ISSUE #88
BEAM FROM THE BOOTH | GRAND RAPIDS FILM SOCIETY
[EDITED BY: GRIFFIN SHERIDAN & SPENCER EVERHART]
Hello and welcome back to an all-new installment of BEAM FROM THE BOOTH brought to you by GRAND RAPIDS FILM SOCIETY!
Our February programming continues TONIGHT AT 8:00PM with Barry Jenkins’ MOONLIGHT (2016). If you haven’t had a chance to watch this until now, this will be the perfect way to experience the film. And if you have seen it, know that the film has aged like fine wine in the nearly ten years since its release. Join us and see for yourself.
A reminder about the DAVID LYNCH MEMORIAL SPECIAL EDITION that we announced last issue. We want to give you all a platform to share your love, grief, passion, and sorrow about David Lynch’s life and career. Those hoping to contribute have until this Friday (2/14) to do so via the Google Form linked below.
Finally, we wanted to share an exciting opportunity via GVSU! Established screenwriter ALEX SHERMAN will be visiting campus this week to share what he has learned in his experience, and the events are open to all. Check out the poster below for details!
OPEN PROJECTOR NIGHT returns THIS WEDNESDAY (2/12) at 7pm. Check out an extensive preview of the event below, including interviews with each filmmaker included int the program...
OPEN PROJECTOR NIGHT: FEBRUARY 2025 PREVIEW
[BY: SPENCER EVERHART]
OPEN PROJECTOR NIGHT is a series we continue to be absolutely thrilled to present, and we’re back at it again! Please join us on the evening of WEDNESDAY, FEBRUARY 12th, at 7:00pm to support and celebrate local independent filmmaking.
Our very own Spencer Everhart (who also helps in selecting works for the event) interviewed most of the filmmakers about their short films as a preview of this edition’s lineup for you all. Check it out...
“High Class” (Josh Dominowski)
Music video for the song “High Class” by The Cosmoknights; a satirical ‘love letter’ toward advertising and mass consumerism.
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Josh Dominowski: I've been watching movies since I was a lad, and went down the Indiana Jones to JoJo's Bizarre Adventure pipeline, as one does. Most importantly for me is the marriage of visual and sound arts, which is why a music video seemed right. I hadn't really seriously been putting in the work for film until the past few years, starting mainly with my mixed media short about a demon hunter practicing his lightning powers in the woods (Logan Grand: Training Day), which got into OPN. This was pretty pivotal for me, along with being a part of the band The Cosmoknights, a never-satiated beast that requires more and more content so people will show up to our little song-and-dance shows. The most fun part about this journey is embracing the really weird aesthetic choices that used to go over terribly when I was a youth — they still don't always go over well, but I have a lot more confidence in them at least.
What was the primary inspiration behind your film? How did the project come about?
The music video, and the song itself, are directly geared towards advertising and overconsumption. Rather than a love letter to the practice, I would call it hate mail. In the music video we use a bunch of different styles of mixed media, poking fun at the 24-hour advertising channels on TV, pop-up ads, magazines, billboards, infomercials, social media brainrot, etc. — even poking fun at the glamorization of a rock band as mystical and sex-ifying as The Cosmoknights. In both cases, the goal was to satirize and ridicule fervent obsession with materialism, and that came from a frustration about how impossible it can feel to participate in the world without engaging in said materialism in some way.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
The biggest challenge was absolutely the scope of the project for how limited the budget was (isn't it always). I was lucky to have Breana Malloy as producer to help me wrangle all the necessary elements, but each segment required different locations, different cast, different effects, etc. If I'd had more time or budget I would have crammed in more forms of advertising, like bench banners, plane banners, blimps, those weird light-up ads on the side of buildings, everything. Cereal boxes even. I would have filmed half of it in a mansion and the other half in Times Square, but it be what it be.
What about this project are you most proud of?
I'm very proud of the whole thing! But if I had to choose, I would say I am personally proud of how the animations and graphics turned out. The VFX were very tricky, and I still have so much to learn, but the project inspires me to make weirder and weirder stuff. On a larger scale, I'm really proud of how everyone involved came together, how hard they committed, and I’m very grateful they trusted the process on what was a very weird time on set. Many scenes were shot on green screen, providing no real context beyond the storyboards. Also very proud of how many people I could put in a music video that says “pornography” sixteen thousand times.
The Silver Lake (Justin Park-Swanson)
A couple traverses through a national park’s sand dunes as they discover a newfound hatred for each other.
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Justin Park-Swanson: I've always been a cinema enthusiast ever since I can remember and credit it to my parents and grandfather having shelves upon shelves of movies in their study. When I think back on it, my parents first took me to the cinema from a surprisingly young age; I believe my very first experience going to a movie theater was the second Harry Potter movie when I was five. I also remember watching The Return of the King and Troy in theaters. During my teen years, I started video editing where I would be editing different movies down to short trailer forms — they were pretty big on Youtube at the time. I also enjoyed film photography ever since I was introduced to it in a photography class where I would take these handcrafted pinhole camera boxes and expose them and develop them in dark rooms. When it came to filmmaking, I never realized that I actually wanted to make my own films until much later in my final years at university. Since I was an Econ major I didn't have too many connections with other filmmakers or actors on campus, so when I decided that I was going to make my first short film, I cold approached and emailed the majority of the talent via mailing lists and online. After the short was completed, I made some connections on campus and started photographing other projects. All of this happened within the span of about a year and The Silver Lake is my second short film I produced, wrote, directed, and photographed.
What was the primary inspiration behind your film? How did the project come about?
I had visited the same sand dunes the film takes place in about a year before it was filmed. I was struck by just how bright the environment was and how the sun seemed to bleach absolutely everything to white apart from dark-colored objects like the black jacket I was wearing and the trees. With the intensity of the sun I couldn't help but wonder what would've happened if I didn't have my sunglasses on and how the entire trip would've fallen apart because I wouldn't be able to see anything. The story developed from there to where the harsh conditions and the environment surrounding the protagonists would eventually cripple them.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
By far the biggest challenge was the actual shoot itself. Because the location was around four hours away and the weather conditions required for the shoot were very specific, I knew we had to shoot the entire film in a single day. The shoot was delayed for almost two months simply because we didn't have a clear sky. When the weather finally cleared up for the shoot and we showed up to the sand dunes, the first couple of hours were almost unbearable due to the wind despite the temperature being somewhat optimal. What saved us was the amount of prep work done as I had already edited the film before it was filmed, as in we storyboarded every single shot aligning with every single edit in the film so we knew exactly what to capture on set with no time wasted.
What about this project are you most proud of?
I'm proud of the fact that the film is extremely close to my original vision. I had my doubts whether the camera we used could capture the extreme highlights without sacrificing the shadow detail and vice versa, but it worked out in the end. It was my primary goal from the very beginning that you be able to feel the weight of the film by just looking at a screenshot of any select scenes, and I feel like it certainly has that. It feels overwhelming and big in a way that I intended.
Family Fling (Vaughn Ramon Joaquin)
Young Jorge wants to join his family of luchadores, but does he have what it takes to make it in the ring?
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Vaughn Ramon Joaquin: I got into film at a young age, mainly through animated works by Aardman and Will Vinton. That led to me making my own animated shorts, experimenting with different media, and ultimately pursuing art full-time all these years later. That said, pursuing animation and film hasn't been easy, but the support of friends, family, and other filmmakers has kept me focused on my journey. I'm very thankful for the opportunities and resources I've had as a filmmaker, whether it be the clay and camera I used as a kid, the light table I was gifted by a friend for hand-drawn animation, or even the opportunity to pursue higher education in animation. Each has played a significant role and kept me moving forward on my journey!
What was the primary inspiration behind your film? How did the project come about?
The biggest inspiration for my film is my family. My dad and his parents are from the Downriver area, and I'm very nostalgic for the many times I'd visit to see my grandparents. My dad was also a wrestler in college, and that desire to stay active has yet to diminish. My whole immediate family keeps active, weight lifting and experimenting with different exercises and supplements. This passion to keep moving paired with the many locally-owned gyms and shops I'd visit throughout SouthEast Michigan when we'd travel were a huge driving force in determining the setting, plot, and characters of my film. These places and ideas, combined with my love of action cartoons and retro lucha libre, are what drove me to make Family Fling.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
The biggest challenge during production was definitely resource management. Whether it be the tools I had on hand or the time I had to use them, finding that healthy balance was very tricky. Preproduction took about a semester and the actual production took another, but for a couple of months near the end, all I saw and thought about was a Toonboom file and timeline. I was consumed by making sure things looked perfect, or at the very least to my liking, which definitely slowed things down. I'd spend entire days in a row, in the same spot, doing multiple rough passes of a shot or constantly tweaking the cleanup on another. Eventually, my fatigue and frustration caught up to me, and I was forced to realize that nothing was going to be “perfect.” I know it's not the greatest story of ‘overcoming adversity,’ but I'm very grateful for learning the lesson of not letting Great get in the way of Good in real-time. It's something that will forever stay with me, something that I'll carry on to every other project I'm a part of.
What about this project are you most proud of?
Honestly, I'm most proud of completing the film overall. It's the first animated film where I've had the proper tools and resources at my disposal during production. I wrote a script, went through pre-production, directed a voice cast, storyboarded, animated, cleaned up, and edited — every part of this was by my doing and know-how. Not only was I able to finish this film, but to do so in a state that I can say I'm happy with never ceases to make me smile. While there are some aspects I enjoyed more than others, the final product made every one of them worthwhile and reassured me with the fact that this is what I want to do.
Nuance (Irene S Kuperus)
A late-night encounter on an overpass sparks an unexpected conversation between a lost young woman and a carefree line cook.
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Irene S Kuperus: My love for filmmaking started early — forcing my dad and cousins into recording scrappy skits on our home computer. That early excitement never left, and I started experimenting with filmmaking in high school, going to the Careerline Tech Center for their Film and Media course. I made music videos and short films with my friends, but it wasn’t until college that I fully immersed myself in the process. Over the past few years, I’ve taken on different roles — from editing to production design, and now writing and directing my short film — which has given me a deeper appreciation for the collaborative nature of filmmaking. Every project teaches me something new, and this film in particular has been a huge step in solidifying my voice as a filmmaker.
What was the primary inspiration behind your film? How did the project come about?
This film was born from a love for those quiet, late-night conversations that stick with you. I was interested in the way two strangers can cross paths for just a moment and leave a lasting impression on each other. I wanted their conversation to feel natural and awkward and comforting. I wanted it to be sure of itself in the fact. It’s a film about the little human connections we don’t always recognize as significant in the moment but that end up shaping us.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
The biggest challenge was definitely the shoot itself. We filmed entirely overnight in freezing November weather, and on the second night (as forecasted) it started pouring rain. The chaos ended up being one of the best things to happen to the film. The rain added a raw, emotional weight to the scene, making it feel even more intimate and authentic. Instead of fighting it, it ultimately made the film stronger, and I cannot thank my team enough for sticking through the nights with me.
What about this project are you most proud of?
I’m most proud of how much effort and love this film has — not just in the story itself, but in the way everyone involved put so much care into it. The shoot was a challenge, but the cast and crew really committed to making it work, and that kind of dedication is something you can feel on the screen. Seeing the film come together, and knowing all the obstacles we faced, makes it even more special. I truly could not have made this without the team beside me, helping the words in my head become an image on the screen. It captures the exact kind of moment I set out to explore.
We Are Not Alone (Ian Gilbert)
Follows Michigan UFO witnesses who grapple with their past experiences and how they have affected their daily lives, their relationships, and their attempt to unravel an event that left them alone and confused.
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Ian Gilbert: My parents showed me movies all the time as a kid. They used to have this thing called Netflix where they’d send you these weird discs in the mail that had full movies on them. We didn’t have cable, so our primary entertainment was these weekly Netflix shipments and other DVDs my parents had lying around. I ended up being very passionate about visual media, and my friends and I made crappy little short films in high school. When I went to college for film, I realized that with no one there to write or direct, I didn’t really know what I wanted to do with film. I made a documentary about ghost hunters in sophomore year and loved it. I’ve pretty much committed myself to documentary filmmaking ever since.
What was the primary inspiration behind your film? How did the project come about?
I’ve always had a passive interest (and a bit of skepticism) in the extraterrestrial, but the documentaries I had seen were always trying to convince the audience of their existence. I wanted to make a documentary about the aspects of UFO witnesses that weren’t always explored. I was also inspired by Errol Morris’ The Thin Blue Line, which uses dark, stylized recreations to visualize witnesses’ accounts. There’s an interview with Morris where he defends the use of recreation in his film because he never illustrates what actually happened, just what the witnesses claim to have seen. I thought I would take this approach to my UFO documentary, recreating the way the sighting was described instead of purporting to show the audience “the truth” through a perfect computer-rendered 3D craft.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
When we first started filming, I was hoping to tell a story about how UFO witnesses use a belief in the extraterrestrial as a framework for their ontological questions the same way you and I may use science, religion, or some other more conventional belief. I thought it would be a story about people finding wonder and meaning in the night sky. However, they ended up telling me a story that felt quite fearful and lonely. We ended up taking that in full force and telling that story rather than the one I was hoping to tell. Documentaries are an exploration of a topic after all.
What about this project are you most proud of?
I'm most proud of the recreations. It was a tough challenge creatively, how to get four huge lights in the sky and how to set the b-roll aside from other UFO documentaries. We wanted the imagery to be vague but still approachable, and I think my cinematographer and I are pretty happy with what we came up with. We only set off the fire alarms once.
Shadow (Jamal McClung)
Everybody needs company. A lonely retail worker's closing shift takes a harrowing turn when a mysterious stranger comes in asking to shadow her for the night.
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Jamal McClung: I’ve been writing stories ever since I was in elementary school; I used to get in trouble for writing scripts in my journal instead of our assigned writings. Over time, I became more and more drawn to the world of film and television through being invested in other worlds that writers and filmmakers had created. I’m a very imaginative person, so I quickly became interested in learning more about world building and storytelling so that my work could have that same effect on people that film and television had on me throughout my life. I’ve written an original teen drama television series, and last semester I got the opportunity to create a visual world with my script for Shadow. It was so inspirational seeing something of mine come to life in that way, and I will continue to work on screenplays that can someday be told through a visual medium.
What was the primary inspiration behind your film? How did the project come about?
I’ve always been particularly drawn to the idea of loneliness. Anyone who’s worked at a small retail job knows that it evokes a feeling of isolation and there’s a sort of existential terror to it. I think anyone who’s worked in that environment can understand the never-ending and almost nightmarish cycle of clocking in and out and how draining that can easily become. A common theme throughout most of my writing is reflections of people. What you might see in the mirror is different from what you might see in real life. What you might see in a person you see differently in their shadow. The same goes for reflections of identities, or “shadowing” someone in life — taking on their traits and becoming like them in some way or another. All of these images started to blend together and become inspirational for me, and I wanted to create something from it. I got the opportunity to write and direct this film for my Fiction Filmmaking class at Grand Valley State University, as the class voted for my pitch to be made alongside three other amazing films.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
Just weeks before the confirmed shooting dates, our location that we had confirmed dropped from the project entirely. We had only a couple weeks to find a new store location to film in. I remember frantically going around downtown Grand Rapids, location scouting desperately to find a place. Thankfully, Decaydence Vintage came to the rescue when I asked and they responded with nonchalance and total understanding of the craft. It really worked out for the best; their store is awesome and so are they.
What about this project are you most proud of?
I’m most proud of how it came together, how it shifted and changed, and how it adapted into something I didn’t fully understand at the point of writing it. Through all phases of production, the film changed meaning for me in different ways. Whether that meant changing scenes because of a contingency on the shooting dates or an editing change that discarded the script entirely, the final product feels exactly like what it’s supposed to be. It just amazes me how it really came to life for me during and after the fact. You think you have your vision figured out when you’ve written the script, but that changes and it’s a wonderful thing.
“Reel It In” (Hailey Jansson)
Music video for Grand Rapids, Michigan, musician Supo.
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Hailey Jansson: All credit is due to my parents who put a camera in my hands at a young age and created a home environment that fostered creativity. There are countless old family videos that reveal me directing my siblings much to their annoyance. In 2013, I moved to Michigan to study film, and since then I’ve followed my interests down many paths. From documentary filmmaking, wedding and event photography, and freelancing for marketing agencies and local arts organizations, my experience is as varied as the projects themselves. Going forward my goal is to create more narrative work, and I'm sharing that here for accountability purposes.
What was the primary inspiration behind your film? How did the project come about?
My friend Supriya Gupta started releasing songs under the name Supo and was looking for a music video to celebrate the one year anniversary of her song “Reel It In.” I quickly arrived at the image of a group of girls wearing suits in a bar. Simple as! Most of my initial ideas are images or scenarios which later expand to scenes or stories. This one came together with the help of Jan at Zabhaz (who sourced all the suits!), Parker’s vintage car, and the friendly folks at Our Tavern.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
Supriya and I were lucky to have lots of help from friends which made this whole process go smoothly. Tony assisting with a second camera, Supriya’s friends starring in the video, and — again — the support of local businesses made it all possible. If Jan wasn't able to source the suits, I don't know where we'd be.
What about this project are you most proud of?
I'm really proud of the way this came together in the edit. Given the short amount of time we spent in production, having second camera support from Tony helped give this video the energy and aesthetics it needed as the song progressed.
Shepherds Club (Henri Frank Jones)
An aspiring artist and her wealthy girlfriend create a non-profit for an octopus who was saved from an oil spill.
Flippy Dippy (Aaron Voogt)
The wealthy CEO of a canned food empire was found dead under mysterious circumstances! What's to become of his horde of ancient antiquities? What is the legacy of the commoner under the mythology of those who write history? And most crucially, how can you liven up a boring day on the job?
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Aaron Voogt: I was obsessed with movies as a kid. I made my first movies with Legos or chess pieces, or sometimes I would just film the TV screen as Star Wars played. An incredibly cringeworthy movie I made in high school was the first project that made me realize how important making stuff was to me. After graduating film school, I had a few jobs on various film crews, but nothing substantial. For a long time I felt aimless and unfulfilled creatively. I'd write scripts that I couldn't afford to make, and would give up on almost every project I started.
Then my grandpa bought me a drawing tablet for Christmas. This introduced me to the world of 2D animation. My grandpa died of cancer in 2023, making the drawing tablet the last Christmas gift I'd get from him but arguably the best gift I could have gotten.
What I enjoy most about animation is the freedom it gives you. If you can draw it, it can be a movie. The possibilities really are unlimited (and inexpensive). However, you pay in time. Every single thing on the screen needs to be created by hand, which leads to some monotonous and isolated evenings hunched over a screen. I think every filmmaker should try some sort of animation at least once.
What was the primary inspiration behind your film? How did the project come about?
When we learn about history, we generally focus on iconic historical figures and important dates. While it's important to learn about the people and events that shaped our world, sometimes I wonder about what the life of an everyday human was like throughout the centuries. For every Abraham Lincoln, Genghis Khan, or Joan of Arc, there were millions of people who lived and died without one trace of their existence recorded. They were actually here, walking around. Chances are, we'll be forgotten someday too. This was a crucial idea behind Flippy Dippy.
There's a medieval manuscript from the 15th century that has a few ink paw prints across it. Google image it or something. Hundreds of years ago, some scribe’s cat stepped in ink and walked across his parchment. My cats jumps up on my desk and mess up what I'm doing all the time. Throughout all of human history, on every continent, people have been living mundane lives. They've had a meal, saw a bug, stubbed a toe, sang a song, had a boss, hugged a friend, got diarrhea. It really moves me to think about them.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
The most difficult thing with every animation I do is fighting through the fatigue to actually finish it. However, Flippy Dippy challenged my communication skills too. Out of all my released animations, Flippy Dippy has the largest number of contributors yet. There's four voice roles, a musician who I licensed music from, and a translator who translated the Latin lines. My girlfriend Mali also drew some of the backgrounds, which turned out fantastic.
This might seem like a small cast/crew compared to even a modest live action shoot, but since I'm so used to doing most things by myself, I felt a lot of pressure to keep the project moving. Learning to communicate clearly and efficiently is something I am still teaching myself, but art is better with collaboration, and Flippy Dippy wouldn't have been possible without everyone involved. I'm grateful that real living people helped me put this thing together.
What about this project are you most proud of?
Honestly, I'm most proud of the stupid grin I drew on one of the worker's faces when they say “Flippy Dippy” for the first time. It's very funny to me.
Metal (Cam Layson)
A man and his pregnant girlfriend drive through an apocalyptic forest where demonic threats are only kept at bay with the blasting of heavy metal.
Spencer Everhart: How did you originally get into cinema and what has your journey been as a filmmaker up until now?
Cam Layson: I’ve always loved movies, but what really clicked for me was learning the actual process of filmmaking. In high school, my best friend and I made so many dumb short films. Slashers, treasure hunting — just anything, really. I think making those videos gave me an idea of the most basic understanding of filmmaking. Coming up with an idea, getting excited about it, writing, filming it. I loved the process, and in the end we always had something we were proud of that I loved to show my friends. Falling in love with filmmaking led to my obsession with it, and now I’m happiest when I’m on set. I’m currently a student in Grand Valley’s film program and plan to keep making movies with awesome people.
What was the primary inspiration behind your film? How did the project come about?
The main inspiration for Metal is absolutely the movie Mandy, one of my all-time favorites. Our goal was to capture even an ounce of that nasty, colorful nightmare. This project came from me pitching the idea in my Fiction Filmmaking 2 class at GVSU. I’m so insanely grateful to have been picked to direct a project again for class, and I had the best possible crew of incredible filmmakers to help bring this idea to life.
What was the biggest challenge you faced while making this movie, and how did you overcome it?
I would say that the biggest challenge for Metal was probably the production design. I had some crazy big ideas for costumes and props, so that was one of the first things my production designer, Logan Vales, and I got to work on. Months before filming, we’d meet up on weekends to get ahead of schedule and get the props made, like taping a spinning buzzsaw prop to a guitar. I can’t give enough credit to Logan and the rest of the art team, Katie Bogema and Kennedy Rusicka, for that production design. Logan made the entirety of the armor pieces for Metal by himself — and they turned out incredible — while Katie and Kennedy made a certain secret prop (don’t wanna spoil the surprise) for the end, which I think is seriously just the best thing ever.
What about this project are you most proud of?
I’m so incredibly proud of Metal’s crew. Literally everyone crushed it. On set, everyone worked at maximum efficiency, and we all had the same goal in mind. Without a doubt it’s the best set I’ve ever gotten to work on, and I know for a fact that I could make movies with this crew forever. From Metal’s conception, a huge goal was just to make something pretty bonkers, and I feel we met that goal. I’m super proud of that.
UPCOMING EVENTS
MOONLIGHT (Jenkins, 2016)
WHAT: A look at three defining chapters in the life of Chiron, a young black man growing up in Miami. His epic journey to manhood is guided by the kindness, support and love of the community that helps raise him.
WHEN: Monday, February 10th, 8:00pm
WHERE: The Wealthy Theatre
WHAT: Our returning program of curated short films from all genres and mediums by independent filmmakers with a MI connection!
WHEN: Wednesday, February 12th, 7:00 pm.
WHERE: The Wealthy Theatre
WILD TALES (Szifron, 2014)
WHAT: PRESENTED BY CHIAROSCURO INTERNATIONAL FILM SERIES. A waitress adds a special ingredient to an arrogant loan shark's meal in one of several tales dealing with extremes of human behaviour. Admission is FREE and open to the public. Screening to be followed by panel discussion and reception.
WHEN: Sunday, February 16th, 2:00pm
WHERE: The Wealthy Theatre
And so we’ve arrived at the end of another BEAM FROM THE BOOTH! We appreciate you taking the time to read it and truly hope you’ll continue to do so. Be sure to SUBSCRIBE to get each issue in your inbox every week, and stay up-to-date on all things GRFS.
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Until then, friends...
