Destroy: Songs From Liquid Days was probably the worst. Maybe I should just make it anything since the mid-70s.
I'm going to say classic for the early work despite his obvious faults. He was able to create a unique sound-world and approach to minimalism that was influential - probably more on pop than on the avant-garde actually. The mix of organ and reed timbres is appealing. The simple additive rhythmic patterns actually created interesting effects in a drone context. His collaborations with Ravi Shankar and pop stars were just appalling though.
― sundar subramanian, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
Destroy: Powanaquatsi (the film as a whole... the soundtrack is, eh, decent).
Search: His quartets.
Destroy: Solo piano works.
― Sterling Clover, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
you're combining it with reich's "music for eighteen musicians"
― Gage-o, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
― Sean Carruthers, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
― Jeff W, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
― Curt, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
Hm, I didn't know Willis was at Juillard back in the day. But I know
what you mean. I have a ton of stuff by Glass, back when I was way
into him, but I don't find myself listening to it all that much,
except for Low Symphony, Glassworks, Koyaanisqatsi, and Music for 12
Musicians. The first three probably being more of his accessible
― Todd Burns, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
― michael, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
I noticed the mistake in the earlier post, too, then made it myself.
Long day featuring Bio Midterm can be the blame for that one.
― philT, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
― Clarke B., Thursday, 31 January 2002 01:00 (11 years ago) Permalink
― A Nairn, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
Search: Glassworks, Dancepieces, North Star, Thin Blue Line,
remix of Aphex Twin's "Icct Hedral", his appearance with Mark Moore
and Paul Morley on The Late Show in 1989.
Destroy: 1000 Airplanes On The Roof (unlike North Star
this remains unredeemed in the neglected parental-home vinyl
collection), Powaqqatsi (strangely distressing to hear chunks
of this in The Truman Show) and all the other film work, 1990
― Michael Jones, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
― Mr noodles, Thursday, 31 January 2002 01:00 (11 years ago) Permalink
― Andy M., Friday, 1 February 2002 01:00 (11 years ago) Permalink
― John Barrow, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
― mark s, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
― Andrew L, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
― sundar subramanian, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
― ethan, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
― geeta, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
― Mr. Barrow, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
― Todd Burns, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
― helenfordsdale, Sunday, 3 March 2002 01:00 (11 years ago) Permalink
also you are fun to read, which it has been
proved enlarges the reader's brain even
when they actually want it ensmallened like
"...f______ paragraph breaks..."? Tossing naughty language hither
thither isn't very nice. For shame. Besides, I read a phonebook the
other day, and it didn't have very many paragraph breaks.
Yes, Mister Rogers is an actual composer, among other good things,
but whether or not HE'S a classic or a dud isn't really the issue at
hand (classic). This question answering and exploring forum is
supposedly about Glass in particular, and it just seemed to me that
the thickness of his praise was making the criticism lean towards the
thin, so I thought I'd make a few critical observations on behalf of
those of us who may believe that he's not overly remarkable. Now I
realize that I may be going out on a limb with such an edgy thesis,
but what's life without risk? Meaningless and not very fun to boot,
that's what. Sure, I could be waxing poetic on the subject of erotic
scrimshaw, and I often do, but that would be all too easy. As a
music lover and fighter, what I really had a hankerin' for was a
knock-down drag-out no-holds-barred Glass-tussle. So thank you very
much and may the debate rage on (or, as the case may be, drone
monotonously on and on and on not unlike Glass's music) ad
― j.b., Monday, 4 March 2002 01:00 (11 years ago) Permalink
― Sterling Clover, Monday, 4 March 2002 01:00 (11 years ago) Permalink
― ethan, Monday, 4 March 2002 01:00 (11 years ago) Permalink
It would be an improvement, but only in the relative sense.
― Ned Raggett, Monday, 4 March 2002 01:00 (11 years ago) Permalink
"...stuck-up kids in highschool..."? The poeple who are the quickest
to accuse others of being arrogant are truly a dull and predictable
lot. And again, nothing to do with Glass. Although their are some
people who have not unreasonably observed that Glass's work tends to
be dull and predictable.
But anyway, the "you're stuck-up" finger pointing people's anti-
intellectual attitude and antics, um, how shall I put it, "belie"
their thin veneer of sophistication. Very thin. My guess is that
they tend to be 'Glass = classic' people more often than not, and, on
the whole are well educated in the well-certified and degreed sense
yet possessing only nominal measurable native intelligence. Near-do-
wells... Why else would such people immediately and aggressively
take the mere mention of the concept of intelligence so personally.
Their insecurity is painfully obvious.
Now there's an intriguing question. Is the music of Philip Glass
anti-intellectual in some way? Could be. It does seem to be
pretending to be intelligent, even though there are good reasons to
suspect that it isn't particularly. But than again, the folks who
make it painfully obvious that they are too emotional to engage in
reasonable discourse yet really REALLY want to pretend to be oh so
sophisticated would likely avoid that idea like bubonic plague.
Huh? What was the question? I CAN'T HEAR YOU. And the next
question is... It smells like religion. "Don't you be questionin'
MY God, you evil heathen..." Highly predictable indeed, and maybe
even a tad anti-intellectual.
And how could such a potentially interesting discussion be so
lacking? Perhaps there are too many little ponds with big fish and
too few big ponds with little fish. Oh well, maybe the situation
Why does glass need to be "intellectual" to be good? Can't he just make me happy, or calm, or produce things which are relaxing while I'm reading or working? What if he produced things that were good for screwing to? Wouldn't that be classic? Or what if he produced things that were great when you had something else to do/look at, ambient for operas? Because, in a way, he does. Cf. Einstein On The Beach & Au Revoir... (which I saw in the first run, and d-d-damn!)
― mark s, Monday, 4 March 2002 01:00 (11 years ago) Permalink
― Christine "Green Leafy Dragon" Indigo, Monday, 4 March 2002 01:00 (11 years ago) Permalink
I find some of his works to be quite pleasant. I would agree that
much of his material from the mid-seventies through the early
eighties has merit -- especially the works that ultimately let him
reach folks beyond the inner circles. And writing movie soundtracks
is a good choice for any composer who wouldn't mind expanding an
audience. For a while, his sound was somewhat novel, though there
were other folks doing similar things. But why did he appear to
purposefully arrest his own artistic development? What the heck
Here's a theory: Before his art was his living, he seemed to be
trying harder and having it pay off artistically, but after his art
became his living, I think he began to be less inventive. His
approach became more and more self-limiting. I mean, he began
writing music as if he were making clothing from only several or
possibly only two bolts of cloth. Want a 'new' composition? Maybe
an opera? Grab a bolt, pin the pattern down, and cut around the
pattern. Frankly, he's not really as prolific as he seems. It's not
that different from what many composers do, but he's drawing from
such narrow sources, it just seems overly and un-artistically
synthetic and contrived.
And this choice of artistic direction is suspiciously like that of
the 'stripe' painters of approximately the same period and their ilk,
or of various other one-trick pony types from many artistic
disciplines. Like so many others, in an age of briefer than ever
attention spans and soundbite mentalities (its a cliche, but its
true), he found that if he stuck to those peculiarly narrow 'bolts of
cloth', he could be accepted, and make a decent living.
It's not all that far-fetched. And, who knows, perhaps he'll create
some new material someday that defies those observations. I'm only
suggesting that success had a negative effect on his art. If it
hadn't, maybe Glass WOULD be a classic. But success never spoils
A certain amount of frission has been lost since then, as the landscape shifted under his feet -- I'd characterize Glass' career since roughly Einstein as trying to rediscover an alternate spiritualism outside of the western cannon, with varying degrees of success depending on both his incorporative ability and the extent to which that which he seeks to incorporate is total crap.
In some ways, the most important thing to recognize about glass IS his range, because it isn't restricted to the canon, but trying to redefine it -- witness his Bowie symphonies, his collabs with bryne and vega, the euro-12-tone touches which he treated with the SAME attitude in Les Infants... &c.
― Sterling Clover, Tuesday, 5 March 2002 01:00 (11 years ago) Permalink
But he's so astoundingly easy to imitate and even counterfit -- a
strange but useful and fun musical game often played by the musically
agile. All sneakiness and legal issues aside (he's a celeb, and this
was 'satire'), I once witnessed a 'premier' of 'his' work that was
entirely convincing, and the attending fans loved its pants off quite
gushingly. It was kind of sad. But it was a fascinating social
experiment if nothing else. Thus I can't help feeling that his style
is terribly lacking in true and subtle idiosyncracies. And that, to
varying degrees, his fans are strangely nondiscriminating. Is the
emperor wearing no clothes? I see it as a distinct possibility.
And does that lack of subtle idiosyncracies (ones that are not as
easy to parrot or extrapolate by people who have the ears to 'see'
EXACTLY what Glass is doing) put his music into the 'dehumanizing'
camp? Yes, quite. And that's a legitimate artistic motivation.
Many of the 12-tone composers coming out and away from the
pointlessness of world war I were exploring a similar creative
impulse. And whether one enjoys listening to 12-tone music or not,
it can be safely said that it was radical and not commercial. Glass
is not a radical. And I don't believe that he ever was. Well, not
lately anyway. Glass's music is extremely conservative.
― j.b., Tuesday, 5 March 2002 01:00 (11 years ago) Permalink
'Einstein' sure is remarkable though, the main themes are totally beautiful (far more angular and weird than the dippy schubert mode he went for later) and the shifting rhythms keep knocking you off guard, it's not background music, it demands active listening... I wonder what his reputation would be like these days if he'd stopped at that exact point, but hey then he'd probably still be a starving cab driver, wouldn't be fair to him.
There's still some rhythmic variation in 'Satyagraha' but a lot of it goes for straight toe-tapping pulsation. By 'Glassworks' the stacks of rhythm have gone entirely missing, it's nothing but those doodley doodley arpeggios, and bingo: commercial breakthrough, and no looking back. Since the 80's, less pounding, increasingly smoothed out, simple bland loveliness. Almost too easy to criticize.
No one should write off Glass entirely before hearing 'Einstein on the Beach', it's still incredible. The original '79 Sony recording is still better, the 90's re-recording has better production values and tighter, faster performances but loses too much, nothing can touch the farfisa organ arrangements or the vocal performances on the original. I think 'North Star' is still lovely. Of the 80's stuff, I still love the soundtrack to 'Mishima', especially the sections for string quartet. It was 'Solo Piano' that convinced me to stop buying the stuff and the few things I've heard since then make me kind of angry.
― Jon Leidecker, Wednesday, 5 February 2003 20:38 (10 years ago) Permalink
― mark s (mark s), Wednesday, 5 February 2003 20:42 (10 years ago) Permalink
― JasonD (JasonD), Wednesday, 5 February 2003 20:54 (10 years ago) Permalink
― mark s (mark s), Wednesday, 5 February 2003 22:28 (10 years ago) Permalink
― Juan (Juan), Wednesday, 5 February 2003 22:42 (10 years ago) Permalink
Just got tickets to Einstein on the Beach for Sat, Sept 22nd! :) Waaaaay back in the balcony, but I am so, so pumped to finally see this!
― Thanks WEBSITE!! (Z S), Monday, 13 August 2012 14:14 (10 months ago) Permalink
They just went on sale about 15 minutes ago for non-BAM members:
― Thanks WEBSITE!! (Z S), Monday, 13 August 2012 14:15 (10 months ago) Permalink
It's so great, I'm sure you won't be disappointed. Matt#2 and I were so taken with it we're going to go see it again in Holland next year.
― Ginger at the Gates of Dawn (MaresNest), Monday, 13 August 2012 16:01 (10 months ago) Permalink
I'm going wed night. Balcony.
― dan selzer, Monday, 13 August 2012 17:13 (10 months ago) Permalink
My seats are pretty fucking terrible for the small fortune that i'm paying for them
― Fareed Zaireeka (Whiney G. Weingarten), Monday, 13 August 2012 18:16 (10 months ago) Permalink
When i was considering whether or not I would last the full 5 hours (or my ass would) I tweeted Alex Ross to ask when would be a good time to bail for 5 mins (he had been tweeting about how great it was) he suggested somewhere in the middle of Night Train.
― Ginger at the Gates of Dawn (MaresNest), Monday, 13 August 2012 19:50 (10 months ago) Permalink
Philip Glass is coming to the Seattle area in October, but he's not performing Einstein On The Beach. Instead it's PG and Foday Musa Suso performing music from a soundtrack to “Powaqatsi” -- $65 *shrug*
― van smack, Monday, 13 August 2012 23:08 (10 months ago) Permalink
I'd seen a handful of Glass-composed pieces performed here and there over the years, but seeing Glass w/ his band play for two solid hours outside near Battery Park earlier this summer was probably the most spellbinding thing I've seen this year. Wanted to run up to all the players and give them a big ol hug just for the physical / mental endurance it must take to pull off a lot of these pieces. To watch a performance of Act III from The Photographer, especially the vocal section, is just ... ugh.
― ❀ the cult of ➥upside➥wingspan➥personal growth gurus➥FA charlatans (CompuPost), Tuesday, 14 August 2012 15:15 (10 months ago) Permalink
― dan selzer, Sunday, 2 September 2012 07:54 (9 months ago) Permalink
Dan, you've been? What did you think?
― Pat Ast vs Jean Arp (MaresNest), Sunday, 2 September 2012 09:06 (9 months ago) Permalink
I'm going in two weeks.
― dan selzer, Sunday, 2 September 2012 15:03 (9 months ago) Permalink
Good god, the Knee Plays -- I was in tears by the fourth one. Glass doesn't compose much else that's got this pre-Renaissance (polyphonic?) choral thing, does he? But more to the point, WHY DOES IT AFFECT ME SO?
― seandalai lama (Leee), Sunday, 28 October 2012 23:27 (7 months ago) Permalink
i was re-listening to Music in Twelve Parts the other day, for the first time since seeing Einstein. am i correct in thinking that one of the Music in Twelve Parts songs was featured in Einstein (near the end)?
― but the boo boyz are getting to (Z S), Sunday, 28 October 2012 23:39 (7 months ago) Permalink
Everything Glass has done up to Einstein was a case study and all these things combined let to Einstein. So yes, there us Music in Twelve parts in there, and the several different 'a different look at harmony's' are in there, among other pieces.
― Sebastian (Royal Mermaid Mover), Monday, 29 October 2012 00:40 (7 months ago) Permalink
This guy's got a bunch of surprisingly good quality audience videos from multiple stops on the 2012 Einstein tour.
(He's also got a bunch of Captain Beefheart TV appearances, the complete Live from the Met: Nixon in China film, and a terrible looking-and-sounding video boot of a complete Laurie Anderson show from 1986.)
― Hideous Lump, Monday, 29 October 2012 01:36 (7 months ago) Permalink
Total trainspotter Philip Glass question : in the credits to Koyaaniqatsi it says something like "additional music by Michael Hoenig", who I guess is the Agitation Free / Tangerine Dream guy. So does this mean Glass didn't actually write all the score? Something like this track doean't really sound like him, for the first couple of minutes at least :
― don't slip in mud (Matt #2), Thursday, July 19, 2012 1:41 PM (3 months ago)
You're right about the music in that YouTube clip. I found a playlist online from a 2004 performance by Michael Koenig which includes this:
- Koyaanisqatsi, Clouds & buildings, Michael Hoenig, Michael Hoenig, Gema- Koyaanisqatsi, Slow people, Michael Hoenig, Michael Hoenig, Gema- Koyaanisqatsi, Microchip, Michael Hoenig, Michael Hoenig, Gema
"Slow People" and "Microchip" are both drone pieces that bridge between segments of the film ("Clouds & Buildings" probably is too, but I'm not remembering the sequence off the top of my head). Hoenig was also credited as Music Supervisor for the film, and with Glass having composed a lot of the score while they were shooting rather than in post-production, I'm guessing Hoenig filled in a couple of gaps in the score once they got down to editing.
― Hideous Lump, Monday, 29 October 2012 02:39 (7 months ago) Permalink
I saw Einstein at Berkeley Saturday night and it was AMAZING. there were many cool parts but my favorite was the opening - basically they just let Knee cycle for a while until the audience collectively (and without instruction as far as I could tell) quieted down and let things start. this was also my first time hearing Glass performed live so I was kind of knocked out by the sheer stamina on display by the musicians; this was four and a half of non-stop no-intermission painstakingly incremental action action action.
also I cannot imagine how mortifying it must be to be That Guy at the Philip Glass opera who has to use the bathroom midway through and force the whole row to get up & break the trance. or, god forbid, That Guy whose phone goes off.
― With enduring faith, W. Cunt. (jamescobo), Monday, 29 October 2012 04:58 (7 months ago) Permalink
I say use the bathroom during the Trial sequences.
― dan selzer, Monday, 29 October 2012 05:44 (7 months ago) Permalink
XP - Yea, they did that in London too, it was lovely to come in and have the players cycling away already.
I had the same worries about coming and going but PG has said that it's fine to do so, I tweeted Alex Ross for his opinion on the best time to have a break and he said in the middle of Night Train, which I agree with.
― Pat Ast vs Jean Arp (MaresNest), Monday, 29 October 2012 09:59 (7 months ago) Permalink
no way...I think Night Train is the most beautiful segment musically...the least happens physically but its such a beautiful image/sound!
― dan selzer, Monday, 29 October 2012 15:41 (7 months ago) Permalink
I agree with dan, the trial sequences seemed like the least essential part of the whole thing for me.
The part that really floored me was the Building section, with that phenomenal sax solo. Not at all what I expected to hear at a PG concert but it provided a welcome contrast to all those pounding arpeggios (which I also love, of course).
I just hope I get to see the whole production again sometime.
― my father will guide me up the stairs to bed (anagram), Monday, 29 October 2012 15:58 (7 months ago) Permalink
I hear that, knowing the chances of hearing it again, at least in PG's lifetime were slim I'm going to see it in Amsterdam early next year.
― Pat Ast vs Jean Arp (MaresNest), Monday, 29 October 2012 16:09 (7 months ago) Permalink
I wasnt as into the sax solo. I appreciate the improv nature of it, but the solo I'm used to from the 90s nonesuch recording was much more sustained/droney, whereas what I heard at Bam was a bit more "jazzy". Still great, but I preferred the 90s one.
― dan selzer, Monday, 29 October 2012 16:57 (7 months ago) Permalink
I loved the jazzy nature of it! Added a whole extra dimension to the piece for me.
― my father will guide me up the stairs to bed (anagram), Monday, 29 October 2012 17:39 (7 months ago) Permalink
each new version has to switch things up a little, but the original 'Building' sax solo is the overt tip of the hat to Young & Riley post-Coltrane sheets-of-sound style minimalism, so it really stings when they mess with it. I nearly gave in to this guy's super-soulful bluesy solo as he built to the high note but when he didn't hit the high note and went for skronk, my patience ran out
I also initially fought the unusually saucy take on 'prematurely air-conditioned supermarket' during 'Trial/Prison', really vamping it up, but by the end I was completely won over, she made it hers
I struggled a bit while watching, as you do with something you've been listening to since freshman year of high school, but... what a piece this is, I now wish I had gone twice
― Milton Parker, Monday, 29 October 2012 18:21 (7 months ago) Permalink
let me rephrase that last post
oh my god you guys the faces the numbers the twirling I can't even believe it YAY
― Milton Parker, Monday, 29 October 2012 18:26 (7 months ago) Permalink
What do the Glass aficionados think of Beck's 20-minute piece interpolating a large number of Glass' works?
― Soundslike, Monday, 29 October 2012 18:42 (7 months ago) Permalink
if he did a 20 minute piece based on Charles Ives or Scott Joplin and put it out with his Glass & Harry Partch pieces, it'd be my favorite album of his since Mellow Gold
― Milton Parker, Monday, 29 October 2012 18:47 (7 months ago) Permalink
Ha! I had almost that exact thought--was thinking Reich or Riley, but Ives would be *perfect*. Yeah, it would be an incredible album. Going to by the "Reworked" thing, but I'd really rather have this piece on its own. Nothing else on there comes close to the grandeur, grace, or beauty of Beck's.
― Soundslike, Monday, 29 October 2012 18:52 (7 months ago) Permalink
If I can rephrase my original post, is there something particularly liturgical (or even holy?!) about the music of the knee plays? The second the first one started, I was already beginning to get overwhelmed with emotion.
― seandalai lama (Leee), Tuesday, 30 October 2012 03:38 (7 months ago) Permalink
Also, any plans for a recording of the current tour?
― Leeezzarina Sbarro (Leee), Tuesday, 30 October 2012 04:27 (7 months ago) Permalink
Nothing else on there comes close to the grandeur, grace, or beauty of Beck's.
Yeah, agreed. The rest of the pieces are nice enough, but Beck's really wowed me.
― Sandy Denny Real Estate (jaymc), Friday, 16 November 2012 23:24 (7 months ago) Permalink
Hm, this is pretty nice.
― EveningStar (Sund4r), Friday, 16 November 2012 23:48 (7 months ago) Permalink
Question for those who saw the 2012 tour: Did the bed get a round of applause then it reached vertical? I saw it in 1984 and 1992, and the audience gave it a hand both times.
― Hideous Lump, Sunday, 18 November 2012 07:56 (7 months ago) Permalink
― turds (Hungry4Ass), Sunday, 18 November 2012 11:03 (7 months ago) Permalink
I like the more lively bit from 14.20 to 15.50... Anyone now where the sample is from?
― Bob Six, Sunday, 18 November 2012 12:11 (7 months ago) Permalink
Hideous Lamp -- I don't think so. That I have a hard time remembering anything notable about it suggests that it definitely didn't receive applause.
― Gods Leee You Black Emperor (Leee), Sunday, 18 November 2012 22:39 (7 months ago) Permalink
There was no applause during the entire four hour performance in Ann Arbor. Only at the end.
― Stormy Davis, Sunday, 18 November 2012 23:06 (7 months ago) Permalink
The dance sequences were applauded in London, don't remember if the bed was or not.
― ~ (Matt #2), Sunday, 18 November 2012 23:28 (7 months ago) Permalink
EOTB in Amsterdam on Friday, first time in the city too, yay.
― MaresNest, Monday, 7 January 2013 19:55 (5 months ago) Permalink
Bring food! The theater I saw it in ran out.
― hot slag (lukas), Monday, 7 January 2013 20:39 (5 months ago) Permalink
Ha yes, I saw it in London last year, so I'll be sure to buy some Poffertjes.
― MaresNest, Monday, 7 January 2013 20:52 (5 months ago) Permalink
Thanks for that tip! :)I'll be going on saturday. Psyched!
― willem, Monday, 7 January 2013 21:02 (5 months ago) Permalink
― MaresNest, Friday, 11 January 2013 07:36 (5 months ago) Permalink
Which Satyagraha recording is better, Sony or CBS?
― Gregor Sansa (Leee), Wednesday, 8 May 2013 04:47 (1 month ago) Permalink
Aren't they the same one? I thought Sony owned CBS now. The only recording I can find is by the New York City Opera Orchestra under Christopher Keene.
― my father will guide me up the stairs to bed (anagram), Wednesday, 8 May 2013 08:12 (1 month ago) Permalink
I thought so too, they recorded/overdubbed the tricky parts of it in a studio way back in the early digital days.
― MaresNest, Wednesday, 8 May 2013 08:19 (1 month ago) Permalink
Jon Gibson solo records often slept on.
― Call the Cops, Wednesday, 8 May 2013 11:45 (1 month ago) Permalink
In Good Company is very fine: has a Terry Jennings comp. with LMY jamming away. Earlier LPs live up to their collector hype somehow.
― Call the Cops, Wednesday, 8 May 2013 11:47 (1 month ago) Permalink
Ah, assumed that choices were similar to Einstein.
― Gregor Sansa (Leee), Wednesday, 8 May 2013 15:05 (1 month ago) Permalink