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In August 1976, Eric Clapton made an inflammatory speech in support of Enoch Powell and ‘black’ repatriation, sparking an anti-racism campaign that would soon radicalise an entire generation. The following sixteen years saw politics and pop music come together as never before to challenge racism, gender inequality and social and class divisions. For the first time in UK hi In August 1976, Eric Clapton made an inflammatory speech in support of Enoch Powell and ‘black’ repatriation, sparking an anti-racism campaign that would soon radicalise an entire generation. The following sixteen years saw politics and pop music come together as never before to challenge racism, gender inequality and social and class divisions. For the first time in UK history, musicians became instigators of social change and their political persuasion as important as the songs they sang. Through the voices of campaigners, musicians, artists and politicians, Daniel Rachel charts this extraordinary and pivotal period between 1976 and 1992, following the rise and fall of three key movements of the time: Rock Against Racism, 2 Tone and Red Wedge, revealing how they both shaped, and were shaped by, the music of a generation. Consisting of new and exclusive in-depth conversations with over 100 contributors, including Pauline Black, Billy Bragg, Jerry Dammers, Phill Jupitus, Neil Kinnock, Linton Kwesi-Johnson, Tom Robinson, Clare Short, Tracey Thorn and many more, Walls Come Tumbling Down is a fascinating, polyphonic and authoritative account of those crucial sixteen years in Britain's history, from the acclaimed writer of Isle of Noises. Walls Come Tumbling Down also features more than 150 images – many rare or previously unpublished – from some of the greatest names in photography, including Adrian Boot, Chalkie Davies, Jill Furmanovsky, Syd Shelton, Pennie Smith, Steve Rapport and Virginia Turbett.


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In August 1976, Eric Clapton made an inflammatory speech in support of Enoch Powell and ‘black’ repatriation, sparking an anti-racism campaign that would soon radicalise an entire generation. The following sixteen years saw politics and pop music come together as never before to challenge racism, gender inequality and social and class divisions. For the first time in UK hi In August 1976, Eric Clapton made an inflammatory speech in support of Enoch Powell and ‘black’ repatriation, sparking an anti-racism campaign that would soon radicalise an entire generation. The following sixteen years saw politics and pop music come together as never before to challenge racism, gender inequality and social and class divisions. For the first time in UK history, musicians became instigators of social change and their political persuasion as important as the songs they sang. Through the voices of campaigners, musicians, artists and politicians, Daniel Rachel charts this extraordinary and pivotal period between 1976 and 1992, following the rise and fall of three key movements of the time: Rock Against Racism, 2 Tone and Red Wedge, revealing how they both shaped, and were shaped by, the music of a generation. Consisting of new and exclusive in-depth conversations with over 100 contributors, including Pauline Black, Billy Bragg, Jerry Dammers, Phill Jupitus, Neil Kinnock, Linton Kwesi-Johnson, Tom Robinson, Clare Short, Tracey Thorn and many more, Walls Come Tumbling Down is a fascinating, polyphonic and authoritative account of those crucial sixteen years in Britain's history, from the acclaimed writer of Isle of Noises. Walls Come Tumbling Down also features more than 150 images – many rare or previously unpublished – from some of the greatest names in photography, including Adrian Boot, Chalkie Davies, Jill Furmanovsky, Syd Shelton, Pennie Smith, Steve Rapport and Virginia Turbett.

30 review for Walls Come Tumbling Down: The Music and Politics of Rock Against Racism, 2 Tone and Red Wedge

  1. 5 out of 5

    BiblioPhil

    Exhaustively researched absorbing account of the alternative 80s. Some of my preconceptions confirmed, eg Tom Robinson's a good guy and The Clash were sloganisers, and some revised- felt better towards Paul Weller. However, I didn't buy the Red Wedge era records at the time and spent the 80s listening to The Fall; for all the good intentions, is there a taint of sanctimoniousness about the enterprise? Exhaustively researched absorbing account of the alternative 80s. Some of my preconceptions confirmed, eg Tom Robinson's a good guy and The Clash were sloganisers, and some revised- felt better towards Paul Weller. However, I didn't buy the Red Wedge era records at the time and spent the 80s listening to The Fall; for all the good intentions, is there a taint of sanctimoniousness about the enterprise?

  2. 4 out of 5

    Tim

    I've always been a sucker for protest songs. Greenpeace, Artists Against Apartheid, Amnesty International, etc if there's an album I probably have it and likely the DVD too. So when this oral history of Rock Against Racism, Red Wedge and Artists United Against Apartheid came out I figured it was written for me. The voices of some of my favorite artists, The Style Council, UB40, Paul Weller, Billy Bragg are the ones telling the stories of the protest efforts in the late 70's up through the early I've always been a sucker for protest songs. Greenpeace, Artists Against Apartheid, Amnesty International, etc if there's an album I probably have it and likely the DVD too. So when this oral history of Rock Against Racism, Red Wedge and Artists United Against Apartheid came out I figured it was written for me. The voices of some of my favorite artists, The Style Council, UB40, Paul Weller, Billy Bragg are the ones telling the stories of the protest efforts in the late 70's up through the early 90's. The only way to make this book better would be to release a companion album, I'm guessing it would need to be several volumes.

  3. 4 out of 5

    Viola

    https://www.theguardian.com/film/2020... Rubika Shah’s documentary explores Rock Against Racism, which united punk, ska, reggae and new wave against the National Front in the 1970s @PeterBradshaw1 Fri 18 Sep 2020 An excellent brief documentary about a heroic grassroots political movement whose importance reveals itself more clearly in retrospect with every year that passes. In late 1970s Britain, fascists and racists were gaining ground and members of the nervously silent political establishment we https://www.theguardian.com/film/2020... Rubika Shah’s documentary explores Rock Against Racism, which united punk, ska, reggae and new wave against the National Front in the 1970s @PeterBradshaw1 Fri 18 Sep 2020 An excellent brief documentary about a heroic grassroots political movement whose importance reveals itself more clearly in retrospect with every year that passes. In late 1970s Britain, fascists and racists were gaining ground and members of the nervously silent political establishment were showing themselves the heirs of Neville Chamberlain and Paul von Hindenburg. A photographer and underground theatre activist called Red Saunders realised something had to be done. He co-founded Rock Against Racism to mount demonstrations and concerts against the far-right National Front and it was the great achievement of RAR to help to bring together the forces of punk, ska, reggae and the new wave – whose fanbases might otherwise be indifferent to each other – to present a united front to counter and mock the ugly bigots. This film confronts some uncomfortable truths: it wasn’t simply a matter of harnessing the innate progressive liberalism of pop music against prejudice. Some of music’s biggest names (Clapton, Bowie, Rod Stewart) were making fatuous pro-Enoch Powell pronouncements – a bleary male-menopausal phase that can’t entirely be forgotten. And some punks were themselves displaying satirical shock-value Nazi emblems that we could have done without. Rock Against Racism channelled all that energy and rebellion, culminating in a glorious free concert in Victoria Park, east London – Britain’s Woodstock. This film reminds you of the visceral power of the Clash and, indeed, the Tom Robinson Band. (Rubika Shah’s film also makes a spirited case for 999 being one of the best and most neglected punk bands.) Perhaps the most interesting case was Jimmy Pursey’s band Sham 69, which had a skinhead following. Sham 69’s appearance on the RAR bill was vital in reaching out to the white working class, who were ripe for NF recruitment. With racism now being becoming normalised in the corridors of power all over the developed world, the spirit of RAR is still needed. +++++ https://www.theguardian.com/music/200... The year rock found the power to unite In 1978, race relations in Britain were in crisis. The National Front was gathering power and immigrants lived in fear of violence. But that year also saw the rise of a campaign aimed at halting the tide of hatred with music - a grassroots movement culminating in a march across London and an open-air concert in the East End. On the eve of a festival marking the 30th anniversary of that remarkable day, we remember the birth of Rock Against Racism Sarfraz Manzoor Sun 20 Apr 2008 On 30 April 1978, a crowd gathered in Victoria Park in London's East End. They had come from all over the country - 42 coaches from Glasgow, 15 from Sheffield, an entire trainload from Manchester - marching across London from Trafalgar Square to attend a special all-day concert headlined by Tom Robinson and the Clash. The day had been organised by 'Rock Against Racism', a grassroots political movement that used music to campaign against the looming electoral threat of the National Front. To mark the anniversary of the concert, as well as to highlight the continuing struggle against racism, another all-day music concert is being staged next week. Many of those who will gather in Victoria Park next Sunday to watch the Good, the Bad and the Queen, Hard-Fi, the View and the others on the bill were not even born 30 years ago. But for those who attended the original concert in 1978 it was a show that changed their lives and helped change Britain. Rock Against Racism radicalised a generation, it showed that music could do more than just entertain: it could make a difference. By demonstrating the power of music to effect change it inspired Live Aid and its supporters claim it helped destroy the National Front. It was the triumphant climax to a story that began two years earlier, following one hot August night in Birmingham. It was 5 August 1976 and Eric Clapton was drunk, angry and on stage at the Birmingham Odeon. 'Enoch was right,' he told the audience, 'I think we should send them all back.' Britain was, he complained, in danger of becoming 'a black colony' and a vote for controversial Tory politician Enoch Powell whom he described as a prophet was needed to 'keep Britain white'. Although the irony was possibly lost on Clapton, the Odeon in Birmingham is on New Street, minutes from the Midland Hotel where eight years earlier Powell had made his infamous 'Rivers of Blood' speech. But if the coincidence was curious, the hypocrisy was breathtaking: Clapton's career was based on appropriating black music, and he had recently had a hit with Bob Marley's 'I Shot the Sheriff'. In usual circumstances his comments would have been merely ill advised, but it was the social and political context which made Clapton's intervention so chilling. The National Front had won 40 per cent of the votes in the spring elections in Blackburn. One month earlier an Asian teenager, Gurdip Singh Chaggar, had been murdered by a gang of white youths in Southall. 'One down - a million to go' was the response to the killing from John Kingsley Read of the National Front. Sid Vicious and Siouxsie Sioux were sporting swastikas as fashion statements. David Bowie, who three months earlier had been photographed apparently giving a Nazi salute in Victoria Station, told Cameron Crowe in the September 1976 edition of Playboy '... yes I believe very strongly in fascism. The only way we can speed up the sort of liberalism that's hanging foul in the air... is a right-wing totally dictatorial tyranny...' In that same interview Bowie claimed that 'Adolf Hitler was one of the first rock stars.' This was Britain then in the sweltering summer of 1976, and in that context Clapton's comments were potentially incendiary. Red Saunders was a rock photographer and political activist who had been inspired and radicalised by the events of 1968. When he heard Clapton's comments he felt compelled to register his opposition. 'I was outraged,' Saunders tells me. 'I was a fan of the blues and had seen Clapton playing in the Sixties at the Marquee Club, I couldn't believe he could now be saying what he was.' Saunders decided to pen a letter of protest to the music press. In the letter, published in the NME, Melody Maker, Sounds and the Socialist Worker, Saunders and other signatories including his friend Roger Huddle wrote: 'Come on Eric... Own up. Half your music is black. You're rock music's biggest colonist... We want to organise a rank and file movement against the racist poison music... we urge support for Rock against Racism. P.S. Who shot the Sheriff, Eric? It sure as hell wasn't you!' The letter urged those readers wanting to join Rock Against Racism to write to them. Within a fortnight there were more than 600 replies. Three months later, in November 1976, Rock Against Racism held its first ever gig, featuring Carol Grimes, in the Princess Alice pub in east London. 'We had friends who were dockers who had become anti-racist after the Powell speech,' Roger Huddle recalls, 'and they provided the security for the gig because the NF were really active in the area.' When Paul Furness read the letter in the NME he was working as a medical records clerk at Leeds General Infirmary. 'Leeds was a dark, depressed city,' Furness told me, 'there was lots of youth unemployment, the Yorkshire Ripper was still loose - so when I read the letter in the NME it was like a breath of fresh air, it was what I had been waiting for.' Buoyed by the enthusiastic response, RAR (Rock Against Racism) began organising concerts which would feature multiracial line-ups sharing the bill. The concerts would end with reggae bands like Aswad and Steel Pulse playing with punk bands such as the Ruts, the Slits and Generation X. Misty in Roots, a Southall-based reggae group played more concerts than any other band for RAR. 'Music can help bring people together,' lead singer Poko tells me. 'When you saw a band like ours jamming with Tom Robinson or Elvis Costello it showed that if you love music we can all live together.' In Leeds Paul Furness established a RAR club where, every Friday night for 18 months, bands would perform in the common room of Leeds Polytechnic. He tells me of the night he went to see a Tom Robinson concert with three female friends. 'After the gig I went up to him to try and persuade him to play at the RAR club,' he says 'and as I was talking Tom saw a bunch of guys wearing badges indicating they were gay. He told me he had to talk to them. "Some of us don't wear badges," I told him. He looked at me and said, "Are you gay?" and I said "Yes."' It was the first time that Furness had publicly acknowledged his sexuality. 'What did your three female friends think about you coming out to Tom Robinson?' I ask. 'I just remember them laughing,' he says 'Mind you, all three of them are now lesbians.' By the following year RAR was publishing its own magazine, Temporary Hoarding. David Widgery's editorial in its first issue was the organisation's first manifesto. 'We want Rebel music, street music,' it declared, 'music that breaks down people's fear of one another. Crisis music. Now music. Music that knows who the real enemy is. Rock Against Racism. Love Music Hate Racism.' The magazine carried concert reviews as well as political advice for organisers. 'I remember that we would get a phone call,' says Saunders, 'and they would say I want to join my nearest RAR group, and we would say where do you live, and they would say Lowestoft, so we'd say: you are now the Lowestoft RAR group. And we would then send them a box of badges and instructions on how to make banners and that would be it.' The appeal of Rock Against Racism for music fans was that it had recruited the biggest names in the emerging punk culture. By 1977 RAR could claim the support of most of the innovative bands of the time - Stiff Little Fingers, Sham 69, the Tom Robinson Band, Steel Pulse, Misty in Roots and the Clash. The Sex Pistols, although they were booked to play Wigan for RAR, never managed to make it on stage, but John Lydon was unequivocal in his opposition to the National Front, telling one interviewer: 'I despise them. No one should have the right to tell anyone they can't live here because of the colour of their skin or their religion... How could anyone vote for something so ridiculously inhumane?' 'Rock against Racism made it cool to be anti-racist,' says Professor John Street, who has written on the relationship between music and politics. 'Because we had all these bands backing us, we could say that the Nazis are against our music,' says Huddle, 'they want us only to listen to marching bands and Strauss.' It was a message that resonated with Billy Bragg, then living in Barking and working as a bank messenger. 'I had seen the Clash on the first night of the White Riot tour,' he tells me, 'and I remember thinking that the fascists were against anybody who wanted to be different - once they had dealt with the immigrants then they would move onto the gays and then the punks; before I knew it the music I loved would be repatriated.' Following success in the spring 1977 elections - where they pushed the Liberals into fourth place in nearly a quarter of constituencies - the NF were threatening to achieve an electoral breakthrough. The Anti-Nazi League - which had formed in 1977 - were keen to hold a joint demonstration with RAR in the spring of 1978 to encourage supporters to vote against the National Front in May's council elections. The Greater London Council - then Conservative-led - gave permission to use Victoria Park, which had been the rallying ground of London's Chartists in 1848. The date was set for Sunday 30 April and the plan was for a carnival in Trafalgar Square followed by an open-air concert in Victoria Park. In Beating Time, David Widgery's history of RAR, he writes that they wanted to turn the day into 'the biggest piece of revolutionary street theatre London had ever seen, a 10th anniversary tribute to the Paris events of May 1968.' By holding the concert in the East End, RAR was declaring its intention of taking the battle into the heart of where the National Front was trying to build support. Three weeks before the carnival, two parcel bombs were delivered by the neo-Nazi organisation Column 88 to the headquarters of the Communist Party and the trade union Nupe. On 21 April, nine days before the carnival, 10-year-old Kennith Singh was stabbed to death yards from his east London home. The killers - who were never found - left eight stab wounds in the back of his head. Film-maker Gurinder Chadha was living above her parents' shop in Norbury, south London. 'Being in a shop we were very vulnerable because the next person who walked in could beat you up,' she recalls. 'I was really into RAR. When I heard about the carnival I was determined to go, but my parents said there was no way.' In the week of the carnival Johnny Mathis appeared on Top of the Pops and Brian and Michael had been at number one for three weeks with Matchstalk Men and Matchstalk Cats and Dogs. The only mention of the concert in London's Evening Standard was tucked away on page 25, below Celia Brayfield's 'On the Town' column, the last entry for the weekend's gig guide. In the early hours of Sunday morning Paul Furness left Leeds on his way to London. 'I have a vivid memory of seeing all these coaches with colourful RAR posters,' he tells me 'and the closer we came to London the more coaches there were.' In Victoria Park, sodden from the rain that had lashed down all week, Anti-Nazi League activists had spent the previous night sleeping on the stage to protect it from being attacked by the National Front. In Trafalgar Square 10,000 people had gathered, the crowd growing as it began to make its way to east London. 'Trafalgar Square was raked with colour,' David Widgery recorded. 'Yellow ANL roundels, punk pink Rock Against Racism stars, Day-Glo flags oscillating in approval to the speeches.' It's worth looking at archive footage of the day in Alan Miles's documentary Who Shot the Sheriff? where its possible to get at least a flavour of what that day must have been like: steel drummers on the back of flat bed trucks, huge papier-mache head of NF leaders and Hitler (made by Peter Fluck and Roger Law who later went on to create Spitting Image) and lots of lots of banners. 'Scottish young Communists' read one, 'Gay Switchboard' read another, while a third said in both defiance and hope, 'Queer jew boy socialist seeks a better world.'

  4. 5 out of 5

    Shanti

    When Music Changed EVERYTHING! An incredible book! If,like myself,you were a young teenager during the period that this book covers,you'll perhaps remember how grey the country seemed and how dispossessed and useless we felt.Punk added some much-needed excitement and colour and then RAR happened! Antifascism,political knowledge and anti-Thatcher set to some of the greatest music we'd heard! It's all in this book,told by the people who made it happen.It's not just about RAR,it's got the Red Wedge When Music Changed EVERYTHING! An incredible book! If,like myself,you were a young teenager during the period that this book covers,you'll perhaps remember how grey the country seemed and how dispossessed and useless we felt.Punk added some much-needed excitement and colour and then RAR happened! Antifascism,political knowledge and anti-Thatcher set to some of the greatest music we'd heard! It's all in this book,told by the people who made it happen.It's not just about RAR,it's got the Red Wedge story and all the things that came from that up until the wonderful Free Nelson Mandela movement that Jerry Dammers initiated and,let's not forget,did so much to get Nelson freed.This book is a joy.We could do with the energy and vision of everyone involved again.

  5. 4 out of 5

    Phil Brett

    The very first march I went on was from Trafalgar Square to Victoria Park for the ANL Carnival. As a school boy it also happened to be one of my first consciously political arguments when the five of us debated on the train from Hampshire suburbia to Waterloo whether we should go straight to the park so we would be sure to catch X Ray Spex or do the march. Me and one other mate did the march. Despite getting to an age where I forget where I put my coffee, I remember so much of that day. (It was The very first march I went on was from Trafalgar Square to Victoria Park for the ANL Carnival. As a school boy it also happened to be one of my first consciously political arguments when the five of us debated on the train from Hampshire suburbia to Waterloo whether we should go straight to the park so we would be sure to catch X Ray Spex or do the march. Me and one other mate did the march. Despite getting to an age where I forget where I put my coffee, I remember so much of that day. (It was also my first hang-over which we tried to cure by buying Jaffa cakes and cans of pale ale). That day was an important moment in politicising me. With that in mind and with so many musical heroes included in the book, there was much to enjoy. At times, there are fascinating and interesting discussions concerning the interaction of culture and politics. All the examples are ones which are worthy efforts to shape the political life of Britain. It is also, I have to say, exhaustively researched. However... However, one reason for giving initially giving it three stars (unable to give it 3 1/2 I settled for 4) is that perhaps it is too researched. It certainly is exhausting at times. I found it a little repetitive after the half way mark. Also, at about that point, I did think Chris Dean's (Redskins lead singer) quip that Billy Bragg was Neil Kinnock's publicity officer was being amply shown with both Bragg and Kinnock seeming to take over the book. Often to follow the Kinnock Labour Party line of attacking Militant and the SWP. Or anyone who questioned Kinnock's 'leadership'. Without reply. It almost becomes the Bragg(ing) Kinnock show. But that said, I would recommend those people interested in how music and politics can come together, to read it. Especially, the chapters about Rock Against Racism. Now I'm going to play my beloved Germ Free Adolescents album.

  6. 5 out of 5

    Richard McGeough

    I initially found the oral history format rather unsatisfying, but I’m glad I stuck with it. There’s a LOT of detail in this book, which essentially tells three stories - Rock Against Rascism in the late 70s, Two Tone in the very late 70s/early 80s, and Red Wedge in the mid 80s - from multiple viewpoints/recollections. It’s easy to get mired in the detail, but having finished it and taking a step back to consider the larger picture, I’ve learned a lot of social history directly from those who ma I initially found the oral history format rather unsatisfying, but I’m glad I stuck with it. There’s a LOT of detail in this book, which essentially tells three stories - Rock Against Rascism in the late 70s, Two Tone in the very late 70s/early 80s, and Red Wedge in the mid 80s - from multiple viewpoints/recollections. It’s easy to get mired in the detail, but having finished it and taking a step back to consider the larger picture, I’ve learned a lot of social history directly from those who made that social history happen. A very welcome addition to books exploring social history through popular music.

  7. 4 out of 5

    Clare Russell

    I enjoyed this, I love social and cultural history and this gave me insight into a period which I’m just a bit young to remember. The research was meticulous and the number of oral histories and views brought it to life. However I found the style a bit jarring and hard to follow, being a series of quotes without contextual background or narrative. I understand this was the chosen style and allows the interviewees a voice - but it was challenging to follow

  8. 4 out of 5

    Rebecca

    Cracking read on fascinating time in culture and politics

  9. 5 out of 5

    Nigel Bachmann

    Brilliantly put together

  10. 5 out of 5

    Kevin Pace

    This is the deepest dive into music and activism I’ve read. The book is a long read but worth the time.

  11. 5 out of 5

    Sharon

    Fascinating and very revealing. I was 17 in 1979 and lucky enough to see The Specials, Madness, The Selecter, The Beat and UB40 live. When I listen to their music today, the feeling that I was hearing something unique and amazing is as strong as it was back then. So, reading about the Two Tone years from those involved made me feel very nostalgic. I'm glad I didn't know back then about all the in-fighting that was going on, though. The contributors to this book don't hold back! It was interesting Fascinating and very revealing. I was 17 in 1979 and lucky enough to see The Specials, Madness, The Selecter, The Beat and UB40 live. When I listen to their music today, the feeling that I was hearing something unique and amazing is as strong as it was back then. So, reading about the Two Tone years from those involved made me feel very nostalgic. I'm glad I didn't know back then about all the in-fighting that was going on, though. The contributors to this book don't hold back! It was interesting reading about Red Wedge and I can understand why I was turned off by it at the time. Good intentions but very frustrating trying to bring about change in such a stuffy, old-fashioned political environment. Having heard negative comments about Paul Weller's contribution, I was pleased that he came out of this book so well. A brilliant book - and beautifully edited which is pretty rare these days!

  12. 4 out of 5

    Mark

  13. 4 out of 5

    Stuart Clemo

  14. 4 out of 5

    IAN DONALDSON

  15. 4 out of 5

    Simon Blackburn

  16. 5 out of 5

    Luci

  17. 5 out of 5

    Ben Roff

  18. 5 out of 5

    Lee Wellbrook

  19. 4 out of 5

    Lauren Noto

  20. 4 out of 5

    Jo

    We were there but mostly for the music. Sure, we hated racism and racists because it was so pointless and stupid but I had no clue what was going on in the background so this book was a great eye opener for me. I'm proud to have supported RAR and have had that experience of marching and 'doing something'. It laid the foundation for a life of activism and awareness and I'm proud to have been a part of it. We were there but mostly for the music. Sure, we hated racism and racists because it was so pointless and stupid but I had no clue what was going on in the background so this book was a great eye opener for me. I'm proud to have supported RAR and have had that experience of marching and 'doing something'. It laid the foundation for a life of activism and awareness and I'm proud to have been a part of it.

  21. 5 out of 5

    Lynx

  22. 5 out of 5

    Joanne Morton

  23. 4 out of 5

    Ian Abrahams

  24. 4 out of 5

    Nick Coombes

  25. 4 out of 5

    MR ANTHONY S PARROTT

  26. 5 out of 5

    Michael

  27. 5 out of 5

    Tyrone Milton

  28. 4 out of 5

    Tamelyn Feinstein

  29. 5 out of 5

    Teri

  30. 5 out of 5

    Thomas Smith

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