future. This is a film that would be enjoyed, chewed and relished upon for decades to come and there has to be a record of the work behind the work, long after the people associated with it reach their ends of time.

26 thoughts on “Jaane Bhi Do Yaaro & Why Michael Madana Kama Rajan Needs a Monograph

  1. Nice Analysis of MMKR – esp. the Raju-Avinashi wordplay

    Two notes of dissent Milord
    1) JBDY – I consider the beachfront-cottage-cake-routine with Naseer’s frenzied shouts of “CIA” to be the best scene – though the “Dropdee Mere Saath Jayegi” routine is the more famous one
    2) MMKR is dragged down a few notches by its tedious climax – watching folks careening about an unstable edifice loses its charm after the first minute

    Adi: Oh yes thoda khao thoda pheko! I remember this figured in one of your quizzes! It was a slapstick sort of climax but was it tedious?! I like how Raju completely takes over the climax considering he is the firefighter en al. They were pretty consistent that way.


  2. Kameshwaran all the way! The nekka nokku scene is an all time favorite for many people I know! You write the monograph Sir!
    Good job Adi!

    Adi: Raju is my favorite actually! And with ppl like complicateur, equanimus, dagalti around, how can I write? They’ll come up with something far more stellar am sure.


  3. Adi, I command you to write about MMKR. I’ve always felt that is the counterpart to JBDY. Don’t ask me why. It’s always been there and reading your post brings it back to fore.

    And that is one of my all time fave movies and I love the climax @bitsofchocolate. That Pati was so freaking awesome. I used to ask my Pati to do somersaults like that for a long time. In fact, my Pati’s mother in law used to dress like that and I always thought she must have been quite the super woman ( she was known to be gutsy) if she was like the MMKR Pati.

    Adi: :) See reply to Lakshmi.


  4. People should watch ‘Harry and Walter go to New York’. Then they should compare it with JBDY. And yes, including the Mahabharata scene.

    Adi: I know you mentioned this in BR’s space. Will try and procure a copy.


  5. Lovely post.

    I have seen the first hour of JBDY and shall avoid sacrilege by saying anything more.

    MMKR’s brilliance lies in the sheer variety it packs in. And in many places it the way it has come together and the flow is unbelievable that one doubts it if taking a scalpel to it, would enhance the appreciation.

    For instance in the Madan Mahal clip you linked above:

    The likelike same same moment is interrupted by a buzzkill question from VAM: own house-A?
    The question is asked in the garden of a palatial mansion. The preposterousness of the question lies in the utter middle class-ness of it. Btw this was preceeded by VAM’s signature neighing.

    This is immediately followed by Raju’s exclamation upon entering what is ostensibly his own house: “idha..paar…thirumal naaikar mahaal maadhiri ‘gudhu”. Now what makes it this funny: the fact that he blurted out in wonder without checking himself. Yes that too. But then he does not even realize his slip is showing and is quite comfortable with the comment. That is the kind of thing that makes is side-splitting.

    And that he “ought to know his house and doesn’t” is something that comes to the ‘surface’ only with the: ‘irukkaNumE, irukkudhA’ line. Most of the movie feels like: here’s putting it subtly, here’s the same thing at a more accessible level etc.

    The Pongal program was interesting in seeing much of the ‘intention’ being shown.

    For instance equanimus has always talked about how the film is far from a ‘clean family comedy’ as it is made out to be. There are several straight instances of that he mentioned (thaNNila nenchu paakkaNumE, Kameswaran’s giggle when RoopiNi his would be s-i-l sits on his lap, father and son fighting over the binoculars etc.). In the program Kamal mentioned how with Kameswaran showing his injured knee, there was a semi-aalinganam posture that the duo managed to create in that scene – without it even striking us as vulgar. He also mentioned how the use of the rat-trap prop could be read into as well.

    Urges one to read into Kamal’s work without a shred of hesitation.

    Adi: Ah see! This is why you are the right person to do this.


  6. Good one. The one thing that has had me spell bound about MMKR is its screenplay, where one event ideally leads to another. Michael rams the car into the transformer and the art gallery of Kushboo catches fire bringing Raja and it breaks into a lengthy and enjoyable scene (Kalai arisi). Raja goes off, breaking into rum bum bum aaranmbam and dances with the lanlord as the song ends, taking us straight into the action, spilling the fish onto Kameshwaran, taking us to the kalyana mandapam with the fish playing a big role in the laughs and the whole thing culminating in the paatti maneuvering everyone.
    Similarly, the goons of Nasser chase Madan, mistake Kameshwaran for him and lose kameshwaran and that leads us to the house with Oorvashi in what is possibly the best scene in the film. The 45 minutes thus encapsulates the ensemble cast with providing the spark for the story and providing laughs. Kamal and Crazy deserve a bow.

    Adi: True, there isn’t a single disconnected thread in the film. Take one scene away and it will fall apart.


  7. One cannot disagree when some one mentions anything good about MMKR. Crazy mentioned “Kama Ady illama irukkanum Comedy” for a Non Obscene comedy piece. That was the Crazy twist. The knack of playing with words. Madhil Mel Madhu shows it in even simpler scenes like “Ne Jayapaal illa pa Jala paal”.

    I was first impressed by Madhan – i first learnt the word ‘barge’ after watching this movie. The Apple Laptop, Catch My Point [The modern You get what i say – and i am always tempted to use Catch My point in a meeting].

    Kamaeshwaran was much more funny every single time. Right from the Vetthalai thuppaporai scene where D Ganesh himself is chewing Vetthalai. Vandhurthu, poirthu – Neenjardhu. – Vesham kashakkum komattum to take me take me na naan enna batchanama? to Avinashi mama Avinashi maama indha shalini romba shalyam kaetela ..

    Reason why Kamal shines in Kameshwaran is coz of Crazy’s ease with that slang and Kamal’s portrayal along with the circumstantial romance which leads to a classic song.

    Raju, i’d agree for his ‘oho’ style performance – right from him blinking when Shalini says “Excuse me” leading to a Classic song – paervechalum vekkama …

    Crazy stamps Kamal’s screen play with his dialogues. They follow it up stunnigly with Panchathanthiram,…

    oh, well – this is your blog – i am not writing one . Ill stop !

    Adi: Heh true Kameshwaran’s is a great performance but Raju I felt was relatively out of Kamal’s comfort zone.


  8. Superb-a ezhudirkeenga

    btw MMRK ’91 no ? (forget wikipedia) . Can anyone confirm the release date?

    Adi: Thanks. Actually yeah, am not too sure about the year either. There are different records online


  9. Brilliantly written as usual. There is something to be said about the way you look and interpret things. Its quite refreshing.

    I havent really seen JBDY, though my dad is a huge fanboy and keeps quoting instances all the time. Maybe I should get to it soon.

    As for MMKR, you are right, a true cult movie. Not sure if I agree on it being the last cult movie, but a big one right at the top. Its amazing these characters and the dialogues are almost everyday usage. I keep using the “Varadhukutti”,”Neeka.. Nokka” and “Thirupu thirupu” very regularly . It is a great feeling when the other person completely gets you and quotes another MMKR or Kamala/Crazy dialogue. Not to mention “Kalai Arisi” – That was phenominal play of words.

    As I was reading the post, I thought I should comment on the “Kamalahasyam” and suggesting that it is a must watch. Glad you mentioned it. Somewhere in the prgram Crazy said this which reminded me what a natural he is and how words like “Kalai Arisi” came up. I think they were talking about double entrende and adult content in comedy and Crazy said “Comedy -la Kama-Adi irukakoodadhu”.

    I cannot agree with you more that there is no Kamal without Crazy and vice versa when it comes to good comedy movies in Tamil

    Adi: Oh do see JBDY and also get Jai Arjun’s book. Thanks!


  10. I have not seen JBDY. Will do :) But do you know of this film, “What’s up doc?”? MMKR is an extremely subtle inspiration from it. There are 4 bags in the film that look alike and the owners misplace it amongst themselves leading to hilarious situations in a hotel, which serves as inspiration almost all of Kamal’s comedies. MMKR is the most direct. The final scene where a number of cars go one after another has been taken from the original in what could be a homage to the original… At one point, I am amazed at the creativity of juxtaposing 4 bags with 4 Kamals that lends itself into the plot so easily and contributes to the mishmash. A bow to Kamal and Crazy again :)

    Adi: Never heard of this. Will check it out.


  11. Very well written. I really enjoyed reading it. I didn’t know about the Anbe vaa connection and the 3:40-5:00 sequence which you mentioned is definitely one of the epic scenes. No doubt, there are many other scenes in the movie which stand out.

    Kameswaran’s character was well supported by Urvasi, Patti and Delhi Ganesh and i do think Raju’s character is way out of the ordinary.

    Adi: Thanks man!


  12. Ah! I made the same suggestion to Baradwaj in his blog – if Jai Arjun Singh can get a commission for such an effort, BR should be able to. (That’s exactly what I said in BR’s blog as well).

    Coming to MMKR, adding to equanimus’s list of non-family-friendly moments, check out VAM checking out on Khushboo, his daughter in the movie, when she absconds for the duet with Raju, placing a bunch of pillows in her place.

    Adi: You did? It makes sense, yes. And ROFL @ VAM’s actions!


  13. The climax! argh! the climax!

    Also, JBDY has the distinction of being a very contemporary satire, that has relevance even today. MMKR only brings on the laughs, and even if those laughs are big, its worthiness is pulled down a few notches, by virtue of it being just a comedy, don’t you think? But how I love the film!

    Adi: It’s just a comedy. So what’s wrong? It need not aspire to be something deeply meaningful for it to be called a masterpiece, no? But for the work that has gone into it, it’s a classic in the truest sense of the word.


  14. Very nice write-up. Glad to see a big MMKR rasigar koottam here!

    The first thought that crossed my mind after watching Mambu, was ‘hmmm, pretty good dialog writing, alright, but compare the wit to Crazy+Kamal combo? No match!’. It was a very similar feeling that I had after Dasa. Naidu was rip-roaringly funny, but, something was still missing. This beast MMKR, I think, it does something to people!
    One reason why MMKR is, to me, several notches higher than other Kamal (or rather all) comedy movies, is because of its simplicity. It doesn’t try to pass any social commentary, doesn’t try to be overtly satirical, doesn’t intend to preach or spew intellect, but just works on simple humour and wordplay, stays loyal to that and emerges authentic. Like Dagalti put it, it is the middleclass-ness, an undercurrent that it maintains almost throughout, which I think works in syncing the film with the audience. Many sub-plots/characters are, in one way or another, in awe of richie-rich Madan and either want a piece of him or aspire to be like him somehow. In the Raju-Madan tryst, while Madan tries to seriously put across his masterplan, Raju is seemingly, all the while awed by Madan.
    ‘rombo nallourindra’
    ‘25anji latchama… nooru pattanikaaranga kadan theethurlaampa!’
    ‘ai.. sabaas.. idhellam adhuva varadhu dhaan illa?’.

    Show me another actor who can bring out these nuances I say!
    The lines are no major crackers by themselves, but it is the straightforwardness, the simplicity and the virtue by which they so beautifully fit into the milieu, that make them timeless.

    More sambil! (some random ones from memory) –
    Aye yenna da, kashkatha chorinjindu nikkaraai..
    Naekku amma kadayadhu, akka kadayadhu… yenakku therinjadhellam shamayakattu, aduppu, appa, varadhukutti…
    ‘innaya marandhitiya.. anikku iduppu valachu ellaam aadi’ saying so, Manorama suddenly breaking into a hip-twist dance, singing ‘sivarathri’, on challenging the other ‘parties’ in the whose-man-is-he confusion scene!
    And one of my all time favorite:
    When Delhi ganesh and kaamu want to take out the fish, DG wonders how to get the job done for which Kaamu says (almost innocently): ‘meen pidikka therinjava yaarana koopadlaama?’. The timing, the pun, the acting.. dheivame!
    (when Kaamu picks up the Jaangiri karandi, DG snaps ‘yei.. adhu jaangiri karandi.. nalla karandi aakkum’! :D)

    I find it difficult to imagine these scenes with some other lines, the impact could never match this I think! It is such sharp witty lines that I found missing in some Kamal written comedies like Dasa and Mambu. Though his humour writing is fairly good, to me, the final product has always appeared a little handicapped without Crazy’s touch! (And the converse case seems to be almost a complete washout. Kolakolaya mundhirikka was a maha mokkai, simply unbearable!)

    (self plug alert) Here’s a similar article on growing up with MMKR that I’d written sometime back:

    Kamalahaasyam was a indeed a wonderful show. Enjoyed the casual, unplugged, candid, no-strings-attached mode in which if unfolded.
    (How I wish somebody convinces Raaja into a something like this! Reverence and astonishment be left outside the door and let the man comfortably unwind and open up! Treasure trunk unlocked it’d be! I can’t think of anybody other than SPB who could do this. Do you hear me Jaya TV?)

    Adi: There is no place where you won’t find a MMKR Rasigar mandram :)


  15. awesome writing.. MMKR is my all time fav… Kamarajan and the palakkad tamiz is what i love the most! didnt realise you had updated the blog.. stopped putting updates on twitter???

    Adi: I did put the link and this one got hell lot of RTs if I may say so myself. Wonder how you missed it!


  16. MMKR was one of the few movies we had on VCR tape when I was a kid (other notable ones being Kadhalikka Neramillai, Thiruvilayadal and Roja), so I would watch it on every Saturday morning with my cousins. At one point, we knew all the dialogues by heart – we went through the whole movie from start to finish once (songs and special effects included) Movies come and movies go, but I guess what makes MMKR special is all the feel good moments everyone seems to have when we watch/talk about this movie. A monograph very much in order :D

    And for the record I really liked Madan. Faux British accent/90’s T shirts/the Mac, everything!


  17. I’m not sure I agree with the unqualified greatness attributed to MMKR. It is one of my favourite movies, but I wouldn’t rank it as a great movie. There are too many flaws to overlook. Primarily, the overwrought climax (despite all the Gold Rush allusions), and some of the physical comedy not holding up very well…

    For a monograph to be written about a film, it isn’t enough for the film to make you laugh. The film must come from a context worth writing about, it must have a history or it must have a message that is universal if not timeless. MMKR is a great comedy – devilishly clever dialogue, actors at the peak of their powers and splendid execution.

    Pushpak was way better.

    On an aside, I think someone should write a book on Bharatiraaja’s films…


  18. This movie and so many others during that time brings back old childhood memories. I wonder if Tamil cinema would ever be able to achieve something similar like that period in today’s times.

    My personal favorite from the MMKR is the “Thiripu Thiripu” line of Kamal. Reason: My mom’s name is Thiripura Sundari. How crazy is that? She was mercilessly teased by her brother, my cousins, my sister, me and of course my dad after MMKR. To this day, when someone (who has watched MMKR) notices my mom’s name in some red-tape document they make the same joke again. Good times!


  19. Excellent article about MMKR .Definitely a trend setter like Apoorva SahotharargaL

    Fantastic comedy timing scenes
    1.villain quips “very ethaiyo thottuttu chinnatha poittu sediya thottu chinnatha poitten pio solriya” when kamal says he became short by touching the plant

    2.In the climax scene the tall guy hanging from the trees counts the ppl falling from the cliff as boss oru manga , 2 manga , 3 manga etc. Ultimate comedy.You are right crazy -kamal is the best script duo to happen to tamil cinema

    I watched MMKR again after reading ur article.kudos to Kamal the real superstar .


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