Bleep

G.R.R.L. embraces Space Jam as a powerful deconstruction of the cultural fabrication of desire, as exemplified by its lackluster appeal despite shameless over-financing and over-promotion.

G.R.R.L. DEMANDS THAT SPACE JAM'S MARKETING FIRM BE PLACED IN CHARGE OF ALL CULTURAL PROCESSES, SO THAT AT ANY GIVEN MOMENT EVERYONE CAN SEE EXACTLY WHAT IS GOING ON IN SOCIETY.

G.R.R.L. concludes that some constructions of audience do not find audience, whereas other audiences emerge from the collision of multifarious constructions of audience. G.R.R.L. GETS HEAVY HANDED BY STATING THIS INCLUDES IDENTIFICATIONS OF GENDER, RACE, ETHNICITY, SEXUALITY AND CLASS.

G.R.R.L. STUMBLES FROM THIS CULTURAL WRECKAGE INTO THE RECORDING STUDIO.

G.R.R.L. adopts Space Jam's strategic intermixing of technology and nostalgia in the fabrication of new desires.

G.R.R.L. insists upon recording in many styles that emulate H.U.R. likes and dislikes, saying, "It's all M.E.E."

G.R.R.L. assures the audience that each track is produced with 110% cyncerity.