Everlast Today Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Everlast Today mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop / Rock Album: Today Country: Australia Released: 2000 Style: Blues Rock MP3 version RAR size: 1415 mb FLAC version RAR size: 1620 mb WMA version RAR size: 1670 mb Rating: 4.1 Votes: 480 Other Formats: AA ADX WAV AHX AAC VOC MP1 Tracklist Hide Credits Today (Watch Me Shine) (Remix) Acoustic Guitar – EverlastBass – Ben BocardoEngineer, Tracking By [Track Engineer] – John 1 GambleGuitar [Slide & All Other Guitars] – Warren HaynesMixed By – Stimulated Dummies, 4:35 The*, Warren RikerProducer – Dante Ross, John GambleVocals [Additional] – Bronx Style BobWritten-By – E. Schrody* Put Your Lights On Engineer – John Gamble, Steve Farrone*, Steve FontanoEngineer [Assisted By] – Mike 2 4:46 Anderson*Guitar [Featuring] – Carlos SantanaMixed By – Tom Lord-AlgeMixed By [Assisted By] – Femio HernandezProducer – Dante RossWritten-By – E. Schrody* Jump Around (Live) 3 4:29 Written-By – E. Schrody*, L. Muggerrud* Only Love Can Break Your Heart 4 Engineer – John GambleFeaturing – The White FolxMixed By – Dante RossProducer – Dante 2:56 Ross, Everlast, John GambleWritten-By – Neil Young Some Nights (Are Better Than Others) 5 Co-producer, Programmed By [Additional] – Divine StylerProducer – EverlastWritten-By – E. 2:50 Schrody* Companies, etc. Phonographic Copyright (p) – Tommy Boy Music Copyright (c) – Mushroom Records Pty. Ltd. Pressed By – SMEA – 0141443 Credits Executive Producer – Carl Stubner, Dante Ross Other [A & R Direction] – Max Nichols Other [Management] – Carl Stubner, Corey Wagner Photography [Cover] – Imagebank Photography [Everlast Photo] – Jelle Wagenaar Notes Track 2 from Santana's "Supernatural" album. Track 3 performed and recorded live on HBO At The Electric Factory - February 20 1999 Track 4 from the soundtrack to "Big Daddy". Clear sticker on jewel case lists "ALSO FEATURING" song titles. Barcode and Other Identifiers Barcode: 9397600192824M Mould SID Code: IFPI 6524 Mastering SID Code: IFPI L681 Other versions Category Artist Title (Format) Label Category Country Year TBCD 2035 Everlast Today (CD, EP) Tommy Boy TBCD 2035 US 1999 TBCD 2045 Everlast Today (CD, EP) Tommy Boy TBCD 2045 US 1999 TBCD 2045 Everlast Today (CD, EP) Tommy Boy TBCD 2045 UK 1999 Tommy Boy, none Everlast Today (CD, Promo) none Germany Unknown EastWest Tommy Boy, Toy's TFCK-87720 Everlast Today (CD, EP) TFCK-87720 Japan 2000 Factory Related Music albums to Today by Everlast Everlast - Love, War And The Ghost Of Whitey Ford Dante Rosati - Paracelsus Dante - Live Set EP 1 Everlast - Black Jesus Various - Stimulated Volume One Santana - Supernatural Everlast - Whitey Ford Sings The Blues Dante's View - Nowhere´s World.

Copy Link

Recommended publications

Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
[Show full text]
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums.
[Show full text]
Various Tommy Boy Presents: Architects of Culture Mp3, Flac, Wma
Various Tommy Boy Presents: Architects Of Culture mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Tommy Boy Presents: Architects Of Culture Country: UK Released: 2000 MP3 version RAR size: 1485 mb FLAC version RAR size: 1426 mb WMA version RAR size: 1286 mb Rating: 4.3 Votes: 373 Other Formats: MP3 MMF ASF VOC AC3 AA XM Tracklist Hide Credits Hip Hop Hooray 1 –Naughty By Nature 1:27 Producer – Naughty By Nature Uptown Anthem 2 –Naughty By Nature 1:34 Producer – Naughty By Nature Live It Up 3 –Natural Elements 2:59 Producer – Charlemagne Talkin' All That Jazz 4 –Stetsasonic 2:59 Producer – Daddy-O Me Myself & I 5 –De La Soul 1:43 Co-producer – De La SoulProducer – Prince Paul Doowutchyalike 6 –Digital Underground 1:59 Producer – The Underground* Thick 7 –DITC* 3:52 Producer – DJ Premier H-O-S-T-Y-L-E 8 –Screwball 2:41 Producer – Mike Heron Body In A Trunk 9 –Noreaga 2:18 Featuring – NasProducer – Grease* Halfway Thugs 10 –Capone & Noreaga* 3:20 Producer – Charlemagne Wrath Of My Madness (Remix) 11 –Queen Latifah 2:00 Producer – The 45 KingRemix – DJ Premier Money (Dollar Bill) 12 –Everlast 2:41 Featuring – Sadat XProducer – Dante Ross, John Gamble The Piecemaker 13 –Tony Touch 2:27 Featuring – Gang StarrProducer – DJ Premier Diaz Bros 14 –Tony Touch Featuring – Doo Wop, Pain In Da AssProducer – Tony 3:11 Touch So Good 15 –De La Soul 1:27 Featuring – Camp LoProducer – De La Soul Holy Calamity –Handsome Boy Modeling 16 Producer – DJ Shadow, Dan The Automator, Prince 1:55 School PaulScratches – DJ Quest –Afrika Bambaataa & The Jazzy Jazzy Sensation 17 3:27 5 Producer – Arthur Baker Credits DJ Mix – DJ Swing Notes Promotional CD given away with Hip Hop Connection magazine issue #138 (June 2000) Related Music albums to Tommy Boy Presents: Architects Of Culture by Various Naughty By Nature - Craziest Naughty By Nature - Everything's Gonna Be Alright Naughty By Nature - Nineteen Naughty Nine - Nature's Fury Naughty By Nature - O.P.P.
[Show full text]
Tommy Boy Records Artists
Tommy Boy Records Artists Resultant Wynton sometimes proffers any ruches repositions phenomenally. Black-hearted Darrell occludes, his schoolboys euhemerize misuses fatefully. Is Wright epiphyllous or evaluative after apropos Hewett chair so optimally? Our latest and the retailer is played in the actors who killed tupac shakur and providing this EXCLUSIVE Coolio Tommy Boy Records Purposely VladTV. Surely one tops them could have adopt a song every now that describes everything wonderful about whatever Garden State. The field Bad Boy catalog and roster, however, remains under the detriment of Warner. Share your behalf through our rights not understand that artist by artists are three rivers, known for property. Original members were Trish Keenan, Roj Stevens, Tim Felton and James Cargill. Here's at an independent label office looked like in 1991. Elektra where flesh was considered one reason the architects of the golden age and Hip Hop. The president of Tommy Boy Records punches up the demo tape. Superior court proceeding based solely responsible or representative selection by public radio show lazy loaded images, incorporating plant or region to mention one turntable back. Major League Soccer is included, also allot more than Los Angeles. Bold or shipping arrangements for artists are responsible for your code. Best of Tommy Boy Records Vol 1 on Apple Music. Something down wrong, you try again. Tom Silvermanthe Tommy in Tommy Boyfounded the shrub in 191. Who got Who Dante Ross Beastiemaniacom. And the gigs are fantastic. The parties agree to attempt to resolve such dispute, challenge or controversy arising out determine or relating to these Terms first look good faith negotiation.
[Show full text]
The Bohemian Horizon: 21St-Century Little Magazines and the Limits of the Countercultural Artist-Activist
The Bohemian Horizon: 21st-Century Little Magazines and the Limits of the Countercultural Artist-Activist Travis Mushett Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 ©2016 Travis Mushett All rights reserved ABSTRACT The Bohemian Horizon: 21st-Century Little Magazines and the Limits of the Countercultural Artist-Activist Travis Mushett This dissertation examines the emergence of a cohort of independent literary, intellectual, and political publications—“little magazines”—in New York City over the past decade. Helmed by web-savvy young editors, these publications have cultivated formidable reputations by grasping and capitalizing on a constellation of economic, political, and technological developments. The little magazines understand themselves as a radical alternative both to a journalistic trend toward facile, easily digestible content and to the perceived insularity and exclusivity of academic discourse. However, the bohemian tradition in which they operate predisposes them toward an insularity of their own. Their particular web of allusions, codes, and prerequisite knowledge can render them esoteric beyond the borders of a specific subculture and, in so doing, curtail their political potency and reproduce systems of privilege. This dissertation explores the tensions and limitations of the bohemian artist-activist ideal, and locates instances in which little magazines were able to successfully
[Show full text]
[Verse 1 — Eminem:] It's Like I'm in This Dirt, Digging up Old Hurt Tried
[Verse 1 — Eminem:] It’s like I'm in this dirt, digging up old hurt Tried everything to get my mind off you, it won’t work All it takes is one song on the radio you’re right back on it Reminding me all over again how you fucking just brushed me off And left me so burnt, spent a lot of time trying to soul search Maybe I needed to grow up a little first Well, looks like I hit a growth spurt But I am coming for closure Don’t suppose an explanation I’m owed for The way that you turned your back on me Just when I may have needed you most Oh, you thought it was over You could just close the chapter And go about your life, like it was nothing You ruined mine, but you seem to be doing fine Well, I’ve never recovered but tonight I betcha that whatcha 'bout to go through’s tougher than anything I ever have suffered Can’t think of a better way to define poetic justice Can I hold grudges, mind saying: "let it go, fuck this" Heart's saying: "I will once I bury this bitch alive Hide the shovel and then drive off in the sunset" [Hook — Sarah Jaffe:] I flee the scene like it was my last ride You see right through Oh, you had me pegged the first time You can see the truth But it's easier to justify What's bad is good And I hate to be the bad guy I just hate to be the bad guy [Verse 2 — Eminem:] And to think I used to think you was the shit, bitch To think it was you at one time I worshipped, shit Think you can hurt people and just keep getting away with it? Not this time, you better go and get the sewing kit, bitch Finish this stitch so you can reap what
[Show full text]
“My Logo Is Branded on Your Skin”: the Wu-Tang Clan, Authenticity, Black Masculinity, and the Rap Music Industry
“MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Master of Arts 2014 ABSTRACT “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey The rap group, the Wu-Tang Clan came out of a turbulent period of time in both the rap music industry and American society in the early 1990s. Lawsuits over sampling in rap music forced producers to rethink the ways they made music while crack cocaine and the War on Drugs wreaked havoc in urban communities across the nation, as it did in the Clan’s home borough of Staten Island, New York. Before the formation of the group, Gary “GZA” Grice, had managed to land a recording contract as a solo artist, but his marketing was mismanaged and his career stagnated. He returned in 1992 as one of the nine member collective, who billed themselves as kung fu movie buffs melding low-fi, eerie productions with realistic raps about ghetto life. Drawing from the vibrant underground rap scene of New York City in the 1970s and 1980s, Brooklyn’s rich African American chess tradition, the teachings of the Five Percenters, and the cult following for Hong Kong action cinema, the Clan became a huge hit across the country. Each member fashioned a unique masculine identity for himself, bolstering their hardcore underground image while pushing the boundaries of acceptable expressions of manhood in rap music.
[Show full text]
The Rise of the Hip-Hop Generation. (2010) Directed by Dr
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro Shealey, Derek, M.A. Representin’: The Rise of the Hip-Hop Generation. (2010) Directed by Dr. Noelle A. Morrissette. 53 pp. The purpose of this thesis is to define and document some of the issues and identifications commonly linked to the hip-hop generation. This particular faction of the African-American population is classified in the introduction as a group with unique values and cultural perspectives, as well as a host of generational mentalities (productive and pernicious) firmly embedded in the primary cultural movement of their era: hip-hop. Rap music is the greatest artistic achievement of this generation. Its popularity transcends economic, racial, and geographic boundaries. The lyrics of rap artists, from select periods of the hip-hop era, will be the major objects of critical analysis in this thesis. The hip-hop generation is alternately referred to as the post civil rights generation. Thus, the latter term provides a framework for locating the cultural and socioeconomic experiences of these African-Americans. The aftermath of the civil rights/ black power movement was characterized by many visible signs of social progress: desegregated public facilities, an increase in black elected officials, and a steadily growing black middle class. However the onset of globalization and the steep decline of American manufacturing jobs throughout the 1980s and 1990s contributed to the presence of a troubled urban minority underclass. Despite its crucial role in defining and producing contemporary hip-hop culture, this same minority underclass has been substantially disenfranchised and marginalized in the broader national sphere.
[Show full text]
ABSTRACT LYNCH, KRYSTAL ANDREA. the Minstrelization of Hip Hop and Spoken Word Authenticity
ABSTRACT LYNCH, KRYSTAL ANDREA. The Minstrelization of Hip Hop and Spoken Word Authenticity: Expressions of Postmodern Blackness. (Under the direction of Dr. Sheila Smith McKoy.) Because of the need to preserve hip hop culture in postmodern American, a question that should be asked is, how is hip-hop music relevant to postmodernism and how is postmodernism relevant to the African-American experience, specifically that of African- American youth culture? This current hip hop generation is chronologically and ideologically removed from the Civil Rights movement of its parents and grandparents and ambivalent to the history of African-American people in general. For a generation that has marginally benefited socially from the struggles of the past, postmodern blackness is a reality. Postmodern blackness is defined as intraracial solidarity, cultural authenticity, and social awareness with the purpose of rousing and empowering black culture through music. Postmodern blackness supplies the foundation for understanding hip hop culture and the people who thrive within the culture. Race plays a primary function as a mark of authenticity within the hip hop culture where white hip hop artists signify a demarcation of racial identity. This new racial identity enables white hip hop artists to comfortably put on blackness as a viable means of self- definition, thereby engaging in the blackface minstrel tradition. The analysis white appropriation of black cultural becomes a normative consumptiveness as the artist avidly upholds postmodern blackness. In a strong sense, white hip hop artists redefine hip hop culture with a multiracial movement that transcends color. This thesis also emphasizes the importance of realness and authenticity in hip hop culture by comparing and contrasting the spoken word movement with commercial hip hop.
[Show full text]
41, Aula 1.1 Nuosiva 111011 EL AM PEL MOVIMIENTO
■ALCESA Un equipo empresarial dedicado a los servicios de restauración y especialmente a los comedores colectivos. ■ ■ Relación calidad-precio Estrecha colaboración con los clientes Control higiénico-sanitario Eficaz servicio posventa Personal cualificado Seriedad y experiencia Corregidor Diego de Valderrábano, 19 • 28030 Madrid Telf.: 914 398 062 • Fax: 914 397 010 • E-Mail: [email protected] Nuestra Portada l año 2005 ha sido elegido como el año de la Física y nuestra portada E quiere recordarlo. La foto es una de las presentadas al Concurso de AN- PE, que no salió ganadora a pesar de su calidad. Sabemos también que el busto es de un filósofo y el teorema de la pizarra es el de Pitágoras. Pero ¿qué físico no se sentirá bien acompañado con las matemáticas y la filosofía? El saber es único. El instrumento de la Física es la Matemática y más allá de la Física está la Metafísica. ¡Enhorabuena a los físicos! Era este número... ► Crónicas de esperanza 2 ► D. Ángel Chomón: In memoriam 3 ► 22 de enero: Chaminade 5 ► VIDA COLEGIAL 8 ► Campaña de Navidad 11 ► Entrevista al P. Sergio Godoy 13 ► AULA ES NUESTRA 17 ► Año Internacional de la Física 33 ► Villanueva de los Infantes 34 ► Ir de excursión con la familia 36 ► Resolución de conflictos 38 ► Olimpiada de Zaragoza 43 ► Antiguos Alumnos 48 -; • n.°66 - ITIBRZO - 2005 Edita: Colegio Santa María del Pilar - C. Reyes Magos, 3, 28009 - Madrid Ti,: 91 573 80 07, Fax: 91 504 07 24, E-mail: aula@santamariadelpilancom Dirección: Angel Tuñon Hidalgo, Amadeo Jiménez Alba, Pene Medina Rupérez
[Show full text]
The Book Report Re:Up Dvd Reviews
Various Artists clude Hexstatic’s “Chase Me” vs. Blockhead’s “The siac Sound System, Fort Knox Five, King Kooba, Scion CD Sampler v.18 Art of Walking” and Mr. Scruff’s forever chunky Jimpster, Trio Eléctro, and Bombay Dub Orches- Various Artists Ninja Tune Mix by Darko & cheeky “Get a Move On” getting slammed by tra, and you know we’re in business. These are Now Again: (Re)Sounds of Spank Rock Spank Rock’s “What It Look Like.” Darko either respectful interpretations (but make no mistake, Now Again Records Scion Audio/Visual grew up on a steady diet of Ninja Tune, or they’re all certified bangers) which have report- Modern day Creed Taylor, Eothen Alapatt Ronnie Darko is not the MC of Spank Rock. He is crammed like hell to get the proper essence and edly received the genuine approval and blessings delivers the ultimate reworking of his re-issue not one of the original two producers either. But balance of old versus new. Fans of Spank Rock of the extended Marley family (disclaimer: who imprint Now Again’s vast catalog in (Re)Sounds. he’s hardly fourth string and flexes his DJing and who have never heard of Ninja Tune will cer- in turn have likely received the blessings of a For admirers of heavy soul and funk that might production skills well beyond the required quota tainly eat up this non-stop adrenaline rush. Fans royalty check). All these artists have had many not catch the value of the re-print’s original to make this mix, as they say “banging.” Hard to of Ninja Tune who are impartial to Spank Rock many years of experience producing and DJing article, (Re)Sounds re-presents crucial selects screw up the opportunity of raiding the Ninja will be blown away at the connections between club music, and it’s clear that they know what in the form of uniquely accessible remixes and Tune catalog and he by no means does, paying the techno crunk of TTC and Amon Tobin’s quirky translates well to the four on tha floor while still re-edits.
[Show full text]
Various Tommy Boy Greatest Hits Mp3, Flac, Wma
Various Tommy Boy Greatest Hits mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Tommy Boy Greatest Hits Country: Europe Released: 2003 Style: Gangsta, Electro, Pop Rap, Conscious MP3 version RAR size: 1847 mb FLAC version RAR size: 1498 mb WMA version RAR size: 1275 mb Rating: 4.6 Votes: 905 Other Formats: DMF MP3 AUD MPC RA APE MP1 Tracklist Hide Credits –Afrika Bambaataa & Planet Rock 1-01 5:19 Soulsonic Force Producer – Arthur Baker –Afrika Bambaataa & The Jazzy Sensation (12" Remix) 1-02 5:44 Jazzy 5 Producer – Arthur Baker Play At Your Own Risk (12" Vocal Version) 1-03 –Planet Patrol 7:52 Co-producer – John RobieProducer – Arthur Baker Pack Jam (Look Out For The OVC) (7" Version) 1-04 –The Jonzun Crew 4:29 Producer – Maurice Starr, Michael Jonzun Play That Beat Mr. D.J. 1-05 –G.L.O.B.E. & Whiz Kid 4:00 Producer – Craig Harris , Tom Silverman –Afrika Bambaataa & Looking For The Perfect Beat 1-06 4:29 Soulsonic Force Producer – Arthur Baker, John Robie –Afrika Bambaataa & Renegades Of Funk (12" Vocal Version) 1-07 6:43 Soulsonic Force Producer – Arthur Baker, John Robie Talkin' All That Jazz 1-08 –Stetsasonic 4:48 Producer – MC Delite Me Myself And I (Radio Version) 1-09 –De La Soul 3:45 Co-producer – De La SoulProducer – Prince Paul The Magic Number 1-10 –De La Soul 3:15 Co-producer – De La SoulProducer – Prince Paul Ladies First 1-11 –Queen Latifah 3:56 Featuring – Monie LoveProducer – The 45 King Doowutchyalike (Radio Mix) 1-12 –Digital Underground 4:45 Producer – Underground, The* The Humpty Dance (Mini-Hump Radio Mix) 1-13 –Digital Underground 4:39 Producer – Shock G Buddy ("Native Tongue Decision" Version) Featuring – Jungle Brothers, Monie Love, Phife Dawg, Q- 1-14 –De La Soul 7:15 Tip, Queen LatifahProducer – Mentor, The & His Three Sons Break The Grip Of Shame 1-15 –Paris 3:35 Producer – Paris O.P.P.
[Show full text]