Words and Music with Wynton Marsalis and Darren Walker

[Music] so I have the great privilege the great honour of introducing a creative genius a man who is known around the world as one of the great gifts of America to the world of art and culture and music please join me in welcoming the indefatigable in imitable and brilliant Wynton Marsalis that parent thank you very much mr. Sullivan Fortin on the piano okay so went in and I have known each other for a very long time and we're just going to dispense with the formalities here and just have a talk and let you do your thing when so one of the things that I think we need after a day like today and at a time like this in our country is to feel hopeful and one of the things I've always admired about you is that you are in spite of sometimes being down and out not happy about things you're always hopeful you're always positive and that you have an unwavering belief in this country and in its potential talk about that I love seeing you in Washington on stage at the Kennedy Center with Sandra Day O'Connor talking about democracy in jazz I think that a first thank you for doing this I know you did too depth of the love and respect I have for you and the job you're doing I'm serious I got to say it when I when I sit in front of you I see you it's very important for us to recognize our colleagues and uh so I'm appreciative of this opportunity to speak with you and also all of the panelists I had a chance to check out so much I took so many notes and everything was so so informative and clear and I had so much to study and to think about so thank you very very much for the job that everyone has done and it was interesting because most of the things really tie into music and what we do as jazz musicians now the depth of our art and the seriousness of it for me uh my father was a jazz musician so I grew up seeing him struggle and clubs with very few people he was not celebrated when I was young he became known older so my experience with the music was always a kid in bars and places the kids would not watching four or five people play for three or four people and after 10 or 15 years of this I would ask my daddy why are you doing this man and he would say somebody's got to do this man this is important I would see to who I was dating out here and he would say to me and that's enough for me and music has three foundational elements the first one is improvisation is the great I am and I improvisation is such that whatever you have that is yours personally we celebrate you being yourself Duke Ellington used to say be a number one yourself not a number to somebody else so that's one of the important first tenets of Americanists that you have the right to be yourself and you don't have to dumb yourself down the second part of our music is one that we struggle with much more in a swing and that swing is a rhythm that brings us into the African mode of thinking it combines a three feeling with a two feeling and it's exactly what that means it means the two things that don't go together have to find a common mean and a way to be together in the swing the drums at that time the loudest instrument is forced to play on every beat with the bass which is the softest instrument the drum is playing in three and the bass is playing in four or in some multiple of two drummers don't want to play soft bass players are always arguing it with drummers about where the time is and they're forced to come together even though they don't want to do it swing also means that you check your volume and the length of time that you solo so you're always forced by the concept of swinging to find some common meaning that works for the group it places a lot of pressure on our music and as you can imagine it was one of the first things that was dropped as soon as we had a chance to get rid of something when you get rid of improvisation we got rid of swinging and the last thing which is the source of that optimism is what we call the blues and you think your if you just apply basic blues just give me something I guess in a key of our of a flat if it's too high for me G gimme G is basic for so the basic fundamental blues is somebody's player is here it is the most fundamental blues [Music] he went to the four courts I have to wait for him to get back to the one that's another part of our music we just wait and we're forced to listen to each other all the time well it's alright baby baby it's alright [Music] it's alright baby baby it's alright it's alright baby there is all right as he doesn't know whether imma keep going or stop so he said imma keep going but I was gonna stop so I was just [Music] so so when what lessons could we Americans learn from you musicians to the first I think if we look at how our music changed away from itself earlier we can learn how we have lost ourselves so let's let's analyze certain things about these fundamentals improvisation improvisation you can do whatever you want to do so if you look at how our music the event over time became really long solos I can remember one night in the place called Cleopatra's Needle in New York Gruber jazz musicians played one song for 45 minutes one solo was 10 minutes and the bass player and the drummer are in the support group I'd love to look at the bass player because that bass in that Club happened to be in a mirror so at a certain point the bass player starts to look in the mirror and check his technique out because it was on the bandstand is not that interesting and it's a certain thing happens with a string of solos that if you have five or six soloist lined up no one ever plays shorter than the one before one place seven courses the next place eight the next place nine the next place ten you know and then we forget about what are we doing we become so indulgent and when your turn comes you play ten or eleven two you can be standing there saying man when I play I'm not gonna play nine and when you get on your 10th you saying why am I still playing it is something about the type of egotism and then the abuse of of power that just strikes you no matter what you think your level of consciousness is so that's one thing we can learn another thing as five musicians will set up in our music and each one will have a monitor it's always curious we're in this type of space what do you need a monitor for if you're 2 feet from a person is playing with you and each person will then look at the monitor turn me up they always want yourself in the monitor and maybe some piano because the rhythm section is so loud you can't hit a piano the bass has an amp so they turn their amps up very defensively and the instrument that was designed to be the softest instrument becomes the loudest then the bandstand has absolute mayhem I once heard a recording of myself playing a Brandenburg Concerto I went out one night and heard a great trumpeter Phil Smith played with the New York Philharmonic he played the Brandenburg then I was in my late late thirties by that time I recorded the piece maybe 10 years earlier and he was playing so softly and I listened to it I thought man I've been butchering the Brandenburg for years I would stand in the front with a hobo a violin a flute the instruments that we play with and I always thought I first time I played that piece I was 16 I was felt like whoa Bach knew this was a trumpet there's no way for us to play and soft as a flute or a violin so good luck with them being heard and when I heard Phil played I understood you have the responsibility to make sure that they are heard and in a funny way it's much easier to play when a softer and the lesson of volume and balance is another one that we seem to have forgotten and then the other is engagement with each other there was a time when one time I was playing festival when Pearl Bailey was playing I was maybe 24 25 and she brought me a gift and she said I brought you this gift because I wanted you to know what we used to do when we played festivals with each other we will buy gifts for each other and we would celebrate each other's artistry we've moved away from that from that type of group involvement and engagement so there are many lessons in our music and generosity it's one of the things that I've always thought you are always so generous to other artists I try to be ever ever generosity spirit I strive as I get older to become humbler but I tend to find the mistakes that I look at or in myself that's why I said I will play a long boring sad solo after 4 sad solos now that I'm over 50 it's less of that then earlier just when you get to a certain age it was a certain type of perspective but I find that if I ever to this day got gifts gotten gifts for artists that I was on a bill with never but I think about her all the time for some reason it may be before I die I'm gonna do that so I attend to when I look to myself I play with a great pianist Marcus Roberts who was a blind piano player really been around someone who was blind I grew up with an autistic brother so I loved the panel on autism this morning my brother was severely autistic but Marcus Roberts used to have a saying he said when something goes on wrong on the bandstand I assume it's my fault that way I'm doing as much as I can possibly do to make it better so I think it's these types of lessons that are in our music that is important to share and it touches on all things because the jazz musicians especially the ones that I was fortunate enough from the early era were very very honest about very difficult subjects you know Gerry Mulligan as a guy that was a mentor of mine I played with him on a bill when I was 18 in Seattle I don't even know why I was playing without with the cool Jazz Festival at that time Mel Torme I played a concert with him in New York and he said let this kid come look Seattle and play with with the Ben and then that night I met Jerry mother cat he said hey man you from New Orleans do you know how to play that counterpoint in counterpoint is when we both play together let's give an example of some counterpoint ok he ended me but it's the thing where we play together at the same time so he and I played together at the same time and I thought wow he's like a kid up here doing this he was so excited to play two horns sold one at the same time finding each other space because I grown up with my brother Branford and I'm from New Orleans we play that kind of contrapuntal way of playing with with horns also Sullivan is from New Orleans so if we did it again we will find each other much better in the end of space and over the years he became like a mentor of mine we would always argue about race and in America and we'd have very frank arguments even given the age gap and one day I will argue cuz my band was all black and his was all white so he said man you know you have all black banners you have all white band he said yeah but you know I want my hire some brothers they gonna come in the band and tell me I can't play and they can't play they're not like Ben Webster other people I played with these are like you they said say yeah well you know we have our thing that we're doing in our music and every time you do something that white folks don't want you to do they're angry at you and he said and this is the way we would be talking he said do you know who Adrian vallini is I said I don't know who he is but I know he's white because you brought him up and he asked me a question he asked me a question and this question was are you a better musician because you don't know who he is so we both started to laugh I said okay I'm gonna know we each really Gnaeus the next time you see me are you gonna have a brother in your band maybe not but he was he was a man it was so honest and for real when he talked to you about music we're talking about the birth of the cool session with Miles Davis which he was on I said man you know birth of the cool I gave some type of sociological explanation of what it was and Miles wanting to play with white cats and the critics started to like him because he was white people and he listened to me and he started laughing he said birth through cool we couldn't find a place to rehearse he said so Max Roach got into argument he started breakdown all of it internally said did your sociology teach you that I was there and many times we assume we know things we don't know and the kind of level of mentorship and honesty and our music when you can talk to somebody and they would be extremely direct with you about points and you can receive those points directly as you grow older that becomes a part of your actual education we did a posthumous show for Jerry Mulligan and for John Lewis John Lewis was the music director of the modern jazz quartet also a great mentor of mine in the half in the middle mid point of the show Jerry's wife franca came backstage and of course I knew both of them in a familiar way and she said yeah I like the show but you're not making a clear the people that our families were close then we ate together we went out to dinner together that John and Jerry loved each other you have to make it clear to people the type of love and respect they shared so it's important to know that I'm gonna conclude with one thing about Jerry Mulligan he was the music the artistic director for the Ravinia Festival and he would book my septet then I was at my mid to late 20s every year he would book us and he wrote an arrangement of Broadway and we played with him of course his musicianship was what it was I had written a long piece called in this house on this morning and in one of the pieces I put naked flat nines at the top of a car play a flat 9 for like a c-sharp hi-c shop above above just regular C in the seat below that just the two intervals just to see in the C so that's the sound yet a dissonant sound so that was the voicing that was moving across the band just standing backstage listening to a piece that took 45 minutes when we walked off the stage he looked at me and said man naked flat nines at the top of a chord damn that's a lot of courage to do that so just that type of attention to detail that he would sit in a in a festival that he is programming and listen for up to a 45 minute piece and then began to dissect arranging decisions that were made that head would have more impact on me and how I would listen to musicians and how we develop then an argument about American race relations which of course we can always have well speaking of American race relations you helped your friend Mitch Landrieu with a very very difficult subject in your beloved city of New Orleans the statues the Confederate statues Lee Circle the Lee statue of course the most famous among them but you played a role ultimately with Mitch and a pretty transformational change there around those statues would you be willing to talk about that yeah I've talked about it in in human terms because black people in New Orleans loved Mitch's father moon so my father loved moon this is in the 70s when we were not a thing my father would always be the only person in a barbershop black person doing what I would call defending white folks man why are you defending white folks all the time man you're making us look bad and used to say listen man you attack the people in front of you you address the issues in front of you don't scapegoat people who are not there and you have to create the new world that you imagine you're not ever gonna get revenge for the old you have to create the new world Robert was talking about that today create a new world so Mitch is a trumpet player even went to judge we're in high school together we were on the same age we're the same generation we the same so the conversations we have when we get together are really like middle age conversations your kids your parents what are your kids and what these kids doing that 21 is just what you have you talk about human things the context of our conversation was why was the all the funerals he had to attend and all the parents homes he had to go into for a crime that we called an America black on black crime I was saying people always commit crimes in their area so Chinese people are killing Chinese people people they don't leave their area to kill some other type of person it's just not what they gonna do it's too inconvenient so we're talking about that and we talked about how the city drove the causeway through black Mardi Gras just the kind of little gratuitous acts of violence that happened to black people all the time you could have put the causeway anywhere you but you got to put it in that in the area that the black people congregated for Mardi Gras so you could break that up and Mitch was saying man I was trying to get this reversed and the people came and they didn't even know that that had happened I got a lot of my black citizens not even gonna don't even want to see it come back so on and so forth so we having that type of conversation then we touch on the Lee statue I told him what I thought about it what kind of symbol it was what it represented especially my didn't defend our city was never even in Louisiana Virginia and aneema why we don't need him end up in the center of our city what do you representative people from that generation my great-uncle was born in 1883 he was acutely aware of what the symbol of that statue meant and uh Mitch said man you know I never really thought about that I let me see whose jurisdiction it is and I'm gonna get back to you of course I thought he was never gonna get back to me so he called me I don't know maybe I don't know many months later he said man you're not looked into this damn statue thing and it's in my jurisdiction damn so you know we continued to have our conversation and it's not like our relationship is dominated by a discussion of Lee statute he happened to have the wherewithal and was willing to expend the political capital to take the statue down it made sense and he did that I talked with him maybe that the talk was at what's catalytic in terms of him thinking about it but the tenor of the conversation was much more extensive and much more human so you talk up also about empathy a lot there's a work you talk about empathy and and in some ways because you are so passionate about arts education and we always talk about between you and me how without empathy we can't really have justice and the way we get more empathy is through the arts so talk a little bit about how you see the role of the arts arts education which is something Jazz at Lincoln Center and you have been very very engaged in well I see you everything is circular we are all somebody's child grandson other father brother sister well have different experiences the arts puts our experiences in the context I love what Shawn was talking about entropy as an interesting concept second law think of thermonuclear dynamics correct me if I'm wrong and entropy is the tendency of things to become random he put up three coffee cups there's fantastic thing to look at and he said and as far as the universe expanding we're in the middle this in tropic period where all kinds of stuff is is going on and changing the most difficult thing for us to do is put our experiences in a context how do we put our American experience in a context it's very difficult I grew up in the hood my father is a jazz musician I played in church before I was 17 I had played the circus with the New Orleans Philharmonic with the symphony brass quintet with the New Orleans Youth Orchestra with a funk band called the creators with some white college students from Tulane in a place called Tyler's beer gardens gigs at a place called a dream palace burlesque shows in a place I won't name on come on on on what's the big street that I don't like not everybody goes on tours cut Bourbon Street Bourbon Street which is ridiculous at this point man you know come on yeah I just don't think about Canal you gotta be you know I mean it's not big but it's people so I had a band director who had a poster in his house this said Archie Bunker in your heart you know he's right that I cried when he passed away I had a trumpet teacher who had studied with the first trumpet player in the New York Philharmonic whose wife did not want a black person to come to their house to study trumpet so I never took a lesson in his home he was paralyzed he was not supposed to drive a car and he drove a car to my senior recital I had a I could tell you story after story these are very nuanced layered stories not of my partner's I grew up with have no idea of what I what I did I ended up doing I had a good friend of mine who we went to school after Martin Luther King got killed to white schools we don't only to black people the amount of times I was called monkey I couldn't write it down for you I don't even talk about that most of the time because I don't want to be a part of people talking about it my friend went on to become a member of the Kenner's which is the city we were in City Council I asked him what did you learn on the City Council he said man the thing I learned is there's no slight too small for it to be visited on black folks okay he told me a story about how the the City Council they were there they had to pass a law saying they could not demolish the black people's funeral home so they passed another law saying you couldn't park around the home one of our best friends was a white guys for unfortunately he passed away and he was he was very overweight but at one exchange I had in high school he's the biggest guy in the class he said man you gonna fight everybody else they called me a imma fight him and he said the next time they fight I'm gonna jump in with you so later I asked him we were grown man man why did you do that he said man I just like to fight so if I could see it in the truth of my experience the things that I have seen and I remember I was always kind of black power 70s malcom-x anti-america this is all just some and you can't trust this and then I went to Poland when I was 18 and man I was hanging with some young people they knew about jazz I was playing with our Blake in the Jazz Messengers nobody was on the street and it's all stuff that I thought was just propaganda because we have another take on our government and so when they tell us stuff we assume it's a lie and I was talking to people my age and they said man you don't want to live here this is rough we went on a tour of the Eastern European countries at that time and when I came back to America I understood hey I'm American you know I and I didn't set a rule that I will not disrespect my country when I'm outside of it not because I even believe in naturalism in any way I believe what the DNA is telling us we just people now we organized into nation-states how long we gonna do that I don't know so I'm not I'm not a person who's overboard with that but that is my experience and then I and I supported and I'm believing one story of something that happened to me it is real about how life is I was sent by CBS at that time records to make a classical recording with the Czech Philharmonic this was in 1980 rooting for something like that then I was 21 so I guess it's 1982 I went to play and the orchestra sound is so bad I thought they would just didn't want play because I was a brother so I've looked at the conductor he said man I don't know why they don't want to play just don't sound good we had three days to make the recording so we decided we would leave the next day and go to London we went to London the next day and recorded that album at the Abbey Road Studios the same studios that the Beatles at recordings because I did not know that at the time we played and we made the record with a put two the orchestra from London now this is all these years past Nam fifty three maybe three or four years ago we get a job and in now the Czech Republic a guy brings us so when after the gig was sitting at a dinner he says man I was in the orchestra when you came to Czechoslovakia he's a trumpet player the trumpet players we love each other automatically because we play trumpet that was an oxygen you came to Czechoslovakia I said yeah man y'all then won't play for me because I was a brother not we 50-something what gets very different he said no man we Eastern Europe we'll just said that hurt our feelings right I looked at him I said really he said drunk to play a man I brought you here to play this concert I said damn you know many times when you are talking with people you don't know who you're talking to and your experience it's not it's not rich enough for you to actually understand the dynamics and you act with parts of information that's another thing I liked about all the scientific speaking with John did and with Julia I liked hearing everybody talk in and talk about science they test stuff they work on it they look they see they think about it they reconsider it they go over it again we don't do that with each other as human beings and that is why we struggle we start from the position of thinking we are right and we're not right we're at a point in space and that's all and our music teaches that I'm playing with Sullivan we never played together I don't even know how I called four or five piano players I normally play with before I called him to do this I know he's a genius because my father called me my father called me three times in his life whenever he hears a person who he really thinks can play he would call me and say man I got one who can play Sullivan auditioned at 12 years old he was an audition he was backing some singers who are digitally some singers who are auditioning for high school called North Central Creative Arts I know I'm going on but I don't and my father said man I heard a kid today backing up some singers you're not gonna believe how much piano he can play and that's Sullivan that was something 20-some years ago how long ago was his nickname in high school was Church sling because he's from the church and I told him we're not gonna rehearse or do anything because I want people to see us and hear us find each other and how we work out things but when you hear him play you're gonna hear the depth of his artistry and seriousness and I'm so I'm so honored that he could come and do this people might not know who he is but he's a young genius and he's gonna show us something before we Finley [Applause] this is a song by Jelly Roll Morton called tom tom cat blues he knows all of it hit perfect - okay I'm gonna tell you what he just did I came in on a beat that was the opposite of the beat he was coming in on by the time I hit the third beat he had adjusted to that time I was in just give you a sense of the decisions that jazz musicians me [Music] [Laughter] [Music] [Music] [Applause] [Music] [Applause] [Music] so important the wind I'm I do want to make a pitch for Jazz at Lincoln Center the institution that you have built which for those of you who know the Lincoln Center Enterprise to actually create a new institution under that umbrella took fortitude and passion and determination and you did it we did it this the when I first came to New York I was gonna wanted to play with musicians little did I know that an innovation for our music will come through citizens lisa chef gordon Davis you fears just people who first time I sat in a meeting with and they said they were gonna raise money for jazz I thought they were crazy raise money what do you tell Mike this is jazz we only lose money and the work that they put in for the institution and to build the institution not just with capital but with expenditure of time intellect day and night I even even today I can look up and see our chairman in 7:30 in the morning working on things on behalf of an art form and on behalf of cultural transformation in our country so it was an education for me and by knows no means that I do it anywhere near by myself I mean it was a one of the great honors for me was the people I had the opportunity to work with who were from all walks of life it Bradley David Stern you know I just think of my board members a Walton was here today speaking gave a wonderful talk about me to movement about about justice and they were they wanted to make it happen and indeed you know but you really work hard to sustain it because yeah lots of founders have founder syndrome where they think that it's all about me and one of the things that you've done so superbly a jazz is to really turn this into an enduring institution that will have a life while after you are gone from this earth which is your dream well I appreciate you saying it you know yeah but that's the that's kind of what I was taught from all of the great John the great John Lewis oh just he was a good story about him I used to go to his house in a 12 o'clock and as his wife's name was Mariana and Rihanna played harpsichord and John of course this great piano player and a concert was not finished unless Mariana said the concert was good so we were we would always go to his house and there's one one and he he could be very funny people know him to be kind of dry and but he was very funny so we were sitting around he said that when he met his wife it was the second best day of his life so she was very quiet you know you're just kind of looking I was thinking too man Ivan no you to make this type of faux pas you know just and then she couldn't help herself any long and she said well what was your foot what was the first day he said when I was born of course and he told me I said I said man I don't maybe I don't I think it was their anniversary or something I said hey man I don't want to uh get in the way of y'all and what y'all are doing I know you spent a lot of time on me I'm very grateful he said that for you I have some time but for the music I have all the time in the world and I think from him and from from from many of my mentors that was that was the the lesson that they were teaching you or your small part of stuff you know something my mama used to always say and in that way not quite or in a way I can repeat up in here but you are just another something out here okay that's what you are and but your mother was a force yeah my mom was for real absolutely absolutely I'll tell stories about her I'm not even gonna get started I've heard about them she was a farmer was not a joke my momma I tell you one story I like to tell about my mama she had to excuse my language so Mama's for the project's st. Bernard project you know so we got no we living encounter with course segregated all black people lived on one side of tracks on white people on the other side while Luther King got killed my mom's ever send you to white school so I gotten into a I got into so many scrapes and one scrape ended up wouldn't be really receiving a very severe behind with now it's not like when people tell these stories the day is like string music has to come up then it was just life so that's what happened you want you lost okay that's how that was it was it was the biggest of the eighth graders had jumped on me I was in fourth grade I didn't have any chance to beat him I tried the kids chanting around a circle to fight a fight a in a white that's just what they did okay well it's not a big deal there's not even like aw we call them names too okay we weren't like poor little things it was I don't want to give the wrong impression but I did lose that encounter so it was it was a Catholic school and my mother was very cat was Catholic but she was black Catholic so she was uncomfortable talking to white people she always talked well sister all of us such that she always had a way she would talk to them that was uncomfortable whereas with us she talked very boy if you don't get your ass in it she was very direct so the the principal was a nun handed out the punishment she's you have to write a hymn or handbook or something I said I'm not gonna do this punishment I had two black guys I said I was punished he needs to do the punishment not me so she said you got to do this punishment well I knew that before they could expel you from school or suspend you dad to call your mother man they called my mom and I was just thinking man is this gonna go because I know my mama did not play I just have to tell people when they came into my house don't think my mom is not nothing you saw on a TV show my mama could do my chemistry homework in high school and it would be right and she was for real and she was so direct when she talked to you and she she she had a mouth on her she came in showing up she sits down with the nun now I'm assuming my mom was just gonna sell me out with these nun she's uncomfortable but if my mom was like well sister you know my son comes home he says they called him names they call him she act like she never said the word before they call him a monkey they call him eight they've all they do this they draw things on his notebook a nun was like well mothers you know your son is always in trouble he's he makes good great yes he's a good student but he's constantly fighting a student sort of went on and then the nun told my mama Miss Marcellus you people knew before you sent your kids here now remember this is the South 1979 teen season nobody thought nothing to being called you people but the song about that made my mama angry so when my mama got angry she would always do this with her head you know you made a mess you go so so I mean you know I told my brothers we would laugh about it said man your mama do I think when she do that oh oh so she did that I said mm-hmm so you got to excuse my language but I want to be clear with you about what happened then my mama looked at the nun and she said look is that what Jesus taught you is that what you read in your Bible that people should be treated a certain way little children because of the color of their skin is that what you read in your Bible then she said get out of here and I missed the rest of it but but but that was a definitive moment for me because then I understood that a person from the projects who had everything kind of you know was already frustrated just being a female at that time with her level of talent and ability what was she gonna do kind of job with you know just and I just I understood you couldn't stand up for yourself and that she could be just as for real out in the street as she was in our house and it was extremely panning in a strange way I learned another thing about life that that particular not in my mom but they would see each other all the time I didn't get expelled they'd be like hey sister Lucy so such a success and it would be just as just as normal I thought okay it's something I was going on in the world that you don't always understand so we have seven minutes these people came to here went to mind tell us okay are you gonna give it to them yeah okay so yeah we played we played some New Orleans music now I'm gonna play a piece that I wrote called i'ma play something slow this is called goodbye and it was Benny Goodman's theme song it's Gordon Jenkins composition and I just I just like it I don't know maybe cannot you want to take that off it's Michael Young yeah it makes me real uncomfortable I think I'm gonna just come down [Music] [Applause] [Music] [Applause] [Music] ladies and gentlemen please join me in thanking Wynton Marsalis you you

Channel: Kent Presents

Views: 15,432

Rating: 4.866221 out of 5

Keywords: KentPresents, Kent, CT, Kent School, Wynton Marsalis, Darren Walker, Sullivan Fortner, Jazz, Trumpet, Piano, Lincoln Center, Storytelling, 2018

Id: ZQHubf0aXDg

Length: 50min 49sec (3049 seconds)

Published: Fri Nov 30 2018