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The Music Therapy Profession: Inspiring Health, Wellness, and Joy

The Music Therapy Profession: Inspiring Health, Wellness & Joy is an informative book that describes the many professional aspects the musical therapy profession has. This book is great for current musicians who want to enter the music therapy profession, but it’s also broken down simply enough that even students or novice musicians can easily grasp the ideas within this book. This is a great starting point for anyone interested in a career in musical therapy as it deftly answers some fundamental questions about this valuable field.

Christine Korb’s enlightening book consists mostly of essays from students and graduates in the field of musical therapy. This gives readers an informed view of the profession and how it can impact the lives of practitioners as well as patients. While the novel does delve into the motivational and emotional aspects of the profession it focuses on relaying the technical details one needs in order to participate in the practice effectively. I’m not a musician so I certainly appreciated how easy this book was to pickup and dive into. The language is simple which makes it easy to digest and makes things seem more manageable. Anyone looking to break into the musical therapy field, or professionals looking to take their knowledge to the next level, will find Christine Korb’s book both illuminating and fascinating.

For me The Music Therapy Profession: Inspiring Health, Wellness & Joy was a rewarding experience. Christine Korb gives readers the tools they will need to participate in the musical therapy field, but does not show you (to quote direct) “how to use music to heal”. This is not a book about how to use music to heal, this is a book about the profession that uses music to heal, how one can step into it, and how one can educate themselves further. With this mission, I think, Christine Korb succeeds.

Pages: 134 | ASIN: B0793SKBYM

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WHERE HAVE ALL THE ROCK STARS GONE?

Ray Shasho Author Interview

Ray Shasho Author Interview

The Rock Star Chronicles uses your interviews with rock legends to humanize them and preserve their contribution to the genre. Why was this an important book for you to write?

I was fortunate to have lived through two of the greatest decades for music. It was a time when radio played incredible music and rock concerts were a bargain and a happening thing to do. Rock groups featured incredibly talented musicians with guitarists and lead singers in the spotlight. There has never been a generation to match that period of music expertise and staying power. I wanted the reader to understand and realize how great a talent they really were and still are. Especially to wannabe musicians and the young. Many of the artists I have interviewed have passed on and others nearing retirement. It was important to me to tell their stories at a vulnerable period in their lives and be recognized as the greatest music legends the world will ever know.

What is one interview in this book that stands out as the most exciting one you had?

Ian Anderson of Jethro Tull has always been a rock hero to me. He has written and performed complex music and always had an incredible stage presence. Going to a Tull concert back in the day was a huge event. I will admit the first time I interviewed Ian Anderson I was quite nervous. I remember when the phone rang for the interview, I thought, that’s Jethro Tull calling me! During the second interview I got him to chat about politics, religion, ancestry, and world events. I tried not to ask the same mundane music questions that have been asked of him many hundreds of times. He was intellectual and I was on my best game that day.

What do you think is one thing modern musicians have to learn from the icons of the rock and roll genre?

Bands must perform live. All the legends started performing at school dances, bars, clubs, and anywhere they could be seen by an audience big or small. If they are talented eventually someone will give them a break, but it will not be easy. Having a You Tube video with a lot of page views is a start, but it will never have the impact of playing in front of live audiences.

What do you find is a common misconception people have about music?

People that pay big money to watch an artist lip sync on stage and still call it a great show. Music lovers who go see a legendary rock band and there are no original members in the band. Ringo Starr would never bill himself as The Beatles, instead he created an All-Starr band. All generations need to do a little homework before purchasing expensive tickets to concerts nowadays. My book will certainly help identify who the real legends are.

Music is a universal language that we all share and cherish.

Author Links: Amazon | GoodReads | BBSRadio

The Rock Star Chronicles: Truths, Confessions and Wisdom from the music legends that set us free. by [Ray Shasho]WHERE HAVE ALL THE ROCK STARS GONE?

Rock and Roll, the Blues, and Jazz are America’s contribution to the arts, so why are we not fighting to preserve our own musical legacy and culture?

Rooted from the early blues pioneers, the longevity of rock and roll is second to none. But strangely enough those legendary rock heroes that we were so accustomed to hearing every time we turned on our radios had mysteriously vanished from the mainstream. The music of the 1960’s, 70’s and even the 80’s was an important juncture in all of our lives. So many of us timeline life’s precious moments with the music we remember, when the music was so great, when the music mattered. The baby-boomer generation is financially imperative yet many of its entertainment standards have been renounced.

One day, the plug was pulled on those legendary music artists. Hackers began stealing music across the internet. Online music stores popularized cheap digital singles and neglected to promote full-length albums. Radio stations changed formats to accommodate talk show radio jocks while rappers and electronic dance music menaced the airwaves. Notorious record companies began folding in droves. Record companies and radio stations that were once owned and operated by visionaries were now run by accountants and lawyers and the music world began promoting untalented wannabes. The economy plummeted, and radio stations became more concerned about how many consecutive commercials they could run instead of providing quality radio programming and entertainment value. Radio stations became corporate machines leaving no room for innovation. Throughout the 2000s, recording studios and live performances began using an audio processor called “Auto-Tune” to disguise off-key inaccuracies in vocal tracks. The device allowed virtually anyone without music skills to become a singer and new waves of mainstream radio stars were instantly fabricated. The business of music became stronger and more important than the art of music.

For more than a decade, I’ve been on a rock and roll pilgrimage to help promote and save the greatest music the world has ever known. Before the internet and Napster, virtuoso musicians traditionally introduced their music by way of mainstream radio stations while anxious music enthusiasts hurried to their favorite record stores and purchased a copy of the artist’s latest release. Talk radio wasn’t popular because there was way too much great music to play over the airwaves. Advertisers didn’t rule the airwaves, the music did. Rock legends toured the world to promote their latest albums and prices of concert tickets were extremely affordable. Proficient musicians, singers, and songwriters are what made the music so great.

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The Rock Star Chronicles

The Rock Star Chronicles: Truths, Confessions and Wisdom from the music legends that set us free. by [Ray Shasho]

The Rock Star Chronicles, by Ray Shasho, is a splendid book written by a music enthusiast who has poured their heart and soul into it. It’s a story of a boy who loved rock music, and his obsessive passion of it earned himself the name Rock Raymond. He went to school but instead was schooled in all matters of music while his peers were buried chin-deep in coursework. He then became a radio DJ and has now compiled a book on all interviews he held with Rock gods who raided the airwaves back in the 70s and 80s. It’s a compilation of interviews with outstanding vocalists, legendary guitarists and crazy drummers in the rock music scene. Each interview gives a reader an in-depth view into their personal lives and the philosophies that guide their lives which all serve to humanize these great icons. For readers who are old enough to call themselves baby boomers this book will bring old memories back to life. Millennials, on the other hand, may think of this book as a literal work of the Carpool Karaoke show.

The Rock Star Chronicles is a book I didn’t know I was waiting for. To come across a book that will talk me into trying something new. One brave enough to incite me to venture into new frontiers. This book made me a believer- I am now a bona fide Rock and Roll music fan.

Ray Shasho masterfully gets the interviewees talking. He smartly coaxes answers from them with crafty questions designed to get a story rolling out of them. The artists talk about diverse issues ranging from music, politics, and their social engagements. Having been on the music seen all his life, Ray Shasho knows the buttons to press, how to get them comfortable about talking about their lives.

The book’s cover is befitting of its subject matter with the leather look offering a royal background to the golden letter print. It speaks to how high a level rock music holds in the pecking order- arguably, modern music as we know it has originated from blues and rock music.  The second noteworthy thing is the use of high definition pictures to reference the musician being interviewed in every sub-chapter. This ensures that the book is for both original rock and roll lovers and aspiring new ones. Together is makes for a refreshing and consistently enjoyable read.

I recommend this book to rock music enthusiasts, aspiring musicians wondering what it takes and all readers curious to learn new things by going back in time.

Pages: 573 | ASIN: B082YCD7G6

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Rock Hard: Chord Brothers

Rock Hard: Chord Brothers, Book 1 by [Roberts, Mariah J., Roberts, M. J. ]

Ryder is the drummer in a popular band along with his best friend and his bestie’s hot sister, Lexi, and a few other colorful members. I love this great cast of characters. The dynamic among the group is unique yet believable. I’ve never been in a band but it seems like a realistic portrayal of life as a band on the road.

The action in the story starts when Ryder and Lexi break the number one rule of band membership… do not hook-up with anyone in the band. Ryder is doubly nervous because she is also his best friend’s sister!

This story starts with some excellent sexual tension that builds slowly and enticingly! The reader has to wait patiently for the first physical experience between the two. The author does a fantastic job with erotic descriptions. The sex scenes are lusty but not trashy. The strength of desire between the two is palpable. I do admire Ryder’s dedication to making sure Lexi was sufficiently satisfied! He even does research!

We also learn about deep pain and loss in our characters’ lives. The author weaves in nicely these back stories that then helps explain these characters’ drives and motivations.

This is a great book about relationships, love, loss and the power and importance of human connection. There is a good amount of erotic scenes however the author sets the tone as romantic and loving, never vulgar. I love the modern music and movie references. It gave it a very up-to-date and realistic feel. I Also loved the inside look at life on the road in a band.

The writing is fluid and easy to read without feeling juvenile. There are some great moments of humor but also real moments of pain and struggle. There were some points I wanted more action or was waiting for something to happen but overall I was engaged throughout.

This is a fun and sexy read for anyone looking for something quick and enjoyable with great characters and a romantic and interesting story line.

Pages: 399 | ASIN: B07MDHXT8C

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Crimes of Rumba – Trailer

Crimes of Rumba is the hottest, epic combination of business, politics, music, and of course, crimes behind the predatory conduct culture that has glamorized the worst corporate malpractice in US cultural history. As a matter of law, order, and economy, the state administrations intolerance and crackdown on musicians dissent and opposition to the colonial music cash crops production is authoritarianism at best and without precedent in the worlds history of colonization and music. This legal truth and material facts-checkings operation is the blunt, exclusive disclosure of the sources and methods used for the cultivation and autocratic harvest of music cash crops in the Belgian Congo, which were economically engineered from and back to America for its consumption through misinformation, disinformation, deceit, and fraud. Not only is this the tale of the utmost scam that has been very fully funded to defraud the worlds collective memory of rumba, it is the hefty price that our humanity has dearly paid for without consent for Foniors crimes of rumba for decades. Silence has been complicity at worst from the people with knowledge of the case against rumba. Not only are the material facts and consumers rights violated and suppressed, along with musicians copyrights for decades, the morally repulsive glamorization of the fraud has brought creative freedom in the worlds music into disrepute. A lot of readers will discover Thierry Antha with the publication of Crimes of Rumba, Volume I of Congo Music. But this international journalist carried decades of excellence in covering the Congo and Haitis politics, business, and entertainment. His professional and personal ties with all the most famous Congolese musicians in advocacy, promotion, and production of their musical works have crowned him the best authority with respect to the Congo musics history. Contrary to all the spinning, posturing, and work of fiction for rumba, Thierry Anthas expertise and dedication to exposing the truth behind material facts and laws related to Congo music from the Belgian Congo to the Congo is second to none. Embark in this riveting literary journey to discover how Socit Gnrales authoritarian harvest of music cash crops has shattered and destroyed lives and careers for its economic gain in the Americas. Without censorship, Crimes of Rumba, Volume I of Congo Music exposes Foniors victims long overdue rebuttal, which is long way apart from the reality of its predatory conduct culture and its propaganda of rumbas fake-outs.

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Sacrifice and Know-How

Thierry Antha Author Interview

Thierry Antha Author Interview

Crimes of Rumba discusses and dissects the crimes behind the worst corporate malpractice in US cultural history. Why was this an important book for you to write?

From 1983 to 1995, it took us almost fifteen years of commitment, sacrifice and know-how to build up awareness about the greatness of Congo music’s modernity in American pop culture. Credits should be given to promoters such as Victor Kibunja, Verna Gillis, Paul Trautman and my company’s tour with Tabu Ley Rochereau-Alive and Well in North-America in 1992, which made Congo music a runaway hit in North America until 1995.

Unfortunately, with little to no precision, 22 years after the Congolese government and musicians’ outright rejection of Fonior’s crimes of rumba, handful writers went off the script and managed to inadvertently slip in Fonior’s fraud of Cuban music. It was disheartening to realize that even few colleagues in the media were still living in the clouds of Fonior’s crimes of rumba. As promoters, time was more of the essence to promoting tours than pressing the matter further why it was a horrific danger to associate Franco Luambo and Tabu Ley Rochereau with Fonior’s post-colonial fraud for America, in the lens of the Congo’s politics from the 1970s to 1990s.This brought up the above headliners’ urgency and request to me to educating their consumers with the absolute truth beyond the fraud of rumba.

Moreover, as journalist and promoter, this is book is mostly important because it connects the dots between King Leopold’s atrocities of red rubber to the crimes of rumba for America by his very own international conglomerate, Societe Generale. Simply put, the fraud of rumba music is the universal and everlasting legacy from King Leopold’s politics and economics in music for America, first, and the world later. It’s never been about the presence of Cuban music in the midst of the state administration’s classified South American music’s mandatory production. But it is all about how, wanton malice, Fonior abused and misused Cuban music to commit fraud and defraud Congolese musicians’ copyrights and consumers’ human rights in America.

You cover a number of topics in this book, but the one that stuck out to me was rumba music. How do you feel music affects the political landscape?

Human life is rhythm. Rhythm is music. And music also controls mankind’s political landscape from singing Nero setting Rome on fire, Herod decapitating John the Baptist in Israel to any election campaign chanting of USA, USA, USA.

In Belgian Congo, for instance, the rhythm of atrocity behind the harvest of red rubber to the germination and criminalization of the state administration’s legal diversity of South American music, in the late 1950s, was controlled by King Leopold’s politics for Societe Generale’s monopoly. The politics behind the abrogation of Copami’s mission to legalize the harvest of “music cash crops” for export created a super culture of dichotomy for the equal production of Congo music and South American music under the law. And this colonial autocracy paved the way for Congolese musicians’ resistance and sabotage, which empowered Patrice Lumumba to ascend to the highest sky of the Belgian Congo’s nascent political parties.

In 1948 president Rafael Trujillo made Merengue the official music of Dominican Republic, while in 1959, Fidel Castro nationalized Rumba as the official music of Cuba for all music of African descent. In 1965, after his coup d’etat, president Mobutu rode the wave of Congo music to install his dictatorship in the Congo DRC. Francois Duvalier used Kompa music to numb the mass’s brain for his dictatorship in Haiti. Bob Marley performed his One Love Concert to defuse the brutal turf war among political nemesis in Jamaica. Bill Clinton’s campaign in the 1990s banked on the success of Macarena to promote his progressive agenda for America’s cultural diversity. And that is the same spirit of music in the politics of King Leopold’s international conglomerate that still captures rumba operatives’ politics for Fonior’s crimes of rumba that have been debunked and rebuked in the Congo DRC and exposed in this book.

What kind of research did you undertake to ensure the book was accurate and detailed?

First, as American of Congolese origin, I have lived Congo music my entire life. As a professional journalist, I covered the Congo DRC’s national rebuke of Fonior’s crimes of rumba for the national radio and television until I migrated to the USA. As co-host of the most famous Congo music radio and television shows, I humbly confessed that my expertise in Congo music is second to none because of my personal and business ties with Congolese musicians. As a young record producer, I have also rubbed elbows with all the who’s who in the music industry. My coverage of Samuco and Umuza, Congolese musicians’ union, are the most inside information that the average journalist has never searched before. From 1983 to 2000, as a promoter and consultant, I have closely worked with all Congolese musicians who have come on tour in North America for others as well as for my own company.

Second, to ensure that the book was accurate and detailed, my documented evidence are based on Belgian Congo’s laws, policies, institutions and corroborated by Congolese musicians’ personal testimonies throughout colonialism and their outright rejection and class action lawsuit against Fonior. The restrictive provision and scope of laws and policies from Belgian Congo to the Congo DRC’s national rebuke of Fonior’s crimes of rumba certify the accuracy of the Royal Decree of 1925 behind the Copami’s mission and its related institutions, coupled with the Royal Decree of 1952 aborting the old mission and its institutions under Societe Generale’s mission. These irrefutable evidence within La Territoriale provide all material facts and detailed events. And this exclusivity makes Crimes of Rumba the best encyclopedia of Congo music ever in terms of chronology of specifics in laws, policies, institutions and events from 1925 to September 1960.

I thought this book was informative and engaging. What do you hope readers take away from this book?

Readers’ takeaway is to know that Fonior’s crimes of rumba are real. Consumers have the right to know that they have been defrauded for decades. Even though, this crime spree was launched from America, in September 1960, its universality has outreached the world. It is based on Fonior’s violation of Congolese musicians’ copyrights. That’s why, as early as 1970s, president Mobutu stood up shoulder to shoulder with them to nationally reject, debunk and rebuke Fonior’s fraud. Unfortunately, after 47 years, the coverage of the Congo DRC’s rebuke has been blocked by King Leopold’s rumba operatives through fake movies, books and theories, who have turned a blind eye to telling the truth for the sole purpose to monetize on it. Not only consumers have the right to be set free from the bondage of Fonior’s crimes of rumba, they have the right to know that rumba operatives still provide a fraudulent, safe home for re-litigation and revisionism of Belgian Congo’s laws, policies, institutions, and against the Congo DRC’s national rebuke of Fonior’s fraud.

This book simply certifies that one can’t explain the complexity of the state administration’s legal diversity and production of South American music under the law, in the Belgian Congo, in complicity with Fonior’s fraud and based on the simplicity of its crime of opportunity on Cuban music for America, first. The engraved musical evidence of South American music’s legal diversity in Fonior’s Congolese re-editions represent self-incriminating evidence, among many others, against its crimes of rumba. One can’t celebrate Congo Rumba’s illegality by hiding Congo Latino from the same Fonior’s fake-outs spree. This case is all about King Leopold’s international monopoly misused Cuban music to commit fraud. Simply put, the fraud of rumba music has been the universal and everlasting legacy from King Leopold’s politics and economics in music for America, first, and the world later. Thanks to Crimes of Rumba the era of defrauding musicians and consumers’ human rights is over now.

Author Links: GoodReads | Twitter | Website

Crimes of Rumba is the hottest, epic combination of business, politics, music, and of course, crimes behind the predatory conduct culture that has glamorized the worst corporate malpractice in US cultural history. As a matter of law, order, and economy, the state administrations intolerance and crackdown on musicians dissent and opposition to the colonial music cash crops production is authoritarianism at best and without precedent in the worlds history of colonization and music. This legal truth and material facts-checkings operation is the blunt, exclusive disclosure of the sources and methods used for the cultivation and autocratic harvest of music cash crops in the Belgian Congo, which were economically engineered from and back to America for its consumption through misinformation, disinformation, deceit, and fraud. Not only is this the tale of the utmost scam that has been very fully funded to defraud the worlds collective memory of rumba, it is the hefty price that our humanity has dearly paid for without consent for Foniors crimes of rumba for decades. Silence has been complicity at worst from the people with knowledge of the case against rumba. Not only are the material facts and consumers rights violated and suppressed, along with musicians copyrights for decades, the morally repulsive glamorization of the fraud has brought creative freedom in the worlds music into disrepute. A lot of readers will discover Thierry Antha with the publication of Crimes of Rumba, Volume I of Congo Music. But this international journalist carried decades of excellence in covering the Congo and Haitis politics, business, and entertainment. His professional and personal ties with all the most famous Congolese musicians in advocacy, promotion, and production of their musical works have crowned him the best authority with respect to the Congo musics history. Contrary to all the spinning, posturing, and work of fiction for rumba, Thierry Anthas expertise and dedication to exposing the truth behind material facts and laws related to Congo music from the Belgian Congo to the Congo is second to none. Embark in this riveting literary journey to discover how Socit Gnrales authoritarian harvest of music cash crops has shattered and destroyed lives and careers for its economic gain in the Americas. Without censorship, Crimes of Rumba, Volume I of Congo Music exposes Foniors victims long overdue rebuttal, which is long way apart from the reality of its predatory conduct culture and its propaganda of rumbas fake-outs.

Buy Now From Amazon.com

Imaginary Offshoots

Terry Tumbler Author Interview

Terry Tumbler Author Interview

Future World Rolls follows two FBI agents with psychic abilities as they start recruiting for a mission that will change human history. What was the inspiration behind the setup to this fascinating story?

Research into the 19-year-long career of one individual, a remote seer for the US government. He reported on the existence of ‘buck naked’ green men on the moon and its irregular placement as a protective screen against the solar flares of the sun. By whom? One may well ask.

As always, your characters are unique and fun to read. What is your process like to create such lively characters?

I always loosely base them on real, memorable people like Stan Laurel and the Big Bopper. Disparate? Maybe.

You masterfully imbue your work with music throughout the story. What were some key themes in your choice of music for this book?

Pure relevance to the storyline, plus hefty research into the ways in which these series of songs originated. I used this method to carry on the themes they might have used if they’d stayed on course, like Buddy Holly staying with The Crickets. In some instances, I began writing original tunes as imaginary offshoots. A classic example is the 2190 Overture, which could be sung by the likes of Queen in the same vein as Bohemian Rhapsody.

What is the next book that you are working on and when will it be available?

I am well into the first few chapters of book 3 of the Carousels of Life, Simply Spiffin’, Future Criminologist. It is all in my mind, to keep on track.

Author Links: Twitter | Facebook | Website | Blogspot

FUTURE WORLD ROLLS!: We Are Family (Carousels of Life Book 2) by [Tumbler, Terry]This Space Opera is set to Rock n’ Roll and classical music, many of the songs being entirely original and composed by the author.

It starts in the mid-20th century with two talented FBI Special Agents being tasked with recruiting people to undertake a really unusual mission. In the process, they are themselves abducted to take a leading role in that mission, which is intended to save the human race from alien conquest.

It involves time travel into the future, as they lead their hostile hunters on a merry chase across the centuries. They have the full support of other sympathetic races in their imaginative survival techniques, allowing them to go on the offensive.

The characters within embark on a series of adventures that are truly moving in their significance. Based initially on our own Planet Earth, the story employs reported alien sightings and events.

Future World ROLLS to its very core!

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Mall Hair Maladies

Mall Hair Maladies by [Volchko, Kristy Jo]

Mall Hair Maladies by Kristy Jo Volchko is a delightful throwback story that will take 80’s kids down memory lane. The book follows Tanya, the new kid in school, Randi, and their single parents. The two meet and quickly become inseparable best friends. Volchko describes a year in the life of two 13 year old girls in 1980’s America. Volchko delves into “a day in the life” right down to big, crimped, hair-sprayed hair, fingerless gloves, and arms lined with multi-colored jelly bracelets. The biggest obstacle in the girls’ lives is finding a way to go to the local Madonna concert. She’s their idol, and they will do just about anything to hear her belting her songs in person.

Volchko writing feels like a genuine first-hand account of crazy events told across a dinner table. Grammar and spelling are impeccable. Everything flows perfectly. Characters were well developed, with each one having enough background story for readers to get a good grip on who they are. The setting and different scenarios were described well. Volchko has a way of making you feel like you are right there with the characters mixing up things in the kitchen, having an awkward dinner with an uptight relative, or smoking in the girls room. I felt invested in her characters and their lives.

I loved the throwbacks to the 1980’s. I lived them, and the essence of that era was captured perfectly. Readers from that time will relate to the characters. They will see themselves and reminisce over their own 80’s stories. I love the real references to the music and fashion of the time. It was a simpler time in many ways, but pop culture, music, and fashion were anything but simple.

The story is a nice throwback to a safer time for kids. They could hop on a bus unattended and go all over town and return relatively unscathed. They had little fear of anything bad happening to them at all. Bad things happened, of course, but they didn’t seem so frequent. Volchko conveys that time of simplicity and relative safety very well. I’m not so sure the story would have played out the same if it was set in today’s world. It was nice to escape back to that time for a little while.

I love how easily the girls become best friends. I think we sometimes forget how simple that was as children. Two strangers implicitly trusted and loved each other without the bat of a fake eyelash, just because they did. They met. They liked each other. Simple.

Without getting too heavy, Volchko exposes some problems that commonly arise in families. These aren’t 80’s problems, but timeless problems. Tanya has an absent father, and Randi has an absent mother. Tanya’s grandmother is judgmental, hateful, and a huge source of stress for the family. Volchko shows how the characters deal with those issues. She gives examples of difficult family dynamics and how the characters navigate those storms. She also gives some hope with the introduction of a less dysfunctional family toward the end.

I’d recommend this book to anyone in middle school and up, though 80’s kids may appreciate it the most. I couldn’t have asked for more out of this book. Volchko has made me a fan. I loved the story. I loved the characters. I loved the writing. I would love to read more of her work.

Pages: 265 | ASIN: B079SQYLRZ

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