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Lizzy's advice on how to acquire the voice she uses for Orange Caramel and for trot (but not for After School):

Keep nagging at your mom when you're little.
Demonstrated here, with variants here (happy) and here (annoyed)* (h/t David Frazer).

I'm even more behind than usual (mid-year list to come, once again w/ Lizzy). I keep promising research on After School, never get there. So just several adjectives for you:

After School, who were kinda all over in their early years, have settled into smooth vocals, effortlessly poignant, when required, but holding rough rhythms under their hood. One of the few K-pop groups to sound as good in Japanese as Korean. Meanwhile, Orange Caramel's** rampaging cuteness conquers all, style atop style. No social insights from me. Cuteness doesn't play in North America, probably for good reason, but that doesn't mean we're living our lives better than South Koreans are living theirs.

After School "Triangle"


Orange Caramel "Catallena"


*The hashtag is #twang_Lizzy.

**Orange Caramel is a subunit, consisting of three members of After School: Nana, Raina, and Lizzy.
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I like how the rhythm in "Tiny Montgomery" makes itself strong by just digging in and digging further, no moving forward. —The rhythm I'm referring to is mostly Dylan's voice, and the strum strum strum. Bass and the rest are a shuffling swing, I guess. So you can sway back and forth while the song steadily drives you down. A-Plus.

Other than that, I've never "gotten" the Basement Tapes, in either sense of the word. Couldn't stand the Great White Wonder boot when it broke onto FM rock in 1969, and never owned the official album, though I once had it in a stash of a friend's records for a summer, listening to it once, and taping "Tiny Montgomery." In any event, a way into it, if I ever do dig in, might be via Don Allred's Pazz & Jop comments, e.g.,

much enjoy that "Folsom Prison Blues" here sounds like the Band is playing "dum dum dum dum doo wah diddy, talk about the boy from New York City," which totally fits the loose flair of D.'s singing (the convict, still regretful, is also getting cranked up on cellblock cocktails). This performance of "The Bells of Rhymney" starts reminding me of "All Tomorrow's Parties," to the further credit of both songs and their performers, incl. writers.
My description of "Tiny Montgomery" is my attempt to explain to myself why it reminds me of the Velvet Underground without reminding me of frequent Velvets source the Yardbirds.

Was inspired to post by Sabina citing the Velvets and then trying to do different, regarding EMA.

I wouldn't assume Dylan had heard the Velvets yet. Was his own drawl he was using for a hammer.

[EDIT: YouTube's taken "Tiny Montgomery" down. Here's a stream of 52 seconds of it, and here's a full stream in lower fidelity.]
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Question that applies to the past and the present: were there/are there many disco boybands and disco girl groups? Except I'm meaning "boyband" and "girl group" a bit more narrowly than I normally would: I'm thinking of the music dating back to the gospel quartets that went secular and was taken over by teens and doo-wop and then the late '50s/early '60s girl groups and permutated through the Impressions and Motown into the Jackson 5 and New Edition and then into New Jack Swing. I have huge gaps in my knowledge, but my sense is that this type of group vocal singing (as opposed to other types of group vocal singing?) made it into funk and '80s black pop much more than into disco and freestyle and house. Obviously there are vocal groups there, too, many I wish I knew better; but not ones that I'd put into a line that goes from doo-wop to Bell Biv DeVoe and the Backstreet Boys and ilk.

Or am I all wrong? Did that sort of boyband or girl group appear much in disco? I kinda feel the Bee Gees might belong here, though despite hitting huge, they seem a bit apart from everyone else, not quite in any line of development (but notice Infinite sounding like the Bee Gees below). I probably ought to count Trammps and Tavares too.

As for the present, K-pop draws hugely on the Jacksons and New Jack Swing while keeping disco and freestyle in its living language. I'm thinking especially of the work of writing/producing duo SweeTune (Han Jaeho, Kim Seungsoo), for instance with boyband Infinite and girl group Nine Muses.

"Paradise"


Nine Muses Figaro and Infinite Be Mine )

Actually, not sure if Nine Muses are in enough of the "black vocal group" style I have in mind to count, but "Figaro" is a great track. And I barely have anything definite in my mind. Hoping some visitor to this lj will take over the discussion.

Here's a tentative playlist for Infinite, not in any order except how I think the music would flow best. Is kind of a best-of except my knowledge of Infinite is hardly infinite, in fact is barely adequate. And of course not all of it uses disco beats or horn and synth flourishes.

Infinite playlist )

"Back" (by Rphabet, not SweeTune)


Exculpatory verbiage )
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Even with S. Korea having canceled spring on account of the ferry disaster (as Subdee says), I'm woefully behind on K-pop, and my listening elsewhere has been too random and intermittent even to be called scattershot. But anyway, int'l dance cheese goes strong at its most opportunist (Chainsmokers, Orange Caramel, Badkiz [the "Party Rock Anthem" influence still potent in Seoul], PungDeng-E, Arcade Fire, Mia Martina), whereas the boring int'l amalgamated danceR&Bglaze&crud that's been weighing down charts worldwide since 2009 somehow manages to sound touching in the hands of a Shakira and a Rihanna who've had all their distinctive characteristics removed. Danity Kane go retro, referencing Teena Marie; equally retro Dal★shabet, who still can't sing for shit, nonetheless find themselves immersed in great freestyle riffs. Ole punk manages not to be dead in the hands of poignantly desperate and angry Kate Nash and Courtney Love. T-ara, Jiyeon, and Puer Kim veer smoove and After School master smoove. Few boys' mouths, as is usual on my lists these days; fewer still who sing. And as the biz still invests almost nothing in us oldsters, funky fresh young Crayon Pop represent on our behalf.

SINGLES:

1. Wa$$up "Jingle Bell"
2. The Chainsmokers "#Selfie"
3. BiS "STUPiG"
4. Kate Nash "Sister"
5. Courtney Love "Wedding Day"

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6. Orange Caramel "So Sorry"
7. Tinashe ft. Schoolboy Q "2 On"
8. Nicki Minaj "Lookin' Ass Nigga"
9. Crayon Pop "Uh-ee"
10. After School "Shh"
Future through Shakira )
Bass Drum through Rascal )

ALBUMS

1. After School Dress To Kill [Avex Trax]
2. Kali Mutsa Souvenance [Shock Music]



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Just in time for my first quarter wrap, Crayon Pop show up in shtetl garb traditionalist clothing, playing old people's music as the young-un's in back discreetly tap their toes. Above them in the ten, Wa$$up ring my bell, BiS prove that Anti-Idol is Idol, Tinashe brushes my Cassie spot, Future gets together with a bunch of other dopes to move some dope, Kate Nash punks better than she'd ever quirked, Orange Caramel assay a disco-Cuban b-side to which they barely even attempt to dance, Dal★shabet crochet in freestyle, Puer Kim does an elegant monster maash, and Nicki Minaj scores by any means necessary.

1. Wa$$up "Jingle Bell"
2. BiS "STUPiG"
3. Tinashe ft. Schoolboy Q "2 On"
4. Future ft. Pharrell, Pusha T & Casino "Move That Dope"
5. Kate Nash "Sister"

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6. Orange Caramel "So Sorry"
7. Dal★shabet "B.B.B (Big Baby Baby)"
8. Puer Kim "Manyo Maash"
9. Nicki Minaj "Lookin' Ass Nigga"
10. Crayon Pop "Uh-ee"

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11 through 20 )

Jingle the bell.

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Of three recent albums by K-pop big shots (SNSD, 2NE1, and After School, w/ 4minute and Super Junior-M in my to-do pile), After School's is head and shoulders above the rest, once again. I still have no sense of the members' individual musical personalities, if they have any, and not much sense of a collective personality either, sonically. "Smooth vocals with forceful accompaniment" is what I come up with, pretty much, plus occasional strong pangs, the latter more often in Korea than in Japan. In their early days, feisty was good, gentle was bad. Now gentle feels deep, and when the vocals go to what I call "easy vocal washes" the resulting mist is like a sharp shower, rather than blah.



The album (Dress To Kill) is in Japanese, its two singles written and produced by Shinichi Osawa. Listening to Shinichi Osawa's Works 2008-2012, which also tends to go for a smooth front and a propulsive engine, I'm nonetheless thrown back to the feeling of distance I often get from J-pop, without knowing if the distance is mine or theirs. And I say to myself "I don't get it." Whereas After School's Japanese work gets to me every bit as well as their Korean.

adjectives, arbitrary_greay's keybs, Euro-ish songwriters )

(My previous two posts entitled "After School's Good Year" are here: 2013 and 2012.)
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The surprisingly fierce battle for Silly Song Of The Year has a new, unexpected leader: Lee Jung Hyun's "V." People who've been following electronic dance music in Korea from the beginning (i.e., no one who reads this blog) know that Wikipedia has its head heading up buttward in saying that in 1999 Lee introduced techno to Korea and to Asia.* Nonetheless, it is fair to say that she is held in esteem as an actress and singer, at least by our trusty Wikipedian. And she is held in esteem by me as well (who first heard of her last week), as she leaves the wobble and the wash behind for a trot two-step with 1940s razzle-dazzle vocals filtered through a helium balloon. Orange Caramel, are you paying attention.**



Here is where she commenced her assignment as ambassador of techno:

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Credible twerks )
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Not sure if any themes are developing in this year's list. I've got some Korean hip-hop "as such" at 1 and 13 ("as such" as opposed to K-pop that employs hip-hop, though the latter is usually way better and is also on my list, D-Unit's "Stay Alive" being especially rappy). In general, "real" Korean hip-hop is either too dogged and serious or too jokey. (Is it not peculiar that if I were to describe a human being (e.g., myself) as dogged and serious it would be a compliment, and "tells jokes" would often be a positive attribute as well; but sounding dogged and serious in song is generally negative, as is coming off as a joke act?) I've been listening to the back catalog of Gaeko's group Dynamic Duo, who are inventive and all that but, you know, dogged and serious. Unfortunately, at the moment my analytic and adjectival wellsprings are producing nothing to help describe any of this. I'm not saying I dislike Dynamic Duo; last year's 6th Digilog 2/2 gets a definite head nod from me. But nothing on it immediately arrests my attention like the first five seconds of "난리good!!!" with its combination of severity and flamboyance. Wise of Gaeko to grab onto the electronic dance. Of course, hip-hop's often willing to grab.

1. Gaeko & Choiza & Simon D & Primary "난리good!!! (AIR)"
2. GLAM "I Like That"
3. Baauer "Harlem Shake"
4. Margaret Berger "I Feed You My Love"
5. will.i.am ft. Britney Spears "Scream & Shout"
6. G-Dragon ft. Jenova "Crayon (Lam Suet Remix)"
7. Sistar19 "Gone Not Around Any Longer"
8. Kate Nash "Death Proof (CSS Remix)"
9. 2YOON "24/7"
10. Tiny-G "Minimanimo"
11. D-Unit ft. Vasco "Stay Alive"
12. Yelle "L'Amour Parfait"
13. Gaeko "Rhythm Is Life"
14. Baek Ji Young "I Hate It"
15. D-Unit ft. Zico "Talk To My Face"
16. GLAM "In Front Of The Mirror"
17. SHINee "Dream Girl"
18. A$AP Rocky ft. 2 Chainz, Drake, Kendrick Lamar "Fuckin' Problems"
19. MYNAME "Just That Little Thing"
20. Miranda Lambert "Mama's Broken Heart"
21. Baek Ji Young "Acacia"

The following albums are fairly listenable:

1. D-Unit Affirmative Chapter.1 (D-Business Entertainment/Windmill Media)
2. The Cataracs Loud Xmas EP (Universal Republic)
3. Ashley Monroe Like A Rose (Warner Brothers Nashville)

Gone Not Around Any Longer )
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[For some reason, when I was adding tags, livejournal deleted this entire entry, along with its comments. So I'm reposting. It originally went up January 1st, 2012, 23:54.]



1. T-ara "Lovey-Dovey"
2. Orange Caramel "Lipstick"
3. Trouble Maker "Trouble Maker"


Shinsadong Tiger w/ bodyguard. Co-producer and co-writer of #1, #3, #13, #37

4. ChoColat "I Like It"
5. Dev "Take Her From You"
6. Dev "In My Trunk"
7. Cassie "King Of Hearts"
8. Wonder Girls "Like This"
9. Sistar "Alone"
10. T-ara "Day By Day"
11. Davichi & T-ara "We Were In Love"
12. 2NE1 "Scream." Over at the Singles Jukebox, commenter My cheap on accurately pegs this as "let’s sing about screaming but not scream." But then, 2NE1 aren't the ones to take terror and act afraid of it, are they (as opposed to using it to add frisson to their party)?

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13. 4minute "Volume Up"
14. Flashe "Drop It"
15. After School "Rambling Girls"
16. Taylor Swift "Red"
17. ChoColat ft. Sung Hyo Ram "One More Day" (also called "Same Thing To Her")
18. Orange Caramel "My Sweet Devil"
19. Miss A "Touch"
20. Yoon Jong Shin ft. Kim Wan Sun "I Love You All Days"
Ana Victoria through Nicki Minaj )
Paulina Rubio through Charles Esten & Hayden Panettiere )
Los Mesoneros through After School )
Clazzi through A-Jax )
Jhene Aiko through Ciara )
Knife Party through Cloud Nothings )
Gangkiz through Dawn Richard )
Tony & Smash through Bae Geon-seok )

To reemphasize the demographic points I've been hammering at you during all of my quarter-year writeups: There's only one male singer in my Top 10, the male half of Trouble Maker — the half that moves half-paralyzed in terror as a warm, endearingly emotionally sweet and massively sexy fun girl wraps her arms around him. This is fitting for a time in which male vocalists don't seem to know WTF they should do. The next XY chromosome doesn't show up till a negligible guest shot on ChoColat's "One More Day" down at 17. First vocalist over forty is Kim Wan Sun, the guest singer on "I Love You All Days," number 20. First male voice over forty is Jay-Z's in "Clique," track 27.

Cuteness more authoritative than strength is? )

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Solbi's "Ottogi," yet another "Lipstick"-like half-trot bridging the silly rhythms of Americano speaklessness and Romanian saxobeats. I missed this when it surfaced last August during the T-ara hysteria. Most notable for 4minute's Jiyoon on the rap:

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And a witty Latin house version:

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Okay, three data points constituting a trend, Miss A, putting "Time's Up" on their new Independent Women Pt. III EP, become the latest K-pop group to mix trot beats and Austral-Romanian int'l rhythm moves.*

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(Also, unrelated to trot or to Romance Australianisms, the lead track and single is "I Don't Need A Man," and the second or third track (depending which listing you see) is called "If I Were A Boy." That and the EP title probably don't remind anyone of anything, but I thought I'd mention them.)

*Of the ten tracks** on my Austral-Romanian mix, Gangkiz's "Honey Honey" probably and Orange Caramel's "Lipstick" definitely include a trot feel. "Trot feel" is not something I can specify, especially when the tracks aren't explicitly trot; but these two instances include emphasized offbeats and a way of pushing the tempo, even when it's not that fast.

**Of course I included an eleventh track, LPG's "The First Train," which is trot but isn't very Austral-Romanian, and was there for reference.
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Something amazing has happened this year with Orange Caramel's singing, though I can't put my finger specifically on what. All I've got is adjectives. Last year Orange Caramel had two terrific songs ("Bangkok City" and "Shanghai Romance"), each dragged down a little by vocals that I'd describe as "adequate": going for cuteness but sounding blah, not distinctive, a bit heavy for the material (analogous to how back in 2010 Orange Caramel had been too old for the kiddie clothes they'd been stuffed into). Now this year, on their latest two hits — "My Sweet Devil" in Japan and "Lipstick" in Korea — they're light and alive, just know where they are, zip right onto and dance right off of the lyrics. (See what I mean? Adjectives. Metaphors.) I can't tell if it's the singing itself, or just that they've been given the right songs and arrangements. But the arrangements on "Bangkok City" and "Shanghai Romance" were fine, are what made those two tracks zip along as well as they did.*

"My Sweet Devil" deserves attention on its own, but today I'm talking about "Lipstick," not for the singing per se, but for the rhythm (which of course includes the singing). In my mind, "Lipstick" is the fulcrum, or the apex (or something), of what I'm going to call the Austral-Romanian Empire. I figured this out when, over at the Jukebox, most everyone else was identifying "Lipstick" with "Mr. Saxobeat" and Europop, while I was hearing trot and "We No Speak Americano." Now, however, I'd say that "Lipstick" is drawing on all of those. Not that Orange Caramel have ever played a true trot, but they've been veering towards it, especially on the two "Asian"** singles, "Bangkok City" and "Shanghai Romance." Trots tend to move light and quick, emphasizing the offbeat almost as much as the downbeat, adding embellishments while running right along. In contrast, the Romanian beat sounds more like it's circling in on itself, a clippity-clop to trot's trot. (Or a clip-cloppity. Anyway, busier. It isn't as if there's a specific trot beat, or a specific Romanian rhythm — though maybe there is, and I'm just not perceptive enough to locate it. Maybe you can do a better job.)

The Austral-Romanian spectrum )

Dance Mix )



I Know How To Playlist A Little )

Footnotes )
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T-ara's "Sexy Love" holds its chart place with its points falling in its second week from 25,414,429 to 23,801,053. That's not a severe drop, given the Gaon List's habit of going from blockbuster to bust rather quickly. E.g., G-Dragon's "그XX," on its week three, falls a whole hunk, from 42,048,638 to 24,038,977. (Above them both we've got soundtrack and talent-show hell.) But "Sexy Love" is far better than "그XX"! (I wish GD had risked exciting his audience with "One Of A Kind.") To put this in ambiguous perspective, Orange Caramel's "Lipstick" has opened with a disappointingly low 20,232,928;* but last July, T-ara's "Day By Day" was up at 39,140,539 for its week two. I was hoping that we'd actually see a rise for "Sexy Love" as people decided, "Hey, it sounds really good, so maybe we don't have to act as if we'll catch cooties from it."

On the albums chart, T-ara's Mirage opens at number 2, one behind F.T. Island and one ahead of Orange Caramel. I presume this is all fan action for Mirage, which is just the previously released Day By Day repackaged with two added tracks, each downloadable for a pittance individually (I presume).

Meanwhile, E.via is up to 100 (rising to 2,760,258 points) in week two of her "Gangnam Style" takeoff, "I Know How To Play A Little." Fwiw, I prefer it to both "Gangnam Style" and "Oppa You're Just My Style."



(The fan vid seems to be what the record company is using to promote it.)

*Disappointing 'cause I like the song and seem unable to grow tired of the "No Speak Americano" beat.
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Never got around to answering [livejournal.com profile] arbitrary_greay's comment over on the [livejournal.com profile] snsd_ffa Gangkiz thread regarding the T-ara concept and high production values. "T-ara concept" is the subject of one of my 500 future T-ara posts that are in the planning stage. But in brief, the T-ara concept can be summarized, "Words that rhyme, words that repeat, raps that fit sing-song, any rapper can sing, oeuvre interspersed with drip-drip ballads that are inexplicably good, Qri???, Jiyeon never emotes, they make it all sound easy." For that last, as far as production values go, their songs are well-produced but have an air of being tossed-off. In sound and song they're casual Tommy Rall as opposed to Miss A's heavily perspired Bob Fosse. So, there's nothing in T-ara's music that signifies "High Production Values" or "Musical Ambition," despite the actual care that actually goes into the music and the arrangements.

Vids are a different story )

koganbot: (Default)
Haven't had a chance to post much. So as a stopgap, just wanted to say that After School is rising higher on my list of "Subjects For Further Research." So far I couldn't tell you anyone's name other than Raina and the departed Bekah and the departed Kahi. Oh yeah, and I know the name Uee. And couldn't say much about any of them except that Kahi is a strong dancer and Bekah is American (from Hawaii) and Raina is also in subunit Orange Caramel and Uee is a lightning rod for something or other (either loved or hated, I don't know why), and I think she raps. Orange Caramel's vocals are barely adequate, one of the few K-pop groups where the vocals are so mediocre that they hobble otherwise great tracks like "Bangkok City."*

Eyeline )

Here's "Rambling Girls," the best of their many fine recent tracks.



footnotes )
koganbot: (Default)
 photo fat cat edited 2.png


Fat Cat and CL wiggle their way into the Top 10, producers/writers SweeTune give us Nine Muses' "Figaro" and Infinite's "Be Mine," and somewhere on here there's something new I added that isn't Korean, maybe down around 60:

Singles through September 30:

1. Britney Spears "Hold It Against Me"
2. Jeremih ft. 40 Cent "Down On Me"
3. GD&TOP "High High"
4. 2NE1 "I Am The Best"

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5. Galaxy Dream ft. Turbotronic "Ready 4or Romance"
6. IU "The Story Only I Didn't Know"
7. Bobby Brackins ft. Dev "A1"
8. Big Bang "Tonight"
9. SNSD "Bad Girl"
10. Fat Cat "My Love Bitch" [EDIT: the most common translation of "내사랑 싸가지" turns out to be "My Love Bad Boy," so that's what I'm now reluctantly going with]

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[But the camera person was too reticent, so you'll need to go here for a better view of Fat Cat ticking her tush like a clock.]

11 through 73 )

technical note )

2NE1 Uncertainty Principle )
koganbot: (Default)
Mentioned in my last post that Korean freestyle rapper SOOLj has a leaning towards riffs out of the other freestyle as well, the great '80s postdisco dance music from Miami and NY and Jersey and Philly. Wouldn't be surprised if those riffs were all over Korea these days, though owing to the paucity of my knowledge, I've only found a few others, one of them being KARA's bright and lite "Jumping (점핑)":



("Freestyle lite" would seem to be a contradiction in terms, freestyle having been a music of passionate spirit and thick emotion, but there've actually been several excellent pop tracks in recent America that tone the freestyle down to a pang while still retaining the feeling: Vanessa Hudgens' "Don't Talk" and Brooke Hogan's "About Us.")
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Orange Caramel's "A~ing♡" is our problematic video of the week, which I posted over at [livejournal.com profile] poptimists, but since almost no one there writes comments anymore, I'm putting it up here as well. As Mat says, "It's odd, because they almost have a supermodel look to them with their long legs, and it just seems grotesque to put them in cheap girly Halloween costumes." I wouldn't say I know what's going on with Orange Caramel. The videos don't seem like camp or parody, but do seem deliberately "off." Or maybe we're just the ones who think it's off, and for the core audience stuff like this is bacon and eggs, seven days a week. Anyhow, you can see what I said; you also might want to check out the convo that [livejournal.com profile] petronia, Mat, and anhh had here a month ago on related subjects.



EDIT: Of course, just because something might strike us (in our ignorance) as grotesque doesn't mean that there's anything wrong with it, or anything problematic. Or the problem might only be ours, that we don't understand what's going on. But women acting girlie can raise a red flag. That is, do women in that world generally have a choice not to act girlie? What are the consequences for those who don't act girlie?
koganbot: (Default)
I posted T-ara's "Ya Ya Ya" vid over at [livejournal.com profile] poptimists, and I'm posting here as well, since, if the past is any guide, the poptimist mass are too intimidated by the soberness and severity of Korean music videos to offer an opinion, leaving it to us. But you should visit and check out what I said.

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The Singles Jukebox, which is by far the best review site I see regularly,* has just started its second annual Amnesty Week: each of the regular writers nominates a favorite single that hasn't yet gotten a Jukebox review, and then we all review the nominees. Lots of good stuff; I've already awarded one 9, with two or three more to come, which surpasses the combined total from the rest of my Jukebox year.



Reviews of After School's "Bang!" are up, so you can see what I wrote there; but also I'd sent the reviewers an advance email to (in Will's words) "suggest to yr fellow writers why your nomination is worth a listen":

I nominated After School's "Bang!" which is a bunch of young idol-factory women playing toy soldier. This speaks for itself, if you know Korean and understand Korea. Or maybe Koreans are as baffled by it as I am and like being intrigued. The group are supposedly modeled after the Pussycat Dolls for their "matured and sexy concept," if you buy that. I wonder if this track sounds as violent to its prime K-pop audience as it does to me, violently bright - hip-hop and r&b shined up into an aggressively playful hardness. Then they go stunningly dreamy and gorgeous in the middle eight, and then shift right back to the violent shine.

Immature and sexy concept )

*Also the only review site I see regularly, but there's good reason to look regularly.

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