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Everything you always wanted to know about the Krampus but were afraid to ask
09.23.2016
09:45 am

Topics:
Books
Pop Culture

Tags:
Feral House
Krampus


 
Last year here at Dangerous Minds we declared that Krampus had hit the American mainstream, and just a couple of weeks ago we told you “fuck the elf on the shelf, here’s Krampus in the corner.” As we begin to see the department stores trot out their Christmas wares, we are reminded that Krampustime will soon be upon us.

If you’re looking for a Krampusnacht gift for someone special, we have a suggestion:

Feral House has just published the definitive work on Krampus and assorted other dark pagan Yuletide terrors. The exhaustively-researched The Krampus and the Old, Dark Christmas: Roots and Rebirth of the Folkloric Devil by Al Ridenour explores the origins of the Krampus myth, its recent popularization in the United States, the various celebrations and traditions associated with the creature, as well as similar European Christmas beasts.
 

Click here to order this title via Amazon. 
 
Krampus, for anyone out of the loop, is a horned, anthropomorphic, demon-like creature who, according to Alpine folklore, is a companion to Saint Nicholas. He acts as the yin to Santa’s yang—punishing the naughty children while Saint Nicholas rewards the good. Krampus provides the dark balance to Saint Nicholas’ light. Traditionally, Krampus is thought to beat naughty children with sticks. Children that have been extra bad are treated more severely: they are stuffed into bags and thrown into the river. It’s really quite a brilliant legend: if your kids are misbehaving, scare the shit out of them with the threat of being flogged and tortured by the Christmas devil!
 

 
The Krampus and the Old, Dark Christmas: Roots and Rebirth of the Folkloric Devil is jam-packed with information on the history and meaning of the Krampus as well as scads of photos and art prints. The dozens of photos of celebrants of myriad regional-variant Yuletide festivals in bizarre and terrifying costumes is worth the price of admission alone. Award-winning designer Sean Tejaratchi has laid everything out gorgeously, augmenting Ridenour’s thoughtful analysis. I really can’t recommend this highly enough. If you have any interest in the subject, this book is simply a must-have.
 
More Krampus after the jumpus…

Posted by Christopher Bickel | Leave a comment
The 13th-century ‘thinking machine’ of Ramón Llull


Ramón Llull, via Alchetron. The ribbon in his mouth says Lux mea est ipse dominus, “My light is the Lord himself”
 
There’s an exhibition at Barcelona’s CCCB called “The Thinking Machine: Ramon Llull and the ars combinatoria,” up through December 11. Including work by Arnold Schönberg, Athanasius Kircher, Giordano Bruno, Leibniz, Italo Calvino, John Cage, and Salvador Dalí, the show makes its case for the influence of the Catalan philosopher Ramón Llull (1232-1316, sometimes anglicized “Raymond Lully”), who might be credited with inventing the first computer, or its primitive ancestor.
 

via inexhibit.com
 
I first became aware of Llull and his contraption in Jorge Luis Borges’ Selected Non-Fictions, which reprints “Ramón Llull’s Thinking Machine,” an article Borges wrote for El Hogar Magazine in 1937. Borges gives the most lucid description of the machine I’m aware of, starting with its simplest, two-dimensional form, a circle divided nine times:
 

 

It is a schema or diagram of the attributes of God. The letter A, at the center, signifies the Lord. Along the circumference, the letter B stands for goodness, C for greatness, D for eternity, E for power, F for wisdom, G for volition, H for virtue, I for truth, and K for glory. The nine letters are equidistant from the center, and each is joined to all the others by chords or diagonal lines. The first of these features means that all of these attributes are inherent; the second, that they are systematically interrelated in such a way as to affirm, with impeccable orthodoxy, that glory is eternal or that eternity is glorious; that power is true, glorious, good, great, eternal, powerful, wise, free and virtuous, or benevolently great, greatly eternal, eternally powerful, powerfully wise, wisely free, freely virtuous, virtuously truthful, etc., etc.

I want my readers to grasp the full magnitude of this etcetera. Suffice it to say that it embraces a number of combinations far greater than this page can record. The fact that they are all entirely futile—the fact that, for us, to say that glory is eternal is as rigorously null and void as to say that eternity is glorious—is of only secondary interest. This motionless diagram, with its nine capital letters distributed among nine compartments and linked by a star and some polygons, is already a thinking machine. It was natural for its inventor—a man, we must not forget, of the thirteenth century—to feed it with a subject matter that now strikes us as unrewarding. We now know that the concepts of goodness, greatness, wisdom, power, and glory are incapable of engendering an appreciable revelation. We (who are basically no less naive than Llull) would load the machine differently, no doubt with the words Entropy, Time, Electrons, Potential Energy, Fourth Dimension, Relativity, Protons, Einstein. Or with Surplus Value, Proletariat, Capitalism, Class Struggle, Dialectical Materialism, Engels.

Then, Borges moves on to the more elaborate version of Llull’s thinking machine—the one with three revolving disks, illustrated below: 
 

 

If a mere circle subdivided into nine compartments can give rise to so many combinations, what wonders may we expect from three concentric, manually revolving disks made of wood or metal, each with fifteen or twenty compartments? This thought occurred to the remote Ramón Llull on his red and zenithal island of Mallorca, and he designed his guileless machine. The circumstances and objectives of this machine no longer interest us, but its guiding principle—the methodical application of chance to the resolution of a problem—still does.

[~snip]

Let us select a problem at random: the elucidation of the “true” color of a tiger. I give each of Llull’s letters the value of a color, I spin the disks, and I decipher that the capricious tiger is blue, yellow, black, white, green, purple, orange, and grey, or yellowishly blue, blackly blue, whitely blue, greenly blue, purplishly blue, bluely blue, etc. Adherents of [Llull’s] Ars magna remained undaunted in the face of this torrential ambiguity; they recommended the simultaneous deployment of many combinatory machines, which (according to them) would gradually orient and rectify themselves through “multiplications” and “eliminations.” For a long while, many people believed that the certain revelation of all the world’s enigmas lay in the patient manipulation of these disks.

More after the jump…

Posted by Oliver Hall | Leave a comment
Sleazy characters from vintage pulp novels spring to life from their covers
09.16.2016
10:13 am

Topics:
Art
Books
Sex

Tags:
Thomas Allen
pulp fiction novels


A vintage pulp fiction novel comes to life with the help of artist Thomas Allen.
 
The wildly talented Thomas Allen’s ingenious idea to bring characters from pulp fiction novels to life by setting them free from their respective covers and catapulting them into their new 3-D worlds was partially inspired by a couple of items from his youth that most of our readers of a certain age will be familiar with. The good-old View-Master and classic pop-up books.
 

 
According to an interview with Allen in 2007, while he was working on a fellowship he was tasked with re-telling classic mythology using images culled from anatomy books. During this tedious project Allen came across an old pulp fiction paperback and started cutting. The result was one of those “lightbulb” moments whereupon Allen realized that by removing the characters from the cover of the book, they suddenly took on the distinct appearance of a classic “pop-up” book element.

Clearly a perfectionist, Allen prefers to use vintage pulp novels that pre-date the 1970s as the covers were painted giving his cut-out subjects a more “realistic” appearance. When it comes to where he finds his materials Allen is mum on how he tracks the books down and who could blame him as he’s truly tapped into a vein full of nearly endless fuel for his vintage paper ne’er-do-well’s second lives as (almost) living and breathing art. If you pretty much flipped your lid while looking at the images in this post like I did, a large collection of Allen’s photographic catalog is a part of a beautiful book called Thomas Allen: Uncovered. Loads of images follow.

Dig it, daddio.
 

 

 
More after the jump…

Posted by Cherrybomb | Leave a comment
The fabulously surreal sci-fi book covers of Davis Meltzer


 
That delightful ’60s/‘70s intersection of pop-psychedelic surrealism and space-age futurism produced some of the most awesome book covers the world has ever seen, with illustrations that often far exceeded in greatness the pulpy sci-fi genre novels they’d adorned. While some of those artists achieved renown, too often, those covers were the works of obscure toilers about whom little is known.

Davis Meltzer, alas, fits deep into the latter category. My best search-fu yielded so little biographical data that I’m not even able to determine if he’s currently alive. A 2014 Gizmodo article alluded to the fact that Meltzer was still living as of its publication, and offered up some résumé data as well: 

Davis Paul Meltzer was born in 1930, in Huntingdon Valley, Pennsylvania, and attended school in Newtown, Pennsylvania. Both his parents, the late Arthur Meltzer and Paulette Van Roekens, were highly respected fine art painters—and he inherited their great talent. During his career as a freelance artist he created stamps for the U.S. Postal Service, painted dozens of sci-fi book covers, worked for NASA, and worked as a scientific illustrator for 30 years at National Geographic.

Enjoy this gallery of Meltzer’s book covers, assembled from various online sources. If you’re looking to own some Meltzer art but you just utterly hate books, a print of his called “How Cocaine Works in the Brain” is available.
 

Mack Reynolds, Equality: In the Year 2000
 

Clifford D. Simak, City
 
Much more Meltzer after the jump…

Posted by Ron Kretsch | Leave a comment
That time Jack Kerouac finked out on helping Allen Ginsberg promote ‘Junkie’

001junkleebk1.jpg
 
Allen Ginsberg was a hustler. He was always on the make. But if Ginsberg was getting a piece of the pie then everyone was getting some pie—that was the kind of guy he was.

In 1953, Ginsberg was one of the young writers loosely identified as the Beat Generation. There was Jack Kerouac—nominally the Beat daddio who had his first book The Town and the City published in 1950. It was a coming of age novel that lacked the Beat prosody (“spontaneous prose”) that illuminated Kerouac’s later, better known work.

There was John Clellon Holmes who had written Go—a depiction of the hip counter culture world of parties, drugs, jazz and “the search for experience and for love.”

And then there was William S. Burroughs.

Ginsberg had encouraged Burroughs to write. He grooved over the letters he wrote—he dug his style. He told Burroughs to write a book about his experiences as an unrepentant drug addict. Nelson Algren had already written and had published his tale of heroin addiction The Man with the Golden Arm in 1949. The book received rave reviews and won Algren a National Book Award. Ginsberg figured Burroughs—an actual junkie—could deliver a better, more powerful book if only he would sit down and write it.

Burroughs grudgingly took the advice. He had already co-authored an as yet unpublished novel with Kerouac And the Hippos were Boiled in their Tanks in 1945 about the murder of friend and associate David Kammerer by one of the original Beat gang Lucien Carr. The book had been a literary experiment with Burroughs and Kerouac writing alternate chapters. Now he would give the facts of his life some color in the manner of Thomas De Quincey—writing the semi-autobiographical Junkie: Confessions of an Unredeemed Drug Addict.

Ginsberg helped edit the book. Then he brought it to Carl Solomon—a publisher contact he’d met at Greystone Park Psychiatric Hospital in New Jersey where both men received treatment. Solomon’s uncle was publisher A. A. Wyn—owner of the pulp paperback firm Ace Books. Through Ginsberg’s endeavors, Solomon convinced his uncle to publish Burroughs novel—written under the alias “William Lee”—as part of the Ace imprint.
 
002ginsnygins.jpg
Ginsberg as ‘seen by Burroughs’ on the rooftop of his Lower East apartment, New York, 1953.
 
Kerouac’s reply and Burroughs’ ‘Junkie,’ after the jump…

Posted by Paul Gallagher | Leave a comment
The pioneering erotic fetish photography by the ‘Dean of Leg Art’ Elmer Batters
09.06.2016
10:54 am

Topics:
Art
Books
Sex

Tags:
feet
fetish
legs
Elmber Batters


A photograph by pioneering foot fetish photographer, Elmer Batters.

I felt that people almost saw me as un-American for not mooning over large mammaries.

—Elmer Batters

The work of fetish photographer Elmer Batters was considered so aberrant back in the 1960s that he was actually arrested for pictures he took for his leg and foot-centric fetish photography in his magazines Man’s Favorite Pastime and Black Silk Stockings on the charge of “obscenity.” While many of Batters’ photographs included topless models flashing their breasts the subject of Johnny Law’s ire was Batters’ focus on the models stocking feet.
 

The fetish model known as ‘Caruska’ on a swing by Elmer Batters.
 
When Batters was getting his start in the 1950s he helped lead the charge to draw admirers of feet and legs to a larger audience. A foot fetishist in the 1950s was still viewed as a creepy sexual deviant. Though the non-stop harassment of the authorities eventually pushed Batters out of the publishing world, he would continue his work photographing the feet pin-up models clad in thigh-high seamed stockings in various stages of nudity for decades. Sometime in the late 1980 German publisher Benedikt Taschen stumbled on Battles work in Leg Show magazine and would go on to put out three remarkable books containing the photographer’s work—From the Tip of the Toes to the Top of the Hose, Legs That Dance to Elmer’s Tune, and one dedicated to the foot enthusiast’s main muse, a model named Caruska, Elmer Batters - The Caruska Sittings. Batters referred to the mysterious Caruska (pictured above) as his “favorite model” and she was a huge hit with his foot-fetish fan base. According to Batters he found Caruska at a Hollywood Boulevard casting company called Pretty Girl International where the beautiful model was apparently having a hard time finding work as she was considered to be “unconventionally heavy” for the time.

Here’s Batters on Caruska’s many appealing attributes:

I think love or even sexual attraction comes from the sparkle in a girl’s eyes, the lift of her eyebrow, and the way her lips curl into that provocative smirk that hooks a man’s soul like a hapless mackerel. This is Caruscha’s strength. Her face seduces me even now–these 25 years later as it has seduced thousands of you. Go ahead and give in to her. Even back in the unliberated (years) when these photos were taken, Caruschka was a girl who loved to have men masturbate over her. Yeah, she was a tease but isn’t every woman worth a damn?

Though Batters passed away in June of 1997 at the age of 78 he left us with an expansive body of work such as the rather amusing departure from his super-sexy stocking photos for a magazine published in 1968 called Sneaker World of Elmer Batters,  a cheeky publication that featured semi-nude leg models wearing sneakers and stockings. I’ve included a couple of images from Sneaker World as well as many examples of Batters’ controversial images from his heyday. That said, it should be clear that the images that follow are (despite the fact that it’s 2016 and most of these photographs are approximately 50-years-old) should be considered NSFW.
 

 

 
More after the jump…

Posted by Cherrybomb | Leave a comment
Vintage sleaze and pulp erotica by prolific fetish illustrator Eric Stanton
09.01.2016
12:45 pm

Topics:
Art
Books
Sex

Tags:
1960s
BDSM
1950s
Eric Stanton
pulp novels


The cover of ‘Rent Party’ illustrated by Eric Stanton, 1964.
 
Fans of fetish artist and illustrator Eric Stanton allegedly included Howard Hughes, Douglas Fairbanks Jr., and well-known white cotton panty enthusiast Elvis Presley. During the 50s and 60s Stanton’s illustrations of tough, truculent women (often clad in bondage-style outfits) graced the covers of a huge number of “adult oriented” pulp novels and paperbacks that to this day are as controversial as they were six decades ago.
 

‘Young Danny,’ 1966.
 
Stanton was a part of a group of New York City-based fetish artists who were all getting their start around the same time like Bill Ward, Bill Alexander, and Exotique magazine illustrator Gene Bilbrew. In the late 1940’s after responding to an ad placed by the notorious Irving Klaw, Stanton’s illustrations started to get a bit more attention. He would then go on to improve his artistic style under the tutelage of the pioneering comic illustrator Jerry Robinson—the creator of Robin the Boy Wonder; the Joker; Bruce Wayne’s butler, Alfred; and Two-Face. Later, at the urging of Klaw Stanton, started to introduce BDSM themes into his illustrations. Here’s a quote from Stanton about some of the inspiration he would tap into for his risqué concepts that will likely remind you of a certain R. Crumb and his obsession with large tyrannical women:

I have always loved Amazons. The word itself is exciting. I’ve invented variations such as the Tame-azons who tame men. Being short and a little shy as a young man, I loved the idea of big strong aggressive women who would use their strength to wrestle me down.

By the late 50s Stanton had parted ways with Klaw (and his first wife) and hooked up with Stan Lee’s right-hand man Steve Ditko (the illustrator behind Spider-Man). According to Stanton the fictional character of Spider-Man’s “Aunt Mae” was actually his idea that was then adapted by Ditko for the Spider-Man comic. Stanton’s massive illustrated legacy is highly sought after by collectors and adult pulp novels featuring his art (that once sold for as little as 75 cents) routinely sell for a couple of hundred dollars depending on their condition. Original prints and pages from books containing Stanton’s illustrations and original watercolors can fetch anywhere from $10,000 to over $35,000 each. If you dig Mr. Stanton’s work but lack those kinds of funds, there are several books dedicated to his debauchery out there such as the aptly titled 2012 book The Art of Eric Stanton: For the Man Who Knows His Place. A lovely and somewhat NSFW selection of Stanton’s pulp covers from the 60’s as well as a few of his originals from the same era follow.
 

 

1965.
 
More after the jump…

Posted by Cherrybomb | Leave a comment
‘My Life in Orgone Boxes’: William Burroughs on his sexual science experiments in OUI magazine, 1977


Burroughs contemplating an orgone box
 
As a contributor to this blog, I spend a lot of my time poking around looking for suitable subjects that might please and edify the DM readership. When I come across an item uniting William S. Burroughs, Wilhelm Reich, Jack Kerouac, orgasms, heroin, Jean Cocteau, and even tangentially Kurt Cobain that has not been written about all too much, I can be sure I’m in the ballpark of a good DM post.

In 1977 OUI magazine published an item by William S. Burroughs with the title “My Life in Orgone Boxes,” in which he explained that he built his first orgone accumulator in 1949 on the farm of a friend named Kells Elvins in Texas. Among other things, in the article Burroughs addresses Jack Kerouac’s fictionalized version of Burroughs’ device as presented in On the Road but insisted that the account was “pure fiction.”

That Burroughs used an orgone accumulator is (a) pretty well known, and (b) not very surprising, given who Burroughs was. But let’s back up a moment here. What is an orgone accumulator, anyway? (It’s sometimes called an orgone machine or an orgone box.) Reich was in the first wave of post-Freudian thinkers, and he attributed his discovery of “orgone energy”—that is to say, energy with the capacity to charge organic material (cellulose), unlike electromagnetic energy—physical manifestations of sexual energy—as occurring in January 1939, after working off of Freud’s theory of the libido.
 

One of the first experimental orgone accumulators. Note the stack of Reich/orgone publications propping the door open. Much larger version here.
 
Reich was sure that he had discovered the secret to manipulating and enhancing sexual experience by removing/satisfying electric blockages within human beings. Quoting from his book The Function of the Orgasm: Sex-Economic Problems of Biological Energy (The Discovery of the Orgone, Vol. 1):
 

The orgasm formula which directs sex-economic research is as follows: MECHANICAL TENSION —> BIOELECTRIC CHARGE —> BIOELECTRIC DISCHARGE —> MECHANICAL RELAXATION. It proved to be the formula of living functioning as such. … Research in the field of sexuality and bions opened a new approach to the problem of cancer and a number of other disturbances of vegetative life.

 
Check that out: “the formula of living functioning as such,” wow. Reich’s idea was that orgone energy was virtually everywhere and pointed to both the aurora borealis and the blue tint seen in sexually excited frogs as evidence. As he put it in The Function of the Orgasm, “‘Biological energy’ is atmospheric (cosmic) orgone energy.” Then:
 

The color of orgone energy is blue or blue-gray. In our laboratory, atmospheric orgone is accumulated or concentrated by means of an apparatus specifically constructed for this purpose. We succeeded in making it visible by arranging certain materials in a specific way. The blocking of the orgone’s kinetic energy is expressed as an increase in temperature. Its concentration or density is indicated on the static electroscope by the differences in the speed of the discharge. The spontaneous discharge or electroscopes in non-ionized air, a phenomenon designated as “natural leak” by physicists, is the effect of atmospheric orgone and has nothing to do with dampness. The orgone contains three kinds of rays: blue-gray, foglike vapors; deep blue-violet expanding and contracting dots of light; and white-yellow, rapidly moving rays of dots and streaks. The blue color of the sky and the blue-gray of atmospheric haze on hot summer days are direct reflections of the atmospheric orgone. The blue-gray, cloudlike Northern lights, the so-called St. Elmo’s fire, and the bluish formations recently observed in the sky by astronomers during increased sun-spot activity are also manifestations of orgone energy.

 
It was later realized that Reich’s device for enhancing sexual stimulation with electricity was more or less a modified Faraday cage.

As Burrough writes in the OUI article, in addition to the one he and Elvins built, Burroughs also made a smaller version, a “potent sexual tool” constructed “from an Army-style gas can.” Burroughs used the smaller tool inside the larger box, “held the little one over my joint and came right off.” Then, in an aside, Burroughs explains that Jean Cocteau used to ejaculate without using his hands as a kind of party trick. Some trick!
 
More after the jump…

Posted by Martin Schneider | Leave a comment
Comics-inspired Criterion movie posters by Daniel Clowes, R. Crumb, Ralph Steadman & more


A 2010 movie poster for the 1968 film ‘Head’ by Wayne Shellabarger.
 
Back in 2010 Criterion had the fantastic idea to have director Jim Jarmusch select a number of notable artists including Daniel Clowes, R. Crumb and Hunter S. Thompson’s pal Ralph Steadman to design movie posters for various Criterion releases. The posters made their debut during an All Tomorrow’s Parties festival which Jarmusch curated in 2010.
 

A poster for the 1963 film ‘Shock Corridor’ by Daniel Clowes.
 
If you’ve not seen the artwork that Clowes created for two films in Criterion’s collection directed by Samuel Fuller—1963’s mental hospital fever-dream Shock Corridor and The Naked Kiss—you are in for a treat. I’ve assembled a number of the posters done by a wide range of artists that pay homage to films by Wes Anderson, Hal Ashby and David Cronenberg just to name a few. In 2014 Criterion published a massive book Criterion Designs that features a collection of artwork created for films in their catalog including many of the ones featured in this post.
 

‘Crumb’ by R. Crumb.
 
More after the jump…

Posted by Cherrybomb | Leave a comment
Classic Penguin sci-fi covers from the 1970s by David Pelham


Night of Light by Philip José Farmer
 
David Pelham was art director for Penguin Books during the 1970s and was responsible for a great many arresting and distinctive covers for many of the sci-fi novels Penguin put out during that time, which is one of the great periods for sci-fi writing in general. Many of the images on this page come from a series that came out in 1972-73 that used (as Penguin often did and still does) visual cues to signal that books belong together. In this case the series had in common white text and a black background, bold use of primary colors and a strong horizon line that in some cases (Sirius, A Cure for Cancer) is cleverly adapted for a slightly different purpose.

Pelham did many Penguin covers for works by J.G. Ballard and was in close contact with the author in the process of creating them. Ballard actually named a character in “The Reptile Enclosure” after Pelham. After one meeting during which they had looked over Pelham’s mockups for a series of Ballard covers, Pelham scribbled some notes that were obviously based on Ballard’s comments, and they make for a resonant and Ballardian piece of poetry: “monumental / tombstones / airless thermonuclear landscape / horizons / a zone devoid of time.”

Pelham’s most famous cover was for Anthony Burgess’ A Clockwork Orange, and fascinatingly enough, Pelham himself doesn’t think much of it:
 

When I was Art Director of Penguin Books I had to create this image in one night. We planned to bring out a film tie-in of Burgess’s wonderful book to coincide with the release of the movie, and we obviously urgently needed a strong cover image that related to the film. When Stanley Kubrick unaccountably refused to supply us with promotional press shots I immediately commissioned a well-known illustrator to help out. The result was not only unacceptable but it was also inexcusably late, so we were horribly out of time. Having already attended a press screening of Kubrick’s film I had a very clear image in my mind’s eye as to how the cover should look and so, collecting up a few supplies from the art department, I sped home to my Highgate flat to create the cover myself. I remember a motorcycle messenger arriving at 4.30am to deliver the ‘repro’—that is the typography—for the paste up. This of course was a long time before the age of computers, and everything was done with ink, glue and ‘repro’, which had to be painstakingly stuck in place on a base board. Another messenger arrived at 7am to whisk the artwork off to the printer. Consequently I had not had time to properly scrutinize the image, to make the small adjustments and refinements that I still believe it needed. So now, every time I see that image, all I see are the mistakes. But then, maybe it’s those unfinished rough edges that contribute to its appeal. Who knows?

 
In 1996 Eye Magazine wrote that Pelham’s covers “dignify the books with symbolic images that help to convey the conceptual sophistication of the writing inside.” For more of Pelham’s covers as well as many striking Penguin covers by other artists, check out the well-curated website Penguin Science Fiction.
 

A Clockwork Orange by Anthony Burgess
 

Cat’s Cradle by Kurt Vonnegut
 
Many more of Pelham’s spectacular sci-fi creations after the jump…..

Posted by Martin Schneider | Leave a comment
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