Entretiens avec The Cure

Tom Waits - In the Neighborhood
(We have to stop somewhere, and where better than alphabetically? Finally, from one of the greats, a song from Swordfish Trombones, an album that drowned post-Cure show ? around the world, through the 1980s and beyond. The very magical Tom Waits and In The Neighborhood.)

Suzanne Vega - Small Blue Thing
(Next is one of the most beautiful songs from one of my all-time favorite artists. Cool and smooth and curious. This is Suzanne Vega with Small Blue Thing.)

Sugarcubes - Birthday
(Next up is one of those Peel show songs. Like White Riot, or Alison, or One World, or Waiting In Vain, where I just stopped, and listened. This is The Sugarcubes. The Sugarcubes and Birthday.)

Soft Cell - Tainted Love
(The next song is a bit of an obvious pick. It's probably on more 80s collections than any other song I can think of, but it does, somehow, for 3 short minutes, manages to whirl me back 27 long years. This is Soft Cell and Tainted Love.)

Siouxsie & The Banshees - Dear Prudence
(It was going to be a song called Christine, which is a gorgeous song, but then I came over all psychedelic and sentimental. So, from Robert Smith & the Banshees, this is Dear Prudence.)

Psychedelic Furs - Heaven
(Next up is another seminal 80s track but so much more than that. Another really outstanding band, instantly recognizable sound, 3 great albums in a row, cool tunes, cool words, cool shades, so how come Richard Butler didn't end up owning the world, too? This is the Psychadelic Furs, and Heaven.)

Prince - Starfish & Coffee
(Psychedelic rhymes, backwards drums, harp drills, hand tambourines, surf harmonies. This is so 196...80s, it hurts. From one of the really great albums of the decade, this is a song that reminds me of a particularly lovely time in my life. Prince, with Starfish & Coffee.)

The Pretenders - Don't Get Me Wrong
(Next is another of those songs that just jumps out and gets you. It doesn't happen that often, but when it does, ow!, love at first listen. One of the best feelings in the world. Voice, melody, structure, and the sound of this song. Don't Get Me Wrong, The Pretenders.)

The Pixies - Gigantic
(Next up from another one of the best bands I ever saw or heard, going on after them on the Prayer Tour in 1989 pushed the Cure to a new level and they'd really only just started! This song sounds heartfelt, effortless, carefree, gorgeous and fun, and it always makes me feel very very happy. Cue the best stick-click intro ever, this is the Pixies, and Gigantic.)

Yoko Ono - Walking On Thin Ice
(The next up is yet another post-show Club Smith 3 am favorite, one of the all-time great weird late night singalongs. I, I, I love this song, even the rap bit! This is Yoko Ono, Walking on Thin Ice.)

New Order - Everything's Gone Green
(Next up is another song that was a Steve Severin "Clockwalk Club flap Christmas" (?) staple. I hold on to my picture of this as it was then - possible and New Order, Everything's Gone Green.)

Mel & Kim - Respectable
(What can I say about the next song? One of those secret, guilty pleasures? Except it's not secret and I don't feel guilty, BUT it is a pleasure, not many days went by on the Cure Kiss Me tour in 1987 when this wasn't played very very very loud. Mel and Kim, Respectable.)

My Bloody Valentine - Lose My Breath
(Next song up an absolutely beautiful piece of music from one of my all time favorite groups. I particularly love the way in this song that the sound of every breath being taken is the loudest thing in the mix. Absolute genius. This is My Bloody Valentine and Lose my Breath.)

Madness - Return of the Lost Palmas Seven
(The next song's one of those "I can't help it, I just love it" things. 2 and a half minutes of "sharp suited, out with the naughty boys, good time music" Another song I almost learned to dance to, this is Madness, with the Return of the Los Palmas Seven. Waiter.)

Chaka Khan - I Feel For You
(There were more than a few songs in the same kind of style as the next one. Whatever the kind of style is or was. And in the right place, at the right time, in the wrong mind, I could really enjoy this kind of style a lot. This song in particular stuck with me, as it was, and is, one of the best examples of this kind of style. Despite the rapping. )

Joy Division - The Eternal
(Another song that would have to be in my Top 30 of all time. Although this is the sound of the end of the 70s, it was the sound of the start of the 80s. It's effects on me as an artist, and an individual, were pretty profound. It's one of the saddest, and best, songs I ever heard. This is Joy Division and The Eternal.)

Jesus and Mary Chain - Some Candy Talking
(The 1960s via the 1970s via the 19880s or something. So much fun, too much fun. This is the Jesus and Mary Chain, Some Candy Talking.)

Human League - Human
(From one of the giants of the 1980s, yet another song that would be there in my Top 30 of all-time, I think. The group that kind of did what we did. Went from underground to overground. As soon as I heard this song, I fell in love with it. And despite, or maybe because of, the four line Yorkshire rap in the middle, I still love it. Very loud and very often. This is The Human League with Human.)

Peter Gabriel - Red Rain
(While Sledgehammer caused a much bigger stir, it was this next song that moved me a lot more. Another seminal sound & vision. The vast gated drum reverb, the auto wah sub-bass, and on top of it all, the voice of Peter Gabriel singing Red Rain.)

Echo & The Bunnymen - Killing Moon
(Next is another song that would make my Top 30 of all-time, I think. One of the mysteries of the 1980s, as a decade, is how it ended up with so many idiots on top. How come Ian McCulloch didn't trip? until 1990 ruling the world? This is Echo & the Bunnymen and The Killing Moon.)

Dinosaur Jr. - Freak Scene
(Would make his Top 30 of all time. The sound of the 80s turning into the 90s. One of the best guitarists he's ever seen.)

Depeche Mode - Personal Jesus
(Really fun watching them grow from a tiny synth pop band into a huge synth rock band, with at least one great single on every album. This is probably one of the best.)

D.A.F. - Sex Unter Wasser
(Another Severin flat memory. This had a strange influence on the Glove project, but he's not quite sure how.)

Christina - Things Fall Apart
(takes him back to Steve Severin's flat during Christmas 82.)

Cocteau Twins - Persephone
(played their album Treasure as he was getting ready on his wedding day.)

Kate Bush - Cloudbusting

Bananarama and Funboy 3 - It Ain't What You Do
(It's the Way that You Do It)

David Bowie - Lets Dance

The Associates - Tell Me It's Easter on Friday

ABC - Look of Love




Over Memorial Day weekend, Sirius XM channel First Wave (Sirius 22 - XM 44) will present "4 For The Cure Memorial Weekend" - 4 days honoring Robert Smith and The Cure! Tune in to hear an exclusive, unreleased 3-hour Cure concert from LA's Hollywood Bowl recorded May 31st, 2008. It airs May 22nd at 6:00 PM Eastern Time. It will be re-broadcast on May 23rd at 12 Noon EST, May 24th at 10 PM EST, and May 25th at 4 PM EST.


Then on May 24th at 11:00 AM EST, listen in at First Wave host Richard Blade interviews Robert. They'll be discussing the band's music - new and old, song writing, recording, and playing live.


Additionally, Robert will guest deejay throughout Memorial Day weekend, introducing Cure songs and offering his insights into the band's music, including the New Wave classics "Let's Go to Bed," "Just like Heaven" and "Friday I'm in Love," as well as presenting his very own 'Top 30 of the 1980's'!


Get a three-day free trial of SiriusXM to hear the concert, Robert Smith's 1980's Top 30 and other programming by clicking on http://www.sirius.com/1stwave and then selecting “Free Online Trial."

Here is my attempt at transcribing the (very short) RS interview.
I am sure this was shot backstage at the Vieilles Charrues Festivals in France in 2002
(other interviews filmed there aired on French TV at the time)

"The fact is that you stop asking questions when you get older you know, for a variety of reasons.
Usually because you get a family and your perception changes.
I haven't got any children and I think in that way,
on a very fundamental level my perception of my place in the world
has remained the same since I was a teenager so in that,
I think there's a connection between what I write and people over a certain age
who are probably starting to question their own existence.
I mean I still do, that sounds absurd and I realize that's actually part of the problem you know."

"It's really nice how they appreciate, even if they don't really like The Cure that much,
most of the other bands at the festivals appreciate(?) for us to still be doing this so there's a certain respect there.
Because (?) still a certain amount of integrity. We kind of do thing because we want to do them."

Interview de Dave Allen pour le fanzine Anomalie en 92
Propos receuillis à Londres par Muriel Drouineau

je l'ai ce fanzine !!

COF : "In keeping with the theme of celebrating 30 years of 'A Forest', here's an interview with Mike Hedges from Dec. 2004, that was published in Sound on Sound magazine."


CLASSIC TRACKS: The Cure 'A Forest'
Producers: Robert Smith, Mike Hedges

http://www.soundonsound.com/sos/dec04/articles/classictracks.htm?print=yes&session=3d0a07264f2fa3bf0f9d8f82aa749b14/[b]

Interview Dave Allen BBC6

http://www.birdmadgirl.com/daveallen/20100519-interview-daveallen-bbc6music.mp3

Super interview avec Andy Anderson

qui n'avait plus donné d'entretien depuis 92 !!!!


C'est sur APD http://www.apinkdream.org/viewtopic.php?t=15338


Et en même temps, vous pouvez écouter sa musique sur son MySpace



C'est bien cool, electro avec la pêche

Merci pour le lien, pour l'interview j'espère une traduction
par ce que mon anglais est proche du nul!

Ca y est c'est dans la Boîte !!!!

http://www.guardian.co.uk/music/2011/sep/10/robert-smith-the-cure-bestival

Bon interview
et Robert en dit un peu plus sur la chanson "A Boy I Never Knew"

The Bestival headliner despairs at the riots, wealth inequality, and the UK 'sliding into a police state':
just don't ask him to write a song about it

Louis Pattison
The Guardian, Saturday 10 September 2011

Ca y est je l'ai lu. Les scans sont réduits mais ça en vaut vraiment la peine.

http://www.pbase.com/craigparker/uncut_december_2011

Suite à Reflections, Robert parle de son rapport avec les anciens membres,
ainsi que de ses idées pour un prochain album.

*) Robert avait besoin de faire une vraie pause. C'était la première fois.
*) Il y a cinq six chansons du "Dark Album" qu'il aime vraiment bien (et qu'il a envie de "releaser")
mais il trouve qu'il n'y a pas assez pour sortir un album
et il s'imagine difficilement retravailler dessus après deux ans.
*) Il aimerait bien faire un album en un morceau en changeant les rythmes et l'harmonie progressivement comme les mouvements d'une symphonie.

Ça me fait penser à l'album qui a été à moitié fait juste avant Bloodflowers et dont quelques morceaux sont sortis quatre ans plus tard sur Join The Dots.

J'imagine qu'il y a des chances qu'ils fassent un tout nouvel album qui sortirait dans deux ans.
Je me demande s'ils vont réenregistrer The Boy I Never Knew une troisième fois.

Il n'y a pas de nouvelle de Porl. Cela dit on peut lire entre les lignes qu'ils restent en contact.

Interview with Lol Tolhurst of The Cure

November 19, 2011

http://www.bigwheelmagazine.com/interviews/interview-with-lol-tolhurst-of-the-cure/

Interview by: Louie Bones
Big Wheel Staff Reporter

Big Wheel touched base with Lol Tolhurst to discuss the highs, lows and new found reality of playing in the worlds most successful post-Punk band of all time – THE CURE

First of all thank you Lol for taking the time with us, we appreciate your time.

BW: Fans all over the world are extremely excited that you are playing keyboards in The Cure for these special set of shows (Many flying in from all over the world to witness this small run of gigs), can you tell us how "Reflections" came about? Was it something Robert put forth, or were you pushing to work together with The Cure in a live capacity again?

Lol: I wrote to Robert last year and said how much fun I had playing the Three Imaginary Boys songs with Michael on the last Levinhurst tour. We played them alongside our regular set. I have always loved the songs I did with The Cure. Robert had been offered the Vivid Festival in Sydney, so he suggested we could play the first three albums there to make a special event.
He was the motivation behind this tour and he's done an excellent job I think.

You have played either drums or keyboards on every Cure recording from 1979's Three Imaginary Boys to 1987's Kiss Me Kiss Me Kiss Me; your contributions played a role in the huge success the band saw throughout the 80's, which many consider The Cures 'first golden era'. How many years went by before you and Robert began to become friendly again? How did that come about, and was playing with The Cure again something you imagined a possibility?

I think that it was quite a few years ago that we started talking again. I had written to Robert and we met up when The Cure played in LA. I've lived here since 1994. When my first marriage was dissolving and the court case in the UK had finished I wanted to go somewhere, anywhere else!

I've been asking myself recently why I live in LA and I think it's because the first tours we did in the US in the early 80's were some of my favourite times in my life. I felt very happy here so it's a natural progression to live here. I think I found the freedom to be me again here and got rid of some of my demons too. I love to go to the desert because for me it is a very cleansing spiritual place.
Out there I discovered that anything is possible. I believe if you change you, you can change what comes into your life. So as I became more positive and healed so was my life! For instance I now have a wonderful married life and a measure of serenity that I never felt before, or maybe I just grew up a little! It certainly helped me make amends with Robert and others I had hurt and that helps make things right again.

It is known that you weren't at the top of your game musically speaking during the Kissing Tour and making of Disintegration; you had an alcohol problem which led to you exiting the band. When did you begin to overcome your demons and start making playing music again a priority? How was that transition, was it difficult adjusting to normal non rock n' roll tour life?

I have been clean and sober for over 22 years now, I don't smoke and I'm a vegan (I also exercise regularly!) so the polar opposite of my early life!
Robert made the observation to me when we were in Sydney this year that at the time we were living pretty much on the edge and didn't know what might happen so we had to live to the full each day. I still live for the present moment but a lot less destructively!

He also observed that every one around us would party for a day with us in their town then recover but we were on the road doing that nearly every day for years! We never got a break!

I think what happened was kind of inevitable. The intensity of those early days made it almost certain that something or someone would break!
I was mercifully able to find the way out of that particular maze for which I am eternally grateful to many people but especially Robert. I feel he saved my life by firing me. It forced me to find a solution to my problems and join life again. He had to do that to get me to wake up really.

It wasn't hard so much to go back to normal life as to find away to do music again without the insanity. I think I was afraid I couldn't do it again but I found the truth is you're able to be much more creative when you’re not preoccupied with the stupid stuff and trappings of the rock and roll "lifestyle"!

Of The Cure albums you played drums on, which are you most fond of and why?

Pornography is my favourite because of the great sound of the drums and the whole record! The way we recorded the drums gave them such a big huge sound it was beautiful. The drums on that record are like a monolithic mantra!

Of The Cure albums you played keyboards on, which are you most fond of and why?

I think my keyboard skill is pretty minimal. Both Roger and Robert are able to play keys much better than me! But I do love making sounds and atmospheres. We were lucky enough to have some of the first samplers and new tech for keyboards in the 80’s so on Kiss Me’ and The Head On The Door and( The Top a little ) we were able to use unusual sounds that nobody else had that's what I like to find and do. They are endlessly fascinating to me. I have a mod can modular synth at home and the same sound never comes out of it twice!

Which Cure record after your era are you most into?

It's different for me as I wasn't involved in making them! I like certain songs rather than whole records because of that. Mostly Wish and Blood Flowers songs but 4:13 (Dream) has so ones I like too.

Can you describe what it was like stepping into the rehearsal space with the band for the first time in over 20 years? What thoughts were going through your head, and how emotional of an experience was it? Did you feel the way the band prepares and works together had changed much? Did things come together quite natural and "easy"? Are you currently using a keyboard/synth (what kind) that you used live on previous Cure tours? (All the musician/gear/tech nerds out there would love to know)

It was a wonderful emotional experience to work again with my childhood friends Robert and Simon and good to renew my friendship with Roger and great to get to know Jason better as he is a very good man and drummer for The Cure to have. I think that the work ethic of the band is stronger and more professional now in some ways and in others the process is as it always was! It has been very easy to get used to playing again on stage as my memory on stage is that Simon is always in front of me with Robert so that it feels very natural to be there! We are using nothing that I used twenty years ago keys wise but I do have roto toms!

You have known everyone in this lineup of The Cure for over 24 years or more, having played with Robert and Simon even longer. Jason Cooper (drums) is the only member in which you are playing with for the first time this year (joined a few years after Lols departure). Are there any noticeable differences to you in the way or style he is drumming on songs you originally tracked in studio and played live on?

Jason is a very capable and creative musician and I am amazed by his versions of songs I played on! He has everything down and adds his own style too. Plus he is such a pleasant man. This tour I am facing him on stage and that's a great way for us to integrate together very tightly. It’s a joy to play with him!

If for any reason Jason Cooper had to sit out the Reflections Tour, could you easily get behind the kit and drum all those classic songs again?

It’s like riding a bicycle! But I am very happy that Jason is there to play such a long set as he's younger! But seriously he's The Cures drummer and that's the way it should be.

The Cure have toured through Los Angeles more than any other British band, having played just about every small venue in town to giant arenas and stadiums along the way. Los Angeles crowds have remained loyal to The Cure for years, why do you think The Cure and LA get on so well? What are your earliest memories of touring through LA and what was that experience like for a young band 6,000 miles away from home in your early 20's? Any fond memories or strange occurrences on some of the larger tours where you guys headlined Irvine Meadows or The Forum in Inglewood?

As I said before I realized recently the fact I loved the early tours through Los Angeles etc and I think that is one reason there is that bond. We were always welcomed here. We also played some of the small clubs before we played Irvine meadows etc which makes people identify with you like a local band. That made us like adopted sons and I think that's why we understand each other if you like.

What are your immediate plans regarding playing music after Reflections last show, is there more Levinhurst music for fans to watch out for?

I have been recording some new Levinhurst songs recently and I'm sure they will be out next year with some shows too. I try however to stay in the present, it's pretty dynamic place to be right now!

Big Wheel would like to thank Lol for his time, and most importantly for playing on some of the greatest albums of all time. Much like the 8 thousand or so fans that scored tickets to see The Cure next week in Hollywood, we look forward to witnessing such historic concerts as well as bringing our readers the best coverage possible. See you at The Cure Reflections' shows!

The Berklee College of Music has a new interview with Reeves.
http://www.berklee.edu/news/4579/alumni-profile-reeves-gabrels



After spending more than a decade as David Bowie's guitarist, Reeves Gabrels had settled into a quieter but still quite active phase of his career, writing and producing his own material, composing soundtracks for films and video games, and stretching his improvisational prowess while peforming periodically with Boston-based Club d'Elf—a genre-defying band that embraces everything from jazz to hip-hop to electronica.

The Berklee alumnus kept in regular contact with the Cure's Robert Smith (with whom he collaborated in the '90s on the Cure's "Wrong Number" track and the side project COGASM), but mostly about making dinner plans while both were in London. The dinner never materialized but their last email exchange had the effect of bringing Gabrels back out into the spotlight. On short notice, he accepted Smith's invitation to join the Cure for its European summer tour, and it's a role the idiosyncratic rock guitarist has embraced wholeheartedly.

Looking back on the forces that have influenced his music and provided him with a solid foundation through such a wide-sweeping career trajectory, the Nashville-based, Grammy-nominated artist counts Berklee high on that list. He arrived on campus more than 30 years ago by way of New York, thanks to encouragement from alumnus John Scofield '73, who was giving him private lessons at the time. He credits Berklee for expanding his harmonic approach to guitar and he continues to bring that sensibility to his music today.

While stopping over in London during the Cure's summer European tour—just back from Moscow and heading to Sweden—Gabrels shared some highlights from reuniting with Smith, how Berklee gave his music more dimension, and aspirations to return to his alma mater to complete his degree.

The following is a condensed and edited version of that conversation.

How did you and Robert Smith reconnect?

At the end of April, he emailed: "What are you doing this summer? For the whole summer?" I said, "If you're asking what I think you're asking, nothing that can't change." He said, "This is what's going on. I'm the only guitar player and I really miss having a wingman." He said it would only be 30 songs. It turned out to be 52 songs. I think I had just under two weeks to learn them. I got here and I think we whittled those down to a primary core of 40 songs.

What's it like working with Robert again?

Robert has a very distinctive guitar style. He's a very interesting player. For a good portion of the night, I'm in a support role, which is an interesting experience. Usually I'm the guy out on the ledge. Now I'm the guy holding the shirt of the guy on the ledge so he doesn't fall.

What are the set lists like?

It's been across the board spanning the Cure's 30-year history. We've gone very deep into their catalogue, including some B-sides they haven't played live before. When I checked out [their catalogue] album by album, at least a couple of songs on every album went into the mainstream consciousness. The audience is just amazing to see, probably 12-year-olds to people into their '60s, all singing along.

What about your time with David Bowie?

I learned a long time ago with Bowie that when you're working with an artist who has a history of well-known songs, there's an obligation [to be faithful to the material]. Ego is an interesting thing. You have to sublimate yourself to the music to do the job right.

When I got in there, my responsibility was to move the music along, not to restate it. When I was there, he let me work so my music fit with new material. It was a really good run. I wrote like 50-something songs in that span of time, recorded seven albums, and produced half of those.

Talk about your work with Boston-based Club d'Elf and how that compares to your latest gig.

That's kind of where I'm happiest. I have time to meander and harmonically poke at things, make the music interesting. . . [Now, with the Cure] I'm trying to refine that down to opportunities where I can hit that one note that throws the world off its axis for two bars. That's the challenge. On other hand, Robert and the band know my playing. It's a nice situation. There were two songs we played Monday night that I had only played with the band once. I like the adrenaline and risk-taking aspect of that. On other hand, for me it's easier to take chances in front of 60,000 people versus two people in a room.

What brought you to Berklee?

I wanted to know more about harmony and expand my harmonic knowledge. When I went there it was still more of a jazz school and the rock stuff was just starting to rear its head. . . Back in the late '70s and early '80s, all the guys who were doing innovative and cool stuff seemed to come through Berklee as far as guitar players. When I got there, Mike Stern was just graduating. I went there at the same time as Steve Vai. Bill Frisell started taking over Mike Stern's gigs when Mike got a gig with Miles Davis. That was the environment I was in and those were the guys I was looking to for trailblazing.

It was a great place to learn. . . [As a result] whatever it is I do is probably harmonically more expanded than your average rock guy. John Scofield said when I was 22 or 21, "You already know all the guitar licks. You should be listening to sax melodies and keyboard players' left hands."

Any pivotal moments at Berklee?

It was at the end of my first semester, and I was a little bit in shock because I was not a real sight-reader and I was coming up short getting into ensembles. I was sitting in the hallway one day and Mike Hatfield was teaching a vocal ensemble. He asked if I wanted to sit in on the ensemble because the guitar player just wasn't showing up. I said sure, and went and did it and it was fun. He said, "Why not come back next week and if the guy doesn't show up, I'll sign you in as part of the class." It became one of my classes. I was able to get in the same thing with him the next semester. He gave me my first set of 7s and 8s (ratings) so then I could get into other ensembles. It's just like any other break you get out there in the real world. Mike kind of gave me my confidence back after having it shaken.

How do you bring some of the lessons you learned at Berklee to your playing?

How this relates to the Cure is through the harmonic possibilities in their music. It's there and it's available, because they like to twist it. They like to throw the curve ball into the music, and there's a lot of space where I have the option to create interesting textures. . . But I have to also hit the [crux] note right off the bat. I have to find the right spin to put on the ball. I've got an obligation. It's about the songs and the lyrics. I don't want to ruin that for anyone. I have to play guitar parts that are attached to songs, but certain songs I can stretch out and there's plenty of solo room. I love the music and l love Robert. I don't want to do a disservice to the music.


Here's a fan video of Gabrels performing "Wrong Number" with the Cure at the Pinkpop 2012 festival in Maastricht, Holland this May.
https://www.youtube.com/watch?v=4M8A0pbbPWo&feature=youtu.be


I heard you're looking into completing your degree here.

I would like to pursue finishing. I left mid-semester—I was here five-and-a-half semesters—because I was working too much in bands. Guitar playing is just something I do. What I was really interested in here was harmony and arranging, advanced modal harmony. I had an 11-piece horn band at one point.

I've probably done 10 film scores, and scores for TV. I'd like to hone that skill a bit. Studying film scoring might be the way to go. I enjoy that. I like the solitary nature. It's a completely different beast. When I'm scoring stuff, I tend not to use the guitar all that much. I like writing for strings or acoustic instruments or just pure electronics.

Déjà posté par Le Clan !

https://freecurist.forumactif.com/t2481-heineken-jammin-festival-5-juillet-2012#49515

Bon, il l'a mis hors topic, mais c'est le boss et on est free, alors on a pas protesté. D'aillleurs, mieux vaut ne pas se le mettre à dos, on sait pas comment ça pourrait finir...

Kotyk a écrit:

Déjà posté par Le Clan !

https://freecurist.forumactif.com/t2481-heineken-jammin-festival-5-juillet-2012#49515

Bon, il l'a mis hors topic, mais c'est le boss et on est free, alors on a pas protesté. D'aillleurs, mieux vaut ne pas se le mettre à dos, on sait pas comment ça pourrait finir...

Ah oui pas de souci je n'avais pas vu.

Ici c'est plutôt la version Collector, moins pour discuter mais plus pour se recueillir.

Ha ha, j'aime être craint ! M'enfin je pourrais aussi apprendre à poster dans les bons topics.

http://dai.ly/Mis8a6

merci jello enfin une interview sous-titré !!!!
le gros est toujours aussi space j'adore !!!!

Merci Jello Biafra je rejouins cureman très bon moment