#mbé

[notesfromasmallworld]

A visit at the lepra colony outside Mbé

The citizens in this lepra colony are treated and no longer sick. But the social stigma means that the former lepra sick cannot travel home after they get well. The entry from the road is way back on top of the hill, and then a ten minute drive to the center of the village of Mbé.

Nice and friendly visit

Visiting the colony was a joy. Very awesome people, curious and happy children and a good place to visit. We were warmly welcomed and showed around.

The stigma people treated and free from leprasy are still alive. Considered unclean and 2nd class fellow humans, the isolated small village are home to former patients and their families. It was somehow unclear how the ratio between former lepra patients and family members who had never been diagnosed was.

As and example of how social stigma and lack of knowledge isolates lots of former lepra-patients, we had this lady. By request and sign language, she asked for a photo taken with a fellow european human was sort of a dream. My fellow traveller, a retired pharmacist, had no second thoughts grabbing the opportunity to make a memory for life.

Challenges of old to new

It was the Norwegian doctor and scientist Gerhard A. Hansen that identified the origin of leprasy and developed the first modern treatment. Modern medicine can effectively eradicate this 4000 year old curse to humanity, but there are still some regions of the world were it exists.

Lepra is not considered to be a large threat to public health in Cameroon. But places like this still offering treatment and humans with experience from the illness are important. Both as a refuge for former patients suffering social stigma and isolation, and for humans immigrating from other countries i the region lacking treatment services.

[sodomyaspraxis]

My playlist for Pride is done!!

PRIDE 2024: POSTPOSTPOSTPOST

sound and pattern speculations // no Genres no Masters

Track list in the second photo and also below:

I Hear a New World - Joe Meek & the Blue Men

Vaseline - Macy Rodman

Doña - Arca

The Warp and the Weft - Lotic

Stay On It - Wild Up, Christopher Rountree, Julius Eastman

L.O.V.E. - SOPHIE

Hiding Your Present From You - Arthur Russell

Pressssa - Saskia, Leo Pianki

You’d Be So Nice - Xiu Xiu

Nonkilling 3 | The Anteroom | False Skull 1 - How To Dress Well

Gnosis .•o°Ozing - Trust Fund Ozu Remix - Fire-Toolz, Trust Fund Ozu

Climb up Eh - felicita

sparkling wash - galen tipton

I’m Every Sparkly Woman - Ana Roxanne

Chora - cabezadenego, Mbé, Leyblack

Plunging Asymptote - Analemma

We Are One - Xina Xurner

Roses and Teeth for Ludwig Wittgenstein - Matmos

Flesh Tactic - AJA

Bad Bwoy - Yvu

Geology - The Knife, Mount Sims, Planningtorock, Kristina Wahlin Momme

Hyperlink - Devi McCallion, Katie Dey

Livia, Elena, Maricar, Mary Rose, Sierra, Arian, Asmita - Krista Papista

Confessional (Give Me Sodomy or Give Me Death) - Diamanda Galás

Stretched Linen Over Contorted Bodies - Nero’s Day At Disneyland

no weapon formed against you shall prosper - MHYSA

back to 1999 w omxri- xaev, mxri

Inn - Kate NV

Dio - Doon Kanda

Thank You, For The Octopus - six impala

Enjoy!! ✨

[pollicavalvantis]

Mimosa (cabezadenego, Mbé e Leyblack) @ Sesc Carmo 23/05/2024

[chialebeauf]

English translation lower

LA LIBERTAT

Tu que siás arderosa e nusa Tu qu'as sus leis ancas tei ponhs Tu qu'as una votz de cleron Uei sòna sòna a plens parmons Ò bòna musa.

Siás la musa dei paurei gus Ta cara es negra de fumada Teis uelhs senton la fusilhada Siás una flor de barricada Siás la Venús.

Dei mòrts de fam siás la mestressa, D'aquelei qu'an ges de camiá Lei sensa pan, lei sensa liech Lei gus que van sensa soliers An tei careças.

Mai leis autrei ti fan rotar, Lei gròs cacans 'mbé sei familhas Leis enemics de la paurilha Car ton nom tu, ò santa filha Es Libertat.

Ò Libertat coma siás bela Teis uelhs brilhan coma d'ulhauç E croses, liures de tot mau, Tei braç fòrts coma de destraus Sus tei mamèlas.

Mai puei, perfés diés de mòts raucs Tu pus doça que leis estelas E nos treboles ò ma bela Quand baisam clinant lei parpèlas Tei pès descauç.

Tu que siás poderosa e ruda Tu que luses dins lei raions Tu qu'as una vòtz de cleron Uei sòna sòna a plens parmons L'ora es venguda.

In english, roughly:

You who are ardent and naked You with your fists on your hips You with your voice like a trumpet Today chant, chant at the top of your lungs O good muse

You are the muse of the beggars Your face black with smoke Your eyes smelling of gunfire You are a flower on a barricade You are the Venus.

Of the starving you are the mistress Of those who are shirtless The beggars who go shoeless The breadless, the bedless Have your caresses

But the others make you burp The big rich ones and their families The enemies of the poor For your name, you, oh holy girl Is Libertat.

O Libertat, how beautiful you are Your eyes shine like lightning And you cross, free of all evil, Your arms strong as axes On your breasts.

But then you say hoarse words, You, softer than the stars And you trouble us, my beautiful When we kiss, closing our eyelids Your naked feet.

You, powerful and rough You who shine in the rays You with your voice as a trumpet Today chant, chant at the top of your lungs The time has come.

Written in the late 19th century in memory of the short-lived Commune of Marseille in 1871 (in french)

[fineartsjournal]

213341 Art Studio IIIA ⋆ Week 5 - Dire, Dire, Dire...

We find ourselves in the present day. Not for long, I still haven't even covered J Dilla. I have, however, stumbled across these two albums, both from 2023, and both from Brazil, where half my family is.

These being: Mimosa by cabezadenego, Mbé & Leyblack, and Sexto Dos Crias by DJ Ramon Sucesso.

Both these were found browsing RateYourMusic for plunderphonic essentials, to which I was pleasantly surprised to find two Baile Funk albums in the ranks.

I wrote about this for Contextual Studies last semester, so I'll quote myself for the following:

[Baile Funk is] "...a music genre of hiphop and Miami Bass sensibilities that originated from the Rio de Janeiro slums - or favelas - in the early 1990s, with a jumpy, vulgar and generally fun attitude."

This was referring to the album Mimosa in particular, which-

"...uses energetic sampling of Afro-Brazilian music new and old, particular the genre Baile Funk..." "The sampling approach, as well as very straightforward lyricism about gay sex; entails an incredibly danceable musical experience of black queerness in Brazil..."

In an interview with Gabinete last December, group member Luiz Felipe (seen pictured on the album cover) outlined the motives behind Mimosa:

“For me the sample has the function of reframing (?), you recount the history via a new perspective […] I find that the sample has a profound connection with black culture through its principles […] it is based on our very own history. And the sample for me isn’t just in music, it is in the argument; you can sample video, you can sample ideas, you can sample words, the way in which we created this project was entirely sampled.”

Sexta Dos Crias is much the same, with DJ Ramon Sucesso using his DJ controller to zoom across fragments of funk at lightning pace. No sample sticks around for long, instead, you find yourself tumbling between- "...firework-like bursts of classic funk carioca samples, his own productions, mainstream tracks, nonsense TikTok sound bites, and tons of his trademark beat bolha. All contained within an unparalleled, mischievously non-linear rhythmic flow."

Now in working mode for the next presentation, I tinkered around with the Super Mario 64 soundtrack in Audacity until I came across a neat sound.

Sampling the first four notes in the track Dire Dire Docks, I slowed the speed by 95%, and again by another 95%. Doing this required me to segment the piece and individually slow each of the segments, as doing the whole thing at once would cause Audacity to crash.

I then divided the resulting track into a left-ear and light-ear channel, playing at a slight delay to each other, forming a 'panning' effect.

Over this year, I've learned some audible differences in 'slowing' techniques.

A regular 'record' slow lowers both the pitch and tempo at once, sounds clean, and takes very little processing power to perform.

Just shifting the tempo is a little trickier; a low-fidelity tempo slow repeats small sections of the audio every fraction of a second, creating this ssttaaggggeerreedd ssoouunndd.

The high-fidelity version of this sees Audacity artifically 'filling in' these staggered gaps. This results in a stretchy, metallic sound.

A "paulstretch" also doesn't affect the pitch, but drenches any slowing in cavernous reverb.

Here's a little comparison I made:

For this next one, I took the "yahoo!" sound that Mario makes when performing a 'long jump' action in-game, and slowed it using the lo-fi tempo slider, shaved off the latter 8 minutes, and slowed it again; until it was 3 minutes of repeated "ya-" noises; otherwise representing a fraction of a millisecond.

Experimenting further, I added a 'delay', pitch-shifted so that each 'echo' would play at a lower key. Reversing this sound created a turkey-like noise, which I then looped in turn.

I then took the theme from the game's "File Select" menu, again slowing it down to a 20th of its speed. From there, I took the opening fraction-of-a-note and looped it, lowering the key each time to create a jiltery progression.

Press play on both tracks and they... kind of work together!

Ruby, Ariel and I caught up with Mike for a brief talk on materials, which we mapped out to the following:

Then I remembered something cool. Being a fan of Aphex Twin would come in handy eventually - meet SampleBrain.

It was available as a free download on Github.

After loading it up (and convincing my PC that this was not malware), the program looked like this:

I followed the instructions and placed the shorter tracks from the SM64 soundtrack into the "brain contents", and loaded a loop taken from OPN's Zebra into the "target sound".

⚠️ PLEASE LOWER YOUR VOLUME! ⚠️

Will this be my go-to sample-processing unit? Time will tell.

Being the algorithmic hymns of a straightforward piece of software, it gets loud. REALLY quick. Using this software more in my work will require a lot more effort in the mixing department.

𝕙𝕒𝕕 𝕒 𝕓𝕣𝕚𝕖𝕗 𝕥𝕒𝕝𝕜 𝕨𝕚𝕥𝕙 𝕖𝕞𝕞𝕒!

I showcased my current project, sketches, different audio methods I'm using (SampleBrain included), as well as playing what I've made so far. This was mainly a catch-up for prodding into my own motives, rather than critiques.

The qualities of Super Mario 64 (SM64) are a hallmark of internet-era nostalgia; and for me, a nostalgia not just from the unreal, but the unlived; to be nostalgic for I game I haven't played, from a time before I was born.

The development of the presentation side of my work following the Week 3 critique came with a need to tear down barriers in audience interaction, remove that digital suspicion that we hold onto through the introduction of the familiar to the modern.

This will be a very 'modern' piece, but I still will be using MP3 players; like a letter symbol on your Gmail app, or a rotary speaker on your Phone icon.

I was listening to the Runescape soundtrack the other day.

It's this fantasy game from the early 2000s that I know jack-shite about, but the music is nice.

Nevertheless, it's clearly evoked a longing for those that grew up playing it, as every comment is reminiscing on lost times.

So I thought - what if I took one of these comments and just... removed any and all reference to Runescape, video games and even music - from it? What is left?

Runescape was, and is not a real place, but these are very real feelings.

[amazoniantreestump]

✷ 𝓦𝓔𝓔𝓚 3 - 𝓛𝓸𝓸𝓴𝓲𝓷𝓰 𝓪𝓽 𝓮𝓶𝓫𝓸𝓭𝓲𝓮𝓭 𝓬𝓻𝓮𝓪𝓽𝓸𝓻𝓼.

Alongside my flaring interest in the plunderphonic style has been my discovery of an album that has quickly become one of my favorites; released 23 November 2023: Mimosa.

A collaborative effort from Brazilian artists cabezadenego, Mbé and Leyblack, the album uses energetic sampling of Afro-Brazilian music new and old, particular the genre Baile Funk, a music genre of hiphop and Miami Bass sensibilities that originated from the Rio de Janeiro slums - or favelas - in the early 1990s, with a jumpy, vulgar and generally fun attitude.

The sampling approach, as well as very straightforward lyricism about gay sex; entails an incredibly danceable musical experience of black queerness in Brazil: And for me, a window into a part of me nearly forgotten. Not the black part, though. I'm pretty olive.

TRANSLATED FROM A DECEMBER 2023 GABINETE ARTICLE (found on Instagram)

I made an effort to translate this myself, rather than use Google.

I ended up having to search up the translations for the words sintonia, autodenominado and faixas; overall, a nice turnout!

MIMOSA é um disco manifesto e de celebração da tentativa falha de apagamento da cultura e dos ritmos afrobrasileiros que foram, e são, marginalizados e perseguidos desde a formação do país. A sonoridade experimental inteiramente composta por samples constrói uma linha do tempo, uma cronologia, desses ritmos: desde a macumba - sendo a raíz de tudo - passa pelo drum n’ bass e o miami bass, até os funks que são hits hoje no Tik Tok. Com muita sintonia e criatividade, o trio de artistas, a partir de uma residência artística na Espanha, formam um novo time, autodenominado por Luiz Felipe na nossa entrevista como um grupo de jazz cronologista. ‘Mimosa’ possui 14 faixas e está disponível em todas as plataformas digitais.

MIMOSA is a realized album and a celebration of the tentative failure in erasure of the culture and Afro-Brazilian rhythms that were, and are, marginalized and persecuted since the nation's founding.

The experimental sonority, entirely composed from samples, constructs a timeline, a chronology, of these rhythms, from the macumba (Afro-Brazilian religious practice) - being the root of everything - to drum n' bass and Miami bass, even the funks (Brazilian funk songs) that are hits on TikTok today.

With much syntony and creativity, a trio of artists, from an artistic residence in Spain, formed a new team, named by Luiz Felipe in our interview with a chronologic jazz group.

'Mimosa' has 14 varieties (referring to songs) and is available on all streaming platforms.

"For me the sample has the function of reframing (?), you recount the history via a new perspective [...] I find that the sample has a profound connection with black culture through its principles [...] it is based on our very own history. And the sample for me isn't just in music, it is in the argument; you can sample video, you can sample ideas, you can sample words, the way in which we created this project was entirely sampled."

𝓓𝓮𝓿𝓮𝓵𝓸𝓹𝓶𝓮𝓷𝓽 ✶

The namesake - and sampling style - of my mapping piece draws from Replica, a 2011 plunderphonics album by Oneohtrix Point Never. In this work, artist Daniel Lopatin sampled 80s-90s television advertisements, layering them over thick synthesizer ambience to create a cultural reflection of a bygone time period.

Weingarten, Christopher (October 2011). "Download: Oneohtrix Point Never's Buzzing 'Replica'". The Village Voice.

This philosophy is most apparent in the song "Nassau".

After a day's worth of tinkering in the free audio software Audacity, I finished a 'replica' of my own:

[brasilcalling]

cabezadenego, Mbé & Leyblack - Mimosa

The term disco-manifesto is used to describe the unique sound created by cabezadenego, Leyblack, and Mbé in their joint project “Mimosa” (2023, QTV). The interpretations vary, and the trio’s artistic journey defies a straightforward definition. Born from a collaboration between the multi-talented artist from Minas Gerais and the Rio de Janeiro producer duo, “Mimosa” starts with a fresh take on…

[gazeta24br]

MIMOSA é música, mas vai além. É antropologia e arqueologia musical que resgata a sonoridade e o movimento dos corpos negros brasileiros, seus ritmos e linguagens múltiplas. O álbum de estreia do projeto que une os artistas Mbé, Leyblack Beats e Luiz Felipe Lucas surge como fruto de um mergulho sobre as origens de seus criadores, ainda que realizado a grande distância, durante a imersão em uma residência artística na Espanha. O resultado é um disco-manifesto sobre a potência dos ritmos afro brasileiros: do terreiro ao samba, passando pelo hip hop, drum’n’ bass e pelas diversas vertentes do funk. O lançamento do álbum “Mimosa” é do selo QTV, já disponível nas principais plataformas. Ouça “Mimosa”: https://found.ee/cabezadenegombeleyblack_mimosa Ouça “Mimosa” no Bandcamp: https://qtvlabel.bandcamp.com/album/qtv064-mimosa É a partir da criminalização do funk que os artistas se debruçaram sobre a opressão histórica às manifestações artísticas afro-descendentes no Brasil. Retornando aos preconceitos sancionados pelo Estado - como uma lei anti-vadiagem que se traduzia, na verdade, na ilegalidade da capoeira e de outras manifestações culturais - para contar uma história de silenciamento. MIMOSA é um projeto que celebra a resistência e a criatividade da música negra. “O samba foi tratado como sinônimo de vadiagem até o governo de Getúlio Vargas. Na época, andar com um pandeiro ou outro instrumento de percussão podia dar até 30 dias de cadeia. No MIMOSA encontramos a conexão direta com a atualidade da criminalização do funk com a história das opressões voltadas para as manifestações artísticas afro descendentes no Brasil”, os artistas analisam. Para personificar essa pesquisa sonora, MIMOSA introduz um personagem que representa a negritude em suas diversas formas. Estampado na capa do disco, cabezadenego é brincalhão, transgressor e desafia estereótipos, criando uma nova narrativa. Criado inicialmente para manifestações de rua com sua tanga, pintura facial e camisa amarrada à cabeça, ele foi pensado para colocar uma lupa nos estereótipos que o corpo carrega, seja o da da bicha preta ou o do homem negro, relacionadas com o medo e com o desejo. cabezadenego é uma conexão de mundos, uma espécie de Exú. Aparece, some, faz artimanhas inimagináveis, conecta, leva, traz, gira, brinca, se diverte. Não é bom e nem mau, é meio humano e meio entidade, um super-herói. Assim, conecta o ancestral e o moderno na pesquisa sonora de MIMOSA. “Começamos nossa investigação para construção de samples, que contam essa tentativa sistêmica fracassada de acreditar que essa repressão fosse possível. Essas canções existem até hoje e fazem parte do imaginário coletivo cultural na identidade do Brasil. Trabalhamos a partir de uma cronologia que começa pela saída dos primeiros sons dos terreiros de macumba pra fora daquele ambiente até os bpms acelerados que movimentam as redes sociais de agora”, eles resumem. As três cabeças de MIMOSA se uniram no final de 2020, quando Luiz Felipe Lucas (o cabezadenego) encontrou uma crítica no jornal El País Brasil sobre o álbum “Rocinha”, de Luan Correia, o Mbé. Após se conectarem online no auge da pandemia, Luan apresentou o projeto ao beatmaker Wesley Souza, AKA Leyblack Beats. Suas trajetórias pregressas somaram-se em um projeto coletivo que reúne diversas vivências artísticas. Mbé traz sua formação em cinema, música e engenharia de som, com uma carreira que começou com produções para o coletivo de rap Justa Causa, passou pelo duo de noise O Só e culminou no álbum solo “Rocinha”, onde explorou a experimentação com boa recepção da crítica no Brasil e exterior. Já Leyblack Beats começou sua carreira artística como guitarrista em shows e festivais. Em seguida, passou a produzir beats para o coletivo Justa Causa, onde conheceu Luan. Hoje, Leyblack Beats é um produtor musical versátil, que trabalha com artistas de reggaeton, R&B, rap e também produz temas comerciais. Por fim, Luiz Felipe Lucas é um artista performático brasileiro-espanhol, especializado na técnica física de Jerzy Grotowski.

Em sua carreira, trabalhou com artistas renomados como Marina Abramovic e é membro fundador dos coletivos Legítima Defesa no Brasil e Tinta Negra na Espanha. Atualmente, Lucas está trabalhando na representação de sua performance “El Tiro”, que estreou em 2020 em Barcelona e foi continuada em Viena. Foi através da Convocatória Aberta Permanente do Etopia Centro de Arte e Tecnologia, situado em Zaragoza (Espanha), que os três se dedicaram exclusivamente à concepção e realização de “Mimosa”, o disco de estreia. A ideia inicial era realizar uma mixtape sobre a cultura funk dos anos 2000 e recriar, com a visão dos três artistas, o período em que o gênero ganhou mais exposição midiática e passou por transformações tecnológicas. “Quando nós chegamos nos laboratórios do Etopia, as novas ideias começaram a pipocar, e entendemos que não podiamos falar de funk sem falar dos ritmos negros na historia do país e de uma maneira que ainda não tinha sido explorada”, relembram. MIMOSA se estabelece como uma celebração da história e da diversidade da música negra, oferecendo uma nova perspectiva sobre a cultura funk carioca. O trio coloca-se como um trabalho centrado na negritude, em que três homens negros se reapropriam de sua música e cultura e transformam em som o candomblé, a favela e várias formas de negritude visíveis e invisíveis. “É um projeto sobre um movimento. Sobre movimentar. O funk é um um movimento constante, a música preta é um movimento constante, a diáspora também é um movimento constante, não tem fim, não se finda na geografia ou em fatos históricos. Então a última música não é o final do projeto. Depois dela, tem a continuação na cabeça de quem escuta, nas cabeças de quem criou”, eles resumem. Ficha técnica: direção musical: cabezadenego produção musical: Leyblack e Mbé intérprete: cabezadenego mixagem: Mbé e Renato Godoy nas faixas 1, 6 e 10 master: Igor Ferreira e Renato Godoy na faixa 1 fotos capa/contra capa: Jordi Otix projeto gráfico: Lucas Pires texto: Bernardo Oliveira e cabezadenego produção qtv: Bernardo Oliveira, Luan Correia e Mariana Mansur teaser e curta-metragem: Julio Limiro visualizers: pinheirin Projeto realizado no Laboratório de sonido LIA en Etopia Centro de Arte y Tecnología — Zaragoza/España 2022/2023 Acompanhe Mimosa: http://instagram.com/mimosa2k http://instagram.com/lek.mbe http://instagram.com/leyblackbeats http://instagram.com/luizfelipelucas

[andyilbello]

😍😍😍

Ne avrei un disperato bisogno ADESSO!!!

[turuin]

Io vorrei solo che si potesse ritrovare da qualche parte il meraviglioso libro "Chaltron Escon" di Tommaso Labranca, ormai andato perduto e mai più ristampato, letto ormai quasi due decenni fa (se scendo dai miei e lo ritrovo, lo scannerizzo) il quale aveva un intero paragrafo dedicato alla bruttura della trasformazione di "fica" in "fiGa" e "cacare" in "caGare". Ciò detto, se con la F deve essere fiCa. Se invece il termine d'uso è regionale, vale tutto: topa, bernarda, pucchiacc', ianua diaboli, e vieppiù tutto l'elenco fatto da Benigni in quello storico video. Menzione d'onore per il calabro/siculo sticchiu e anche per cunnu, che in quel di Catanzaro usiamo anche per apostrofare le persone di scarso acume intellettuale (mbé cunnu!) Oh, poi ognuno la chiami come vuole, basta che la si mangi.

Ma la gente che dice 'che topa' x dire 'che figa'? Ma neanche Boldi e De Sica

[notesfromasmallworld]

"It's meee!" For the children of the leoper colony on the outskirts north of the small town of Mbé visitors are few. As a show of support against the stigma that people treated and free from leprasy are unclean and 2nd class fellow humans, we visited the isolated small village. We were warmly welcomed and showed around, and photographs were taken. Modern digital cameras with screens you can see the results immediately was a popular novelty. It was the Norwegian doctor and scientist Gerhard A. Hansen that identified the origin of leprasy and developed the first modern treatment. Modern medicine can effectively eradicate this 4000 year old curse to humanity, but there are still some regions of the world were it exists. https://en.m.wikipedia.org/wiki/Gerhard_Armauer_Hansen #boy #village #villagelife #lepra #lepracolony #visit #selfie #children #joy #mbe #Mbé #roadtrip #countryside #cameroon #NikonD800 #D800 #Nikon #Nikkor #85mm #f1_4 #centralafrica #westafrica #people #excitement #2015CE #Kamerun #cameroon #africa #mbe #Cameroon #ngaoundere #selfie (ved Mbé, Extreme-Nord, Cameroon) https://www.instagram.com/p/BF7lBfkD-uh/?utm_medium=tumblr

[feralscribe]

"dénae-su inso ara mbé a lóg duit íarum" = "do this so that you may have its reward afterwards"

I keep this quote on the wall above my desk to motivate me to do work but it's clearly not working since I started this blog instead

[cumbercookiebatchs]

:)

"che cazzo te guardi ao?"

"Manuel, so le dieci di mattina"

" 'mbé?"

" te stai a magnà e tortellini de ieri pe colazione, n' c'hai diritto de esse te quello perplesso"

"A simó e c'hai rotto er cazzo. E abbassa sta voce che me fa male la testa"

"È normale se te combini come er cesso"

"oh non fa l'astemio de sto cazzo che ieri stavi peggio de me"

"e perché io non sto combinato come a te stamattina?"

"perché sei stronzo".

[pollicavalvantis]

Mimosa - cabezadenego, Leyblack e Mbé

[soundsandcoloursmagazine-blog]

On The Margins – Brazilian Music Round-Up (Mbé, Romulo Fróes, Forró Red Light, Blue Beast, Gimu and more) https://ift.tt/3AHCPB5

[taumada]

(via QTV048 – ROCINHA | Mbé | QTV Label)