William S. Burroughs – Shotgun Painting (Film)

William S. Burroughs – ‘Shotgun Painting‘

film via ‘Ubuweb‘

This is related to Pollack’s drip canvases, although this is a rather more basically random process, there’s no possibility of predicting what patterns you’re going to get.

During his later years in Kansas, Burroughs developed a painting technique whereby he created abstract compositions by placing spray paint cans in front of, and some distance from, blank canvasses, and then shooting at the paint cans with a shot gun. These splattered canvasses were shown in at least one New York City gallery in the early 1990s.

In an interview with Gregory Ego, entitled “William Burroughs & the Flicker Machine,” as published in David Kerekes’ 2003 “Headpress (the journal of sex religion death),” William explains how he made ths shotgun art painting, and others.

Here’s an excerpt from the interview:

EGO: Are you still doing your “shotgun art?”

BURROUGHS: Oh, all kinds. Brushwork. Shotgun. Paint. Knife.

EGO: What exact process do you use for your visual art?

BURROUGHS: There is no exact process. If you want to do shotgun art, you take a piece of plywood, put a can of spracy paint in front of it, and shoot it with a shotgun or high powered rifle. The paint’s under high pressure so it explodes! Throws the can 300 feed. The paint sprays in exploding color across your surface. You can have as many colors as you want. Turn it around, do it sideways, and have one color coming in from this side and this side. Of course, they hit. Mix in all kinds of unpredictable patterns. This is related to Pollack’s drip canvases, although this is a rather more basically random process, there’s no possibility of predicting what patterns you’re going to get.

I’ve had some I’ve worked over for months. Get the original after the explosions and work it over with brushes and spray paints and silhouettes until I’m satisfied. So, there isn’t any set procedure. Sometimes you get it right there and you don’t touch it. The most important thing in painting is to know when to stop, when everything is finished. Doesn’t mean anything in writing.

EGO: It does rely to a high degree on chance — the shotgun art?

BURROUGHS: It introduces a random factor, certainly.

EGO: Just like the cut-up method.

BURROUGHS: Yes. But you don’t have to use it all, you can use that as background. There’re a lot of other randomizing procedures like “marbling.” Take water and spray your paint on top of the water and then put your paper or whatever in the water and pull it out and it sticks in all sorts of random patterns. And then there’s the old inkblot. [Ruffles imaginary paper] Like that. Sometimes they’re good only as background or sometimes you get a picture that you’re satisfied with at once. There is no certain procedure.

EGO: Allen Ginsberg proposed to me that the cut-up technique you developed with Brion Gysin is a sort of counter-brainwashing technique. Do you agree with that?

BURROUGHS: It has that aspect in that you’re breaking down the word, you’re creating new words. Right as soon as you start cutting, you’re getting new words, new combinations of words. Yes, it has that aspect, sure.

But remember that all this brainwashing and propaganda, etc., is not by any means expected to reach any intelligent corners. It isn’t expected to convince anybody that has any sense. If they can get ten percent, that’s good. That’s the aim of propaganda; to get ten percent. They’re not trying to convince people that have a grain of sense.

from ‘Ubuweb‘

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Nirvana -Studio Albums & Singles plus BOX SET

If the last vast amount of Nirvana music wasn’t enough, here’s more!

Here we have again all their Studio Albums & Singles plus the great With The Lights Out BOX SET.

ALBUMS:

Bleach
http://www.megaupload.com/?d=3N29SDF5
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Nevermind
http://www.megaupload.com/?d=MMQUTSIP
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Hormoaning
http://www.megaupload.com/?d=Z3GFR3WR
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Incesticide
http://www.megaupload.com/?d=C0ZSVLHE
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

In Utero
http://www.megaupload.com/?d=JGTJ3IOA
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Unplugged In New York
http://www.megaupload.com/?d=0JW90HKS
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

From The Muddy Banks Of The Wishkah
http://www.megaupload.com/?d=5EM8IMO0
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Nirvana
http://www.megaupload.com/?d=4YONBVCB
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Albums Front & Back Covers
http://www.megaupload.com/?d=Z5NWEU3J
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

With The Lights Out (3CD + DVD Box-Set)

CD1:
http://maynard.ifolder.ru/4769610
http://maynard.ifolder.ru/4769611
or
http://rapidshare.com/files/79……part1.rar
http://rapidshare.com/files/79……part2.rar

CD2:
http://maynard.ifolder.ru/4769612
http://maynard.ifolder.ru/4769613
or
http://rapidshare.com/files/79……part1.rar
http://rapidshare.com/files/79……part2.rar

CD3:
http://maynard.ifolder.ru/4769615
or
http://rapidshare.com/files/79…..t_CD_3.rar

CD4:
http://maynard.ifolder.ru/f176892
or
http://rapidshare.com/users/N9SMJ3

Pass for BoxSet : seattle-grunge.nnm.ru

CD SINGLES:

Come As You Are
http://www.megaupload.com/?d=2NDZYDZF
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Heart-Shaped Box
http://www.megaupload.com/?d=73ZPGQ36
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

In Bloom
http://www.megaupload.com/?d=33A1DCWR
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Lithium
http://www.megaupload.com/?d=MN8Y1DHQ
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

All Apologies
http://www.megaupload.com/?d=AQJ9M2B0
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Smells Like Teen Spirit
http://www.megaupload.com/?d=XAVV54GE
Mirror:
http://rapidshare.com/files/13…..pAcIo_.rar

Singles Covers
http://www.megaupload.com/?d=BN503DXH

all thanks to iraklis and original posters

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Nirvana – Complete Discography and a shitload of bootlegs etc

More Nirvana music than you could ever ask for, and then some!!

From the excellent indieducky.com

Although, without doubt, their music has been greatly over-rated, and a lot of clear “influences” can be sen in their music (Pixies could have sued them in court!!), they were a real breath of fresh air for the stale, bloated music-biz.

The teen spirit that is always a component of the ether can hover for years without coalescing into anything more than a haze — that vague, uneasy, something-in-the-air feeling rising like swamp gas as a byproduct of living young and unsteady in a hostile world that hasn’t yet made its intentions clear. But it can also go off with a spectacular atmospheric bang. The catalysts that ignite such cultural explosions rarely survive the experience, and the havoc they instigate is invariably all out of proportion to their efforts. But the changes so wrought can be vast, leveling the land and ushering in an era to which old rules no longer apply.

That said, Bleach is not quite the sound of music’s past being sent to its belated grave. Despite traces of catchy melodicism (About a Girl), a versatile screamer and a superior grip on dynamics to temper the thick, molten aggression (learned from dark ’70s metallurgists via the Melvins), Nirvana’s debut is a punk album of its time, class and place. This late-’80s aftershock of indie rock’s dare-to-be-ugly thuggery and meaninglessness was grounded in a hope-free slacker/lumpenproletariat lifestyle, and forged too far from any influential music capitals to bother with pretenses of cool or the need to be self-conscious about sounding like Golden Earring (something the group does on Love Buzz before unleashing a furious feedback raveup). Faced with the option of hate-you/hate-me lyrics, Aberdeen-born singer/guitarist Kurdt Kobain (as he chose to misspell his name on the cover) opted for the latter, declaring himself a Negative Creep and seeing his worthlessness reflected in someone else’s eyes (Scoff).

The trio that made Nevermind two years later had a lot more to show and say for itself. Cobain had developed prodigiously as a songwriter, and had located the lull’em/slaughter’em power switch, which became Nirvana’s most influential signature. His haphazard lyrics — often disconnected fragments strung together at random, as much a social statement in structure as content — were like an alphabet slate, ideal for disaffected youth to adopt, interpret and take as personally as they needed to. Nevermind has it all: anger, humor, tunes, power, subtlety, venom, pity, slickness, slackness, stupidity, screams, whispers, insight, allure, repulsion, clarity, confusion — and sheer genius.

Blasting away in huge power-chord slabs sheepdogged by Novoselic’s potent bass figures and supercharged by Grohl’s rhythmic might, the songs don’t reinvent the wheel, but they do send it careening down a modern highway without a care in the world. Rejecting the most holy of values in Stay Away, Cobain sings “I don’t know why I’d rather be dead than cool,” and that’s a liberating breakthrough in itself. An intricate and convoluted mesh of ideas and influences wrapped around a brick going through a window, Nevermind is the subconscious of a troubled mind given a monumental and compelling airing. The dozen songs (thirteen, counting the seven-minute unlisted vamp known as Endless, Nameless) accumulate into a barreling boulder. But they also exist in individual vacuum-packed universes, and many don’t bear up to close scrutiny. For all its perception and celebration as an anthem, Smells Like Teen Spirit — a four-chord sizzlefest loaded with quizzical tributes to alienation and anomie — is ill suited to the office. It has a less grabby chorus than In Bloom (an arrogant and condescending attack on the kind of fan who “likes all our pretty songs…but he don’t know what it means”) or even Drain You, which reconfigures the “Teen Spirit” chord structure to much better effect. Between the general Scratch Acid screech, the Killing Joke menace of Come as You Are and the slithery Melvins bottom distortion of Breed, Nirvana might be seen here as the bristling sum of its record collection, but the raw power and the originality of Polly, the gorgeous, cello-haunted Something in the Way, the drum-rolling Stay Away and the swinging, lightfooted Lounge Act truly come from within. Ultimately, though, it’s not really the track-by-track merits of Nevermind that matter.

By whatever confluence of circumstances, strategies, talent and luck aligned in the fall of 1991, Nevermind — defying all expectations — became a multi-million-selling phenomenon, indisputable proof that kids would buy music that moved them even if it came with all the fuck-the-mainstream characteristics that always defined punk out of broad acceptance. Like the ‘77 new wave explosion without the inevitable wipeout, Nevermind turned the ’90s — for better and much worse — into the “alternative” decade, a time when no musical exponent was presumed too outlandish for commercial consideration. That Nirvana — in fact, Nevermind — was a one-off explains why so much of what floated in with the subsequent backwash is so bad; that’s what floodgates are for in the first place. Still, as a sweeping colonic, the album became — alongside That’s All Right, Maybellene, The Times They Are a-Changin’, I Want to Hold Your Hand and Anarchy in the UK — one of the most epochal pieces of plastic in rock’n’roll history.

Hormoaning, issued in Japan and Australia to promote a Pacific Rim tour in early ‘92, consists of six tracks, none of which had been on LP at the time. The covers of songs by Devo (Turnaround), the Wipers (D-7) and the Vaselines (Molly’s Lips and Son of a Gun) come from a 1990 John Peel session. The band’s own Aneurysm and Even in His Youth were lifted from the Smells Like Teen Spirit CD single. Most of Hormoaning wound up on Incesticide, the rarities compilation released in lieu of a Nevermind follow-up in ‘92. The fifteen-track set contains a B-side from the Blew EP (Stain) and both studio tracks from the Sliver EP (Sliver” and “Dive); there’s a different version of Aneurysm, a fast, electric (New Wave) Polly and Been a Son from a second BBC radio session, previous compilation tracks (Beeswax and Mexican Seafood) and vault excavations.

1993 brought In Utero and captures the group in a downward spiral of confusion and instability. (A couplet from Territorial Pissings — “Just because you’re paranoid/Don’t mean they’re not after you” — aptly describes the self-absolving principle driving the process.) Unlike Nevermind’s relative unselfconsciousness, a jittery sense of being caught by jailbreak floodlights afflicts nearly every track, starting with the overt acknowledgment of Teen Spirit in Rape Me. The content is rough and damaging: Serve the Servants (”Teenage angst has paid off well/Now I’m bored and old”), Dumb (”I think I’m dumb/Or maybe just happy”), Rape Me (”Hate me/Do it and do it again”), Milk It (”I am my own parasite”) and All Apologies (”Everything’s my fault/I’ll take all the blame”) all open ragged and bloody wounds of self-loathing. Musically, the record is likable in fits and starts. Serve the Servants, Heart-Shaped Box, the horrific Rape Me, the stunning All Apologies and the feedback-splayed Frances Farmer Will Have Her Revenge on Seattle muster reliably appealing structures. But driller-killers like Scentless Apprentice, Very Ape, Milk It, Tourette’s and Radio Friendly Unit Shifter are explosions of malignant sound rather than vision. The album ends in a round refrain of “All in all is all we are” — a suitably enigmatic (or meaningless, take your pick) coda to what would prove to be the band’s studio finale.

Two months after the release of In Utero, Nirvana taped an episode of MTV Unplugged. Having frightened off some of its fans with holy-terror noise, the group must have relished the thought of rattling punk traditionalists — at least those who had already forgotten the sound of Nevermind’s Something in the Way — with its antithesis. (Paying back the media agency of their initial stardom probably wasn’t a bad hedge, either, especially after In Utero’s predictable sales shortfall.) A year later, by which time it was obliged to serve as Nirvana’s epitaph, the show’s soundtrack was released as MTV Unplugged in New York. Taking advantage of the opportunity, the trio — augmented by guitarist Pat Smear (the ex-Germ punk veteran who had joined Nirvana as a touring member in 1993), cellist Lori Goldston and two-thirds of the Meat Puppets — used it to publicly explore other facets of its creative desires. Cobain’s singing is frequently stretched to the breaking point, which only underscores the unguarded atmosphere of this daring triumph. A gentle infusion of air, delicacy and baronial grace illuminates appropriate selections from all three preceding albums (About a Girl and All Apologies yes, Teen Spirit no). Meanwhile, covers of songs by David Bowie (The Man Who Sold the World), the Meat Puppets (a trilogy of evidently unsingable tunes from the Arizona band’s II album), Vaselines (Jesus Doesn’t Want Me for a Sunbeam) and Leadbelly (Where Did You Sleep Last Night, a folk standard also known as “In the Pines”) extend the band’s stylistic reach well beyond the constipated brutality of punk. Nirvana had bootstrapped itself to a new plain.

Kurt Cobain died from a self-inflicted shotgun blast at home in Seattle in April 1994. In 1996, the yang to Unplugged’s yin, From the Muddy Banks of the Wishkah was released. The album is a raging full-on live compilation of tracks recorded on various stages in American and Europe between 1989 and 1994 and assembled by Grohl and Novoselic. The versions of Polly and Breed predate Grohl and so feature drummer Chad Channing; among the surprise songs are Spank Thru, a forgotten Sub Pop compilation item from 1988, and Sliver.

Prior to Nirvana, alternative music was consigned to specialty sections of record stores, and major labels considered it to be, at the very most, a tax write-off. After the band’s second album, 1991’s Nevermind, nothing was ever quite the same, for better and for worse. Nirvana popularized punk, post-punk, and indie rock, unintentionally bringing it into the American mainstream like no other band to date. While their sound didn’t always reflect it, Nirvana’s aesthetics were strictly indie rock. They covered Vaselines songs, they revived new wave cuts by Devo, and Cobain relentlessly pushed his favorite bands — whether it was the art punk of the Raincoats or the country-fried hardcore of the Meat Puppets — as if his favorite records were always more important than his own music. While Nirvana’s ideology was indie rock and their melodies were pop, the sonic rush of their records and live shows merged the post-industrial white noise with heavy metal grind. And that’s what made the group’s legacy stands as one of the most influential in rock & roll history.

Studio Releases:

• Nirvana – Bleach: RS | MU
• Nirvana – Nevermind: RS | MU
• Nirvana – Incesticide: RS | MU
• Nirvana – In Utero: RS | MU
• Nirvana – Unplugged In New York: RS | MU
• Nirvana – From The Muddy Banks Of The Wishkah: RS | MU
• Nirvana – Nirvana: RS | MU
• Nirvana – Silver: The Best of the Box: RS

Singles & EPs:

• Nirvana – About A Girl CDS: RS
• Nirvana – All Apologies CDS: RS | MU
• Nirvana – Come As You Are CDS: RS | MU
• Nirvana – Heart-Shaped Box CDS: RS | MU
• Nirvana – Hormoaning EP: RS | MU
• Nirvana – In Bloom CDS: RS | MU
• Nirvana – Lithium CDS: RS | MU
• Nirvana – Love Buzz 7″: MF
• Nirvana – Pennyroyal Tea CDS: RS
• Nirvana – Sliver CDS: MF
• Nirvana – Smells Like Teen Spirit CDS: RS | MU
• Kurt Cobain & William s. Burroughs – The Priest They Called Him CDS: MF

Box Sets (Official & Bootlegs):

• Nirvana – Heart Shaped Box Set: RS1 | RS2 | RS3 | RS4 | RS5 | RS6 | RS7 | RS8 | RS9 | RS10 | RS11 | RS12
• Nirvana – Into The Black Box Set: MU1 | MU2 | MU3 | MU4 | MU5 | MU6
• Nirvana – Outcesticide Box Set: RS1 | RS2 | RS3 | RS4 | RS5 | RS6 | RS7 | RS8 | RS9 | RS10
• Nirvana – Singles Box Set: RS1 | RS2
• Nirvana – With The Lights Out Box Set: MU1 | MU2 | MU3

Bootlegs:

• Nirvana – All Acoustically: RS1 | RS2
• Nirvana – Asshole: RS
• Nirvana – Banned For Life: RS1 | RS2
• Nirvana – Before and After the Storm: RS1 | RS2
• Nirvana – Bleach Out! Break Out!: RS
• Nirvana – Blind Pig Beginnings: RS
• Nirvana – Brandles Vous: RS
• Nirvana – Christmas In Seattle: RS
• Nirvana – Come As You Are: RS
• Nirvana – Cracker: RS
• Nirvana – Digital Nirvana: RS
• Nirvana – Dressed For Success: RS
• Nirvana – From the Muddy Banks of the Murray: RS
• Nirvana – The Eternal Legacy: RS
• Nirvana – Fecal Matter Demo: RS
• Nirvana – First American Concert: RS
• Nirvana – First Concert In History: RS
• Nirvana – The First Night: RS
• Nirvana – Heart Shaped Rome (a.k.a XXII II MCMXCIV): RS
• Nirvana – John Peel Sessions: RS
• Nirvana – Last Concert In Japan: RS
• Nirvana – The Last New Years Eve: RS1 | RS2
• Nirvana – Last Valentine: RS
• Nirvana – The Masquerade: RS
• Nirvana – MTV Video Music Awards ‘92: RS
• Nirvana – OK Hotel!: RS
• Nirvana – On a Plain: RS
• Nirvana – Pachyderm Studios Session: RS
• Nirvana – Playing at the Moon: RS
• Nirvana – Plugged: MU
• Nirvana – Rape Me Again: RS
• Nirvana – Reading Festival: RS
• Nirvana (With Hole) – Rock Against Rape: RS
• Nirvana – Roma: RS
• Nirvana – San Fransisco 1993: RS1 | RS2
• Nirvana – Seattle 1988: RS
• Nirvana – Stiff Drinks: RS
• Nirvana – Suicide Solution: MU
• Nirvana – Tonight With Jonathan Ross: RS
• Nirvana – Trick Or Treat: RS
• Nirvana – Under the Milky Way: RS

All thanks to indieducky.com

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William Burroughs "Junkie"

“Junk is the ideal product . . . the ultimate merchandise. No sales talk necessary. The client will crawl through a sewer and beg to buy. . . . The junk merchant does not sell his product to the consumer, he sells the consumer to his product. He does not improve and simplify his merchandise. He degrades and simplifies the client. He pays his staff in junk.”

-William S. Burroughs

Round here, we fucking love William S. Burroughs!

We really got into Burroughs back in the day immediately after our crazy Kerouac phase, during which time we devoured (in both senses of the term! … I was peckish one day after smoking too much weed and ate some of On The Road with jam and cheese!) all of Jack’s works.

Burroughs work had the power of a roundhouse kick to the balls! The realness, the style, the madness, the intelligence. Billy was the real deal! We never went back to Jack!

“I have never regretted my experience with drugs.”

-William S. Burroughs

Junkie (also titled with the alternative spelling, Junky) is a semi-autobiographical novel by William S. Burroughs, first published in 1953.

It was Burroughs’ first published novel and has come to be considered a seminal text on the lifestyle of heroin addicts in the early 1950s. Burroughs’ working title for the text was Junk.

The book was initially published by Ace Books.

Ace Books primarily catered to New York City subway riders, and competed in the same market as comic book, true crime and detective fiction publishers. Ace published no hardcover books, only cheap paperbacks, which sold for very little; Burroughs earned less than a cent royalty on each purchase.

Most libraries at the time did not buy Ace books, considering them trivial and without literary merit, and Ace paperbacks were never reviewed by literary critics. At the time of its publication, the novel was in a two-book (“dos-à-dos”) omnibus edition (known as an “Ace Double”) alongside a previously published 1941 novel called Narcotic Agent by Maurice Helbrant. Burroughs chose to use the pseudonym “William Lee“, Lee being his mother’s maiden name, for the writing credit.

The subtitle of the work was Confessions of an Unredeemed Drug Addict. This edition is a highly desired collectible and even below-average-condition copies have been known to cost hundreds of dollars. The United States Library of Congress purchased a copy in 1992 for its Rare Book/Special Collections Reading Room.

Numerous reprints of the book appeared in the 1960s and 1970s once Burroughs achieved notability with Naked Lunch. Generally, American editions used the original Junkie spelling for the title, while UK editions usually changed this to Junky.

In 1977 a complete edition of the original text was finally published by Penguin Books with an introduction by Allen Ginsberg; sections of the manuscript referring to Burroughs’s homosexuality which had been edited out of earlier editions were included for the first time.

In 2003, to mark the work’s 50th anniversary, Penguin reissued the book as Junky: The Definitive Text of “Junk.” It included a new introduction by Oliver Harris, the British literary scholar, who integrated new material never before published; Harris had found edits of deleted material in the literary archives of Allen Ginsberg.

William S. Burroughs reads “103rd Street” from “Junkie.”

A typically wonderful and idiosyncratic reading by Burroughs of an extract from this great work.

Thanks Netvandal1

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William S. Burroughs – A Grey Lodge Occult Review Special

William S. Burroughs – A Grey Lodge Occult Review Special

“The purpose of my writing is to expose and arrest Nova Criminals: In Naked Lunch, Soft Machine and Nova Express I show who they are and what they are doing and what they will do if they are not arrested. Minutes to go. Souls rotten from their orgasm drugs, flesh shuddering from their nova ovens, prisoners of the earth to come out, With your help we can occupy The Reality Studio and retake their universe of Fear Death and Monopoly”

(Signed) Inspector J. LEE, Nova Police

A wonderful Burroughs resource here with loads of wonderful audio and video clips of the great man!

One of our real heroes, William Seward Burroughs II (February 5, 1914— August 2, 1997; ), more commonly known as William S. Burroughs was an American novelist, essayist, social critic, painter and spoken word performer.

Much of Burroughs’ work is semi-autobiographical, drawn from his experiences as an opiate addict, a condition that marked the last fifty years of his life.

Willy was an avant-garde author who affected popular culture as well as literature.

In 1984, he was elected to the American Academy and Institute of Arts and Letters.

http://www.greylodge.org/occul…..sounds.htm

http://stupidd.blogspot.com/

Mail us: stupidand@gmail.com

William S. Burroughs – Collection of Audio/Music Works

William S. Burroughs – A Collection of Audio/Music Works

There is simply no room left for ‘freedom from the tyranny of government’ since city dwellers depend on it for food, power, water, transportation, protection, and welfare. Your right to live where you want, with companions of your choosing, under laws to which you agree, died in the eighteenth century with Captain Mission. Only a miracle or a disaster could restore it.

-Cities of the Red Night (1981)

Some wonderful Burroughs audio works and collaborations here, as posted by trainwreck!

William S. Burroughs – Call Me Burroughs

http://sharebee.com/c8ddf610

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Gus Van Sant & William Burroughs – The Elvis Of Letters

http://sharebee.com/a5aa37eb

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William S. Burroughs – Break Through in Grey Room

http://sharebee.com/cbd1fe5c

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William S. Burroughs – Vaudeville Voices

http://sharebee.com/f384cd51
http://sharebee.com/eb7ef89c

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William S. Burroughs – Dead City Radio

http://sharebee.com/a10e632e
http://sharebee.com/6ce711ca

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William S. Burroughs – Spare Ass Annie & Other Tales

http://sharebee.com/26546f24
http://sharebee.com/c79342fc

big thanks trainwreck!

http://stupidd.blogspot.com/

Mail us: stupidand@gmail.com