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John Thompson’s visionary artwork for Robert Anton Wilson’s ‘Cosmic Trigger’
03:25 pm


Robert Anton Wilson
John Thompson

John Coulthart has done us all a service by reminding us of the wonderful art that appears in Robert Anton Wilson’s mind-bending follow-up (and companion) to his well-known Illuminatus! Trilogy, which bore the memorable title Cosmic Trigger with the subtitle Final Secret of the Illuminati.

The Illuminatus! Trilogy introduced readers to an incredible stew of ideas and influences that included Adam Weishaupt, UFOs, Wilhelm Reich, the number 23, John Dillinger’s penis, Carlos Castaneda, tarot, LSD—and did it via an enjoyable sci-fi/thriller plot—but Cosmic Trigger, while doing nothing to “rein in” the scope of Wilson’s occult interests, helped put some of the fictional trilogy’s meat on the bone in a semi-autobiographical context. Wilson not only told his readers how to get to the front door of Chapel Perilous, he also explained the secret “knock” required for entrance and what happened to you when you went inside.

As brilliant as he was, even Bob Wilson benefited greatly from having his ideas visualized in such a simpatico manner. John Thompson, a noted figure from the San Francisco comix scene, and someone very interested in mysticism and spirituality, was the ideal person to bring the visionary material to life.

Coulthart points out that not all editions of Cosmic Trigger included Thompson’s memorable cover (above), but most retained his internal illustrations. Here are some of those followed by a few of his other illustrations, which are just as creative and stimulating as the Cosmic Trigger material.

Daisy Eris Campbell’s Cosmic Trigger: The Play is currently being staged at The Cockpit in London. Buy tickets here.

Above, Thompson’s portrait of the author

More after the jump…

Posted by Martin Schneider | Leave a comment
Punk, Patti Smith, William Burroughs & capitalism: A ‘conceptual conversation’ with RE/Search’s Vale

Vale with William Burroughs

This interview with V. Vale was conducted by Michael Lee Nirenberg, director of the 2014 documentary Back Issues: The Hustler Magazine Story

Early in my conversation with publisher and writer V. Vale he called me a “conceptual conversationalist,” although that moniker really belongs to Vale himself. Vale has had an interesting life. He was born in a Japanese-American internment camp in 1944, moved to Haight-Ashbury at the height of the 1960s counterculture movement, joined the original lineup of Blue Cheer, went on to publish punk zine Search and Destroy while working at beatnik bookstore City Lights, and then made his serious mark on the emerging post-punk culture with RE/Search.

For me, the seminal RE/Search journals which Vale has been publishing since the 1980s are a snapshot of culture at its most vital and ideas at their most radical. RE/Search was like early Interview magazine but the interviews were largely unedited, ran long, and each volume more or less tackled a particular subject. Some of the more well-known ones are: Pranks, Incredibly Strange Films, and The Industrial Culture Handbook.

Needless to say Vale’s work has been an influence on me. I met Vale at the New York Art Book Fair last year and interviewed him by phone on April 2, 2017. Below is that conversation edited lightly and segmented because Vale is a stream of consciousness type guy and you have to just roll with him. Enjoy.

On interviews and conversations

VV: So I invented a phrase for you while I was waiting for you to call; “conceptual conversationalist.” How’s that?

MN: That’s pretty good, man. All of a sudden I feel like I’m in a RE/Search interview.

VV: (laughs) Well that’s proper. It’s all useful. Conversations are two-way streets.

MN: I agree and I think that’s what attracted me to RE/Search throughout the years, and why I return to the volumes. I wrote out a dozen or so question but that doesn’t mean I have a script I’m going to follow. As you know a conversation takes you elsewhere.

VV: The holy grail of a conversation is when suddenly there appears a concept or an idea that neither person has contemplated before.

MN: Yeah. I agree with that and I think that’s when it’s the most successful.

VV: Whatever. I’m not a success or failure guy, I just observe what’s happening but that’s kinda rare and when it happens it’s a mini cause celebre.

MN: I think that’s a good point. I was wondering if everyone who has ever interviewed you has attempted to do a RE/Search interview on some level.

VV: I don’t really call them interviews, I call them conversations. That gives you a lot more latitude to go into some unexpected direction. Play and humor are like the supreme goal I suppose. I don’t know. I suppose I don’t know how to answer that one (laughs), I just try to have fun with whoever I’m talking to.

MN: Yeah, I think I do the same thing.

VV: Good! Hooray we’re on the same wavelength.

MN: Yeah, it seems obvious that humor is the thing that makes life bearable. And ideas.

VV: Well yeah… ideas. Especially ideas. Yeah, humor of course.

On Capitalism

VV: Oh yeah, ideas especially. The main idea always (laughs) is the overarching theme of how do we make this world a better place? How can we conceptualize a better world? How do we visualize a better world? For example I don’t understand why there aren’t more young artists making films about how life ought to be and dare I say a future that’s post-capitalism. I’m sure you know who (Slavoj) Žižek is and I think the best thing he ever said was, “You can imagine the apocalypse, you can imagine the end of the world, but you can’t imagine a world after capitalism.”

MN: Oh, that’s good.

VV: I’m a capitalist. I make books and hope someone buys them and I obviously need to make a profit so I can pay my rent, but I can’t imagine another system. Boy, if you can you will be the first!

MN: I struggle with this too. For all its flaws, the critiques don’t offer a way out. Look at the countries that went all in with socialism and communism. They started off as such high-minded concepts until they became religion.

VV: Even worse than religion (laughs). I think it’s all patriarchy, but yet I like most ideas of feminism which are actually the same ideas found in anti-racism i.e fighting privilege. There’s that famous saying you probably know which is “privilege confers blinders.” A lot of times if you have privilege you don’t feel it. It doesn’t even exist within the world you’re conceptualizing.

I always said my goal in publishing was (and I stole it from Hegel), “if you’re working, work for more freedom, more consciousness (that’s a great word) and more justice for more people.” The hard thing is the justice because then you get into the grimy world of lawyering and criminality and it’s just so much. Can you imagine if you were a heterosexual seeking a relationship with another heterosexual of the opposite gender. Let’s say complementary gender. I’m not a fan of opposite. I’m a fan of complimentary.

MN: Yes and relativity.

VV: Yes. Can you just imagine a world in which you try to act in perfect justice with another partner? I’m a huge fan of having a partner for a simple reason which is the hardest thing you can do. I’ve never had a job and I managed to support myself mostly and the hardest thing to do is guess what? Make next month’s rent.The other person (your partner) has to worry about the same thing. Take my word for it. It makes life a helluva lot easier and bearable.

More with Vale after the jump…

Posted by Richard Metzger | Leave a comment
Drawings of ‘mental illnesses’ from 1840

“Female patient suffering from erotomania, 1843.”

Science is a bit like Doubting Thomas—it has to see the evidence before believing it. And sometimes even then it is just theories about what was or was not seen.

Way back in the early 1800s, many scientists thought it an idea to use visual representation, through illustrations and engraving, to help codify the system of identifying say, organs, bones, types of disease, and even mental illness. For example, a drawing of someone suffering from buboes caused by the pox would help diagnose a patient with similar buboes also caused by the pox. It was a logical, well-intended, and noble idea, one that helped create the many books on anatomy and disease which progressed the development of medicine from the 1700s on—most notably Gray’s Anatomy in 1858.

The physician and alienist, Sir Alexander Morison (1779—1866) pioneered the documentation of psychiatric illness during the early to mid-1800s. An “alienist” is the archaic term for a psychiatrist or psychologist. Morrison was inspecting physician at the Surrey Asylum and Bethlehem Hospital. He excelled in the diagnosis and treatment of those poor unfortunate people who suffered from mental illness. He was a wise and kindly old gent, who wrote two texts of great importance on psychiatric illness—Outlines of Lectures on Mental Diseases (1826), and Cases of Mental Disease, with Practical Observations on the Medical Treatment (1828). But these were but a warm-up for his illustrated volume The Physiognomy of Mental Diseases in 1840.

The Physiognomy of Mental Diseases contained descriptions of the various types of mental illness, case studies of various patients from a selection of England’s psychiatric hospitals, and some possible treatments. At the time, psychiatric care was going through a much-needed overhaul, with patients being treated as suffering from a (possibly) curable disease rather than being written-off as possessed by demons or just too fucked-up to no longer defined as human and dumped in bedlam where they were often exhibited to the amusement of the paying public. Morrison devised (whether by himself or in collaboration is unclear) the idea of illustrating his book on The Physiognomy of Mental Diseases with a series of portrait engravings of the patients whose case studies he was describing. It was a very useful idea.

However, it does suggest that mental illness can always be identified through a patient’s facial expressions—as if there are certain universal physical attributes that define all types of mental illness. Moreover, such drawings were open to possible caricature with artists exaggerating certain facial tics or expressions which may or may not be relevant. Morrison’s approach was valued until the 1850s, when the photograph was deemed to be the more scientific and reliable choice for documenting mental illness by his successor at the Surrey Asylum, the physician and pioneering photographer Hugh Welch Diamond.

Portrait of 20-year-old female mental patient.

More engravings from ‘The Physiognomy of Mental Diseases,’ after the jump…

Posted by Paul Gallagher | Leave a comment
‘Blade Runner’: The Marvel Comics adaptation

Never trust a critic. Most of them know fuck all.

Strange as it may seem now, Ridley Scott’s movie Blade Runner received a decidedly mixed bag of notices upon its first release in June 1982. Some newspapers scribes considered Harison Ford wooden; the voice-over cliched; the storyline way too complex; the whole damn thing butt-numbingly slow and just a tad boring. One broadsheet even described the film as “science fiction pornography,” while the LA Times called it “Blade Crawler” because it moved along so slowly.

But some folks knew the film’s real worth—like Marvel Comics.

In September 1982, Marvel issued a “Super Special” comic book adaptation of Blade Runner. This was quickly followed by a two-part reissue of the comic during October and November of that year. This was when those three little words “Stan Lee presents” guaranteed a real good time and Marvel’s version of Blade Runner fulfilled that promise.

The comic was written by Archie Goodwin with artwork from Al Williamson and Carlos Garzon with Dan Green and Ralph Reese. While movies have time to develop story, plot, and character, and create their own atmosphere, comic books get six panels a page to achieve the same. Marvel’s Blade Runner managed the transposition from screen to page quite successfully. The artists picked up on some of the movie’s most iconic imagery while still managing to add their own take on the Philip K. Dick tale. Williamson offered his own (cheesy) definition of the term “Blade Runner” at the very end of the story:

Blade runner. You’re always movin’ on the edge.


You can read the whole comic here. Click on images below for larger size.
More from Rick Deckard , Roy Batty and co., after the jump…

Posted by Paul Gallagher | Leave a comment
Woodcuts of Witches, Wizards and Devils

Well, here’s something you don’t see every day in real life: Witches with animal heads flying on broomsticks. Fuck. Why did all the good stuff happen before iPhones were around to capture it….? Or, is it just strange, nay fantastically unbelievable, that witches with animal heads ever flew around on broomsticks?

Now, once upon a time, long, long ago in a land not so very far from here, people actually did believe in witches and warlocks and wizards and animal hybrids flying with broomsticks through the devil-dark night. It was a form of mental aberration that infected the whole of Europe between the 15th and 17th centuries.

This dreadful fear of witches began with a couple of Dominican monks, Heinrich Kramer and Jacob Sprenger, who together wrote a barmy treatise on witchcraft called Malleus Maleficarum (Hammer of Witches) in 1486. This book reinvented witchcraft and the devil as something more than just “delusions,” as had once been believed, into something solid, active, real, and very, very dangerous. Unsurprisingly, it was a bestseller for some 200 years.

According to the Malleus Maleficarum the world was literally hoaching with witches and the only way to defeat them was by the worst kind of torture and execution. This treatise received Pope Innocent VIII’s blessing. He had already given Kramer a Papal Bull Summis desiderantes affectibus in 1484 which approved his “inquisition” into all reports and suspicions of witchcraft. This Papal Bull was included in the Malleus Maleficarum as part of the book’s preface, which meant that misogyny was not only acceptable but actively encouraged.

And so it began two centuries of terror and torture and mass stupidity.
The great thing about witchcraft is that anyone could be accused of it. The accuser never had to prove the veracity of their statement. The accused always had to prove their innocence. But this usually meant forfeiting their lives. You see, innocence was often proven by use of a variation of the ducking stool—a device once used for scolds and prostitutes—whereby a woman believed to be a witch would be tied to a rope and thrown into a river or a pond. If the woman sank and drowned—then she was innocent. Hurrah! If she floated and lived, well hell, she’s a witch and must be burnt at the stake.

Usually, it never came to this, as most women ‘fessed up after hours or days of relentless torture and were then executed. Oftentimes, these women would name their accusers (or others they didn’t like) as also being witches and in league with the devil. And so it went, more and more women were questioned, tortured, and executed.

Stupidity does not discriminate—which explains why the hysteria over witchcraft was surprisingly flamed by the rise in literacy. The mass publication of pamphlets, news sheets, and books saw a great demand for stories “true” and fictional about witches and witchcraft. These stories were exceedingly popular and were spread in posters across the land like a virus. In every village and town, these reports on the occult would be read aloud wherever they were posted. The literate read the stories. The illiterate spread the tales word-of-mouth. The most potent part of these documents were the woodcuts which depicted the women (and some men) who were in league with the Devil and using witchcraft to spread his nasty ill-will throughout the land.

One of the earliest of these illustrated pamphlets was A Rehearsall both Straung and True, of Hainous and Horrible Actes Committed by Elizabeth Stile, alias Rockingham, Mother Dutten, Mother Deuell, Mother Margaret, Fower Notorious Witches first published in 1579. This booklet told the story of Elizabeth Stile, a 65-year-old widow and beggar who was accused of witchcraft and cavorting with three other witches Mother Margaret, Mother Dutten and Mother Devell, and a man called Father Rosimunde, who could (allegedly) transform himself “into the shape and likenesse of any beaste whatsoever he will.” Nice trick. Bet he never had to buy a round at the local inn.

It wasn’t just the lowly peasantry or working class who believed in such stories but the very highest members of the establishment. The first king to unify the nations of England and Scotland as King James I wrote a treatise on witchcraft Daemonologie based on his own personal involvement in the infamous North Berwick witch trials of 1590. King James believed that most women were “detestable slaves of the Devil, the Witches or enchanters” and he personally took part in the interrogation of those accused of witchcraft.

Many of these women were just dear old ladies who had lost their husbands or were destitute and had become victims to the unwelcome focus of a someone’s ire. As Jon Crabb notes on the Publlic Domain Review, it was from such poor women came the image of the “old crone” which was then promoted through books like The Wonderful Discoverie of the Witchcrafts of Margaret and Phillip Flower, Daughters of Joan Flower neere Beuer Castle (1619), A Most Certain, Strange and True Discovery of a Witch (1643) and The History of Witches and Wizards: Giving a True Account of All Their Tryals in England, Scotland, Sweedland, France, and New England (1700). It is this image of a witch as depicted in woodcuts that is still the most prevalent depiction of a witch used today.
An early though hugely influential depiction of a witch from ‘A Most Certain, Strange and True Discovery of a Witch’ (1643).
Witches cooking up trouble.
More weird and wonderful woodcuts of witches and alike, after the jump….

Posted by Paul Gallagher | Leave a comment
Stevie Nicks will fuck you up
11:49 am


Stevie Nicks
Bob Jones

In the 1980s, Fleetwood Mac employed an Australian bodyguard named Bob Jones. This would have been around the time the band was recording Mirage. Jones was an ambitious sort with some ideas about a harness that could be used in the water to assist in training known as the “swim-a-sizer.” He also was eager to write a book about self-defense that women could use to ward off attackers.

One day Stevie Nicks asked how his ancillary projects were going. As Jones tells it:

One day we were over at Stevie’s, and she’d asked how it was coming along. She was keen to understand the concept of how I intended to make it a train-at-home-alone manual.

“What can I do to help?”

“How about a photo shoot of you and me for the cover?”

Swear to God, I honestly meant this to be a throw-away line.

“It all sounds fabulous! I’d love to!”

“Great Stevie, I’ll ring your publicist to do a photo shoot here by the pool.”

And that was that. Nicks followed through on her promise to do a shoot for Jones’ book. The book came out in 1983 with the title Hands Off!, and there Nicks was, as promised, on the cover. Amazingly, Nicks showed up for the shoot wearing her trademark flowy gowns and the most incredible pair of platform boots, which prove her to be highly skilled in the martial arts indeed!

According to Jones, Nicks’ publicist professed to be astonished that Nicks had agreed to do the shoot, because she had recently bollixed up his negotiations with “one of the world’s top monthly magazines” (ahem, Playboy) by turning down an offer of $250,000 for a photo spread. I’m guessing it wasn’t the fact of doing a “photo shoot” that had caused Nicks to object. 

It all makes you want to tremble at the very thought of getting your ass kicked by Stevie Nicks in a dark alley, no? She’d probably use witchcraft on you too!

Much more after the jump…

Posted by Martin Schneider | Leave a comment
‘Horror Comic Books’: A vintage news report on the evils of reading

EC’s ‘Crime SuspenStories’ No. 22, May 1954
In the hard “g” Los Angeles of the fifties, Confidential File was the name of Paul Coates’ column in the Los Angeles Mirror and his weekly series on KTTV, the local station then owned by the Times-Mirror Company. Coates’ beat was vice: housewives on goofballs, medical quackery, La Cosa Nostra, the “tragic social problem” of homosexuality. According to Stephan Hoeller, the bishop of L.A.‘s Ecclesia Gnostica, Louis Culling and Meeka Aldrich performed a Thelemic ritual on one 1955 episode of Confidential File that we would all like to see uploaded to YouTube.

One of the social ills Coates set out to expose on his TV show was an epidemic of children reading books. In this broadcast, Coates said the Comics Code the industry had adopted the year before, after Senate hearings had exposed the link between childhood literacy and juvenile delinquency, did not go far enough. He came out swinging against Big Ink in the introduction, calling for crime and horror books to be outlawed:

In this comic book is a love story, a boy and girl in love. They get married, and after an offensively lurid description (illustrated, of course) of the couple’s wedding night, the book shows how the bride murders her husband by chopping his head off with an axe.

This comic book describes a sexual aberration so shocking that I couldn’t mention even the scientific term on television.

I think there ought to be a law against them. Tonight I’m going to show you why.

(Do you think the scientific term was “coitus”?)

More after the jump…

Posted by Oliver Hall | Leave a comment
DEVO meet William Burroughs: ‘David Bowie would never make an audience shit their pants. We would.’
02:44 pm


William S. Burroughs

Marilyn Chambers said no. The star of Behind the Green Door and Insatiable did not consent to participate in one of those two-way interview features with DEVO for Trouser Press in early 1982.

So Trouser Press enlisted William S. Burroughs to do it instead.

According to the magazine’s longtime editor Ira Robbins, the editorial assignment belonged to Scott Isler, “who set this thing up (after failing to get Marilyn Chambers to interview Devo).”

This was back in the days of no-Internet, when the U.K. audience and the U.S. audience could be considered two entirely unrelated entities. Trouser Press had an arrangement with New Musical Express to run the same material Isler had put together. Robbins noted that the encounter “proved to be a lot less entertaining or illuminating than we hoped it would be” and that “it took a lot of editing for Scott to fish out what we published.”

Even though they went about expressing it in entirely different ways, DEVO and Burroughs share an absolutely withering take on the accepted American empire as we know it. Burroughs responded to it with randomness, calculated perversity, and debasement, DEVO with a tongue-in-cheek insistence that the decline of the capitalist system was irreversible and indeed, salutary. Both placed the standard and stupid conformist stance of Middle America squarely in its sights.

Beat Meets Blank: A lovely spread from the NME version of the interview
According to Isler’s intro, Burroughs was on hand to promote Cities of the Red Night, his first novel in a decade, while DEVO was between albums. Their most recent effort was New Traditionalists, released several months earlier. Oh, No! It’s Devo wouldn’t hit the shelves until the end of 1982.

By the way, “DEVO” is here defined as the two main spokesmen for the group, Jerry Casale and Mark Mothersbaugh, who are both identified as fans of Burroughs in the intro to the piece. Unexpectedly, almost as soon as the interview is underway, Casale goes into a lengthy explication of DEVO’s goals and methods. Casale cites Burroughs’s 1974 conversation with David Bowie in Rolling Stone about “sonic warfare” and then the Casale and Burroughs speculate as to how much abuse it’s proper for an artist to put his or her audience through. Death is too far, surely, but “making them shit their pants”?

Read the whole thing after the jump…........

Posted by Martin Schneider | Leave a comment
Body of prolific ‘White City’ serial killer H.H. Holmes to be exhumed
10:49 am


H.H. Holmes

In 1893 Chicago unveiled its massively impressive World’s Columbian Exposition, which had been organized under an extremely tight schedule by Daniel Burnham, and the impact of the idealized (white) urban setting, complete with newfangled electrical lighting, is difficult to overstate. The attractive power of Chicago and its fair, however, drew many thousands of unattached females to the city in search of clerical work, a startling percentage of which a medical doctor named H.H. Holmes would end up dismembering. Holmes’ totally creepy “Murder Castle” featured a gas chamber, a dissection table, and a crematorium to dispose of the cadavers.

Both sides of this story, the fair and the murderer, had become mostly forgotten until they were exhumed with great effectiveness by Erik Larson in his 2003 book The Devil in the White City, which rapidly became a bestseller and has become a fondly remembered staple of reading lists ever since. (As it happens, I reviewed The Devil in the White City for Publishers Weekly—you can read my review on the book’s Amazon page—and I’ve been joking ever since that I “made” the book.)

Diagram of the layout of Holmes’ “Murder Castle”
That word “exhumed” is an interesting one, because that’s what’s about to happen to Holmes’ body. One of the key points of Holmes’ life is that, in addition to his dozens of murders going unnoticed for quite a long time, there has arisen speculation that “he actually conned his way out of the death penalty and escaped to South America,” in the words of Stephen Gossett at Chicagoist.

Holmes has a plot at Holy Cross Cemetery in Yeadon, Pennsylvania, near Philadelphia. In order to put the scuttlebutt about his escape to bed, officials in Philadelphia and Holmes’ descendants have chosen to open up Holmes’ sepulcher and see what’s inside. If the official sources are to be believed, Holmes died in Moyamensing Prison in Philadelphia in 1896 at the age of 34.

H.H. Holmes
The exhumation comes at the request of Holmes’ great-grandchildren John and Richard Mudgett, who hope that DNA tests will settle the controversy of the identity of the body. A Pennsylvania court has approved the request.

Martin Scorsese and Leonardo DiCaprio have been said to have been working on adaptation of Larson’s book for several years, but that possibility is looking increasingly unlikely. Perhaps the exhumation is a last-ditch attempt to revive interest in the project?
via Chicagoist
Newspaper clippings: Illinois State Historical Library

Posted by Martin Schneider | Leave a comment
Paperback to the Future: Best of British science-fiction covers from the 1950s

The back story of Britain in the fifties reads like the checklist for a Star Wars script. The war is over, the Empire is dying and the New World Colonies are slowly taking over. Many British pulp sci-fi writers had only to look out of their windows at the bomb-torn urban landscape to find inspiration. Just like George Orwell who used his knowledge of the everyday world of rationing, deprivation, and squalor in 1948 and a little of his time working at the BBC in Room 101 to color his novel 1984.

There were—to put it simply—two schools of thought in sci-fi at the time: write about what you know (or more likely your obsessions) as seen thru the prism of science-fiction, or write space age fantasies about exploration of the stars and seeking out new worlds and life forms as a topical metaphor for contemporary tropes about empire, war, and civilization. 

Both of these were pretty much the mainstay of a whole range of short-lived British science-fiction magazines that flourished between 1950-56. These wonderfully lurid-covered magazines featured work by John Rackham (aka John T. Phillifent), Volsted Gridban (aka E. C. Tubb) and Vargo Statten whose name became the masthead for one popular sci-fi magazine of the day later retitled to the British Science Fiction Magazine. Statten was just one of the many pseudonyms used by the prolific writer and editor John Russell Fearn, who together with Tubb and Phillifent produced the bulk of work for Britain’s golden years of science-fiction magazines before these ‘zines were sadly snuffed out by the flood of comics, movies, and television programs from the USA.

Afterwards, Fearn continued to write sci-fi and crime novels. Tubb became famous for his space opera Dumarest of Terra and writing a series of novels based on Gerry Anderson’s Space 1999. Phillifent went onto write a library of sci-fi novels and a few novelizations for The Man from U.N.C.L.E.

Most of the covers featured below from Vargo Statten, Tit-Bits Science Fiction and Scion publishing are the work of the brilliant artist and illustrator Ron Turner who supplied artwork, illustrations and comicstrips for Thunderbirds, Captain Scarlet and the Daleks.
More gorgeous British sci-fi covers, after the jump…

Posted by Paul Gallagher | Leave a comment
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