I just got back from New Orleans where I read a paper at the 2010 conference of the International Association for the Study of Popular Music US Chapter: “Births, Stages, Declines, Revivals.” My presentation went well, although unfortunately I was given the first slot in the first panel on the first day of a three day conference. (8:30 AM on Friday morning!) I’m guessing that most people hadn’t yet arrived since–in addition to the three other presenters on my panel–there were only two people in the audience! Oh well.
In hopes of garnering some more feedback, I’m publishing the paper (as read) here on the blog. As usual, this remains a work in progress.
Click here to download a PDF version of the paper. (Slides and visual examples appear at the end of the PDF.) Or, follow the jump to read the html version.
Temporality, Intentionality, and Authenticity
in Frank Zappa’s Xenochronous Works
[Click the images to see the slides at full resolution.]
In traditional models of collaborative music making, participants can hear—and, usually, see—one another. Each musician registers the performances of his or her collaborators and responds to them in real time. Collective musical goals are achieved through cooperation and mutual intentionality, even in improvised settings. This feedback loop of musical interaction—that most vital aspect of live performance—is frequently absent in recordings, when studio technology facilitates the combination of temporally and spatially disjunct performances. Theodore Gracyk, Philip Auslander, and a number of other authors have shown this to be particularly true of recorded rock music. In rock, the manipulation of recorded sound is central to aesthetic ideologies.
Lee B. Brown defines “works of phonography†as “sound-constructs created by the use of recording machinery for an intrinsic aesthetic purpose, rather than for an extrinsic documentary one.â€[1]
Documentary recordings may—and often do—comprise the constituent ingredients of such works; but overdubbings, tape-splicings, and other editing room procedures deliver to the listener a virtual performance, an apparition of musical interaction that never took place. Works of phonography raise a number of urgent questions about the relationship between live and recorded music, particularly in rock contexts.
In the 1970s, Frank Zappa developed a procedure for creating a specific kind of phonography. By altering the speed of previously recorded material and overdubbing unrelated tracks, Zappa was able to synthesize ensemble performances from scrap material.
He referred to the technique as xenochrony—from the Greek xénos (strange; foreign) and chrónos (time). Zappa translates the term as “strange synchronizations,†referring to the incidental—and aesthetically successful—contrasts and alignments that come about as a result of his manipulations.
Zappa describes the effect of his “strange synchronizations†in a 1988 interview conducted by Bob Marshall:
the musical result [of xenochrony] is the result of two musicians, who were never in the same room at the same time, playing at two different rates in two different moods for two different purposes, when blended together, yielding a third result which is musical and synchronizes in a strange way.[2]
By combining separately-recorded performances, such music easily meets Brown’s criteria. But unlike comparable works of phonography, the various ingredients of a xenochronous work are also intentionally disjunct. Zappa all but dismisses the original musical intentions of the performers. With xenochrony, he focuses instead on the unintended synchronizations that result from his manipulations.
In many cases, rock artists and producers mask their methods. Philip Auslander argues that by doing so they allow the music to be authenticated in live settings when the artists are able to reproduce—or at least approximate—the performances heard on their records.[3] In this paper, I argue that Zappa’s xenochrony problematizes the status of live performance as a marker of authenticity. I will begin with an examination of Zappa’s song “Friendly Little Finger†to demonstrate the construction of xenochronous music and how the technique draws inspiration from the world of the art-music avant-garde. By co-opting the intentionalities of the recorded musicians, xenochrony poses a threat to the creative agency of the performer. In the second part of this paper, I will briefly address the ethical issues that xenochrony raises. Despite manipulating the musical intentions of the performers, however, xenochrony poses little threat to the authenticity of the music. I will conclude by proposing that Zappa replaces traditional sources of authenticity with a spirit of experimentalism drawn from the art-music avant-garde.
I. Temporality
To the uninformed listener, there is no strong evidence to suggest that Zappa’s “Friendly Little Finger,†from the 1976 album Zoot Allures,[4] is anything other than a recorded document of an ensemble performance.
The piece begins with a brief introduction featuring a repeated riff performed on guitar, marimba, and synthesizer. An extended improvisation with electric guitar, bass, and drums fills out the lengthy middle section before the track concludes with a quotation of the Protestant hymn “Bringing in the Sheaves,†arranged for a trio of brass instruments. Despite its apparent normalcy, however, “Friendly Little Finger†combines materials from four distinct sources spanning three years of Zappa’s career.
The primary recording—a guitar solo with a droning bass accompaniment—was recorded in the dressing room of the Hofstra University Playhouse as a warm-up before a performance on October 26, 1975. Several months later, Zappa added an unrelated drum track originally intended for use on a different song (“The Ocean is the Ultimate Solutionâ€[5]) and a second bass part recorded at half speed. These three recordings, all appearing in the middle solo section, comprise the xenochronous core of the piece. To this, Zappa superimposed two additional recordings. The introduction comes from the same session as the added bass part, and the coda was recorded several years earlier, during a session for the song “Wonderful Wino.”
As Example 1 makes clear, the result of Zappa’s editing is a moderately dense network of temporally disjunct recordings. How is it that such seemingly disparate recordings happened to come together in this way? What inspired Zappa to take such an approach to manipulating recorded sound? Of course, examples of overdubbing in American popular music can be found at least as far back as the 1940s—recall Sidney Bechet’s One Man Band recordings in which each instrument was performed separately by Bechet himself. But while such tricks had become old hat by the mid 1970s, xenochrony stands out for it also has obvious ties to the twentieth-century art-music avant-garde.
Despite his continuing reputation as a popular musician, Zappa was remarkably well read in the theoretical discourse surrounding avant-garde art music, particularly with regards to musique concrète and tape music. He expressed an ongoing interest in John Cage’s chance operations, for example, trying them out for himself by physically cutting recorded tapes and rearranging the pieces at random for the 1968 album Lumpy Gravy.[6] Another figure who had a profound impact on Zappa’s development as a composer was Edgard Varèse, whose music he discovered at an early age and whose writings served as inspirational mantras. Given this fascination with the avant-garde, xenochrony may be best understood as a conscious attempt by Zappa to model himself on these influential figures. His own approach to music and composition would therefore require an analogous theoretical foundation.
Xenochrony is closely tied to Zappa’s conception of temporality. Zappa often described time as a simultaneity, with all events occurring at once instead of chronologically. Toward the end of his life, in an oft-quoted conversation with cartoonist Matt Groening, Zappa explained that the idea was rooted in physics:
I think of time as a spherical constant, which means that everything is happening all the time. […] They [human beings] take a linear approach to it, slice it in segments, and then hop from segment to segment to segment until they die, and to me that is a pretty inefficient way of preparing a mechanical ground base for physics. That’s one of the reasons why I think physics doesn’t work. When you have contradictory things in physics, one of the reasons they became contradictory is because the formulas are tied to a concept of time that isn’t the proper model.[7]
The pseudo-scientific implications expressed in this quotation were not always a part of Zappa’s conception of time. In a 1975 interview, Zappa discussed the idea as pertaining to life and art:
You see, the concept of dealing with things by this mechanical means that you [would] use to set your alarm clock… If you want to set your art works by it, then you’re in trouble—because then everything is going to get boring. So I’m working on a different type of a time scale.[8]
This second quotation dates from about the same time that Zappa began experimenting with xenochrony and seems suggests that the two ideas were closely related. Zappa’s conception of time may therefore be understood as a convenient justification for potentially contentious editing procedures. Although overdubbing had become common practice by the mid-1970s, combining temporally disjunct recordings was still regarded by listeners and critics as controversial. By reconfiguring the very concept of time, Zappa skirts the issue.
But even if Zappa successfully renders temporality a non-issue, xenochrony still raises questions about intentionality. Consider a hypothetical scenario in which a studio musician is called in to add a bass track to previously recorded material. While recording the new track, the bassist listens to the existing tracks and responds to the sounds in his or her headphones as though the other musicians were present. (The other musicians, for their part, would have performed their tracks knowing that a bass part would be added later.) Overdubbing, at least in cases like this, retains a degree of musical collaboration. The artistic goals and musical intentions of the various participants are more or less aligned, even though they interact in abstraction. Xenochrony, however, dispenses with intentionality altogether. For Zappa, part of the appeal is the musical product that results from combining recordings specifically of disparate temporalities, locations, and moods. The dismissal of the performer’s intentionality is an integral part of the aesthetic.
II. Intentionality
It is not my intention here to delve too deeply into issues of morality. Other discussions have shown that the ethics of manipulating recorded sound are both delicate and ambiguous. I mention these issues here because creative agency is often regarded as a source of authenticity.
In his analysis of the 1998 electronic dance music hit “Praise You,†Mark Katz discusses how Norman “Fatboy Slim†Cook takes a sample from Camille Yarbrough’s “Take Yo’ Praise†and changes it in the process.[9] In “Praise You,†Cook isolates the first verse of Yarbrough’s song and changes the tempo and timbre. Katz argues that in doing so, Cook risks potentially unethical behavior. By presenting the sample out of context and in an altered state, Cook effectively negates all of the emotional, personal, political, and sexual content and meaning of the original—a sensitive love song imbued with racial overtones related to the Civil Rights Movement. Cook therefore presents a threat to Yarbrough’s artistic agency. Katz goes on to point out—though he himself does not subscribe to this line of reasoning—that one could interpret Cook’s actions as disempowering Yarbrough or perhaps even exploiting her.
Zappa takes similar risks with xenochrony. Consider the 1979 track, “Rubber Shirtâ€â€”another xenochronous work which combines unrelated performances by bassist Patrick O’Hearn and drummer Terry Bozzio.
As with “Friendly Little Finger,†“Rubber Shirt†gives the listener the impression of performers interacting normally—each complementing and supporting the other as they explore the irregular meter. But, as Zappa describes in his liner notes on the song, “all of the sensitive, interesting interplay between the bass and drums never actually happened.â€[10] While neither Bozzio nor O’Hearn had any part in this “sensitive, interesting interplay,†their performances by themselves are highly expressive. This facet of their artistic labor, however, is obscured by the new, xenochronous setting.
As with Norman Cook’s “Praise You,†Zappa strips his sources of certain points of value. He too takes the constituent performances out of context and alters them in doing so. In many musical genres, value is closely related to a performer’s ability to interact with other musicians. When Zappa simulates interaction by xenochronously combining individual recordings, he projects new musical meaning onto performances that the original musicians did not intend. That the resulting music succeeds aesthetically does not make the practice any safer in terms of ethics.
Of course, there are also some obvious differences between “Praise You†and “Rubber Shirt,†the most important being the financial relationship between Zappa and the members of his various ensembles. O’Hearn and Bozzio were paid employees, hired to perform Zappa’s music. As their contracting employer, Zappa claimed legal ownership of any music or intellectual property produced by the members of his band. This policy seems to have been somewhat flexible in practice—O’Hearn and Bozzio are given co-writer credits for “Rubber Shirtâ€â€”but in most cases the performers of xenochronous works are not acknowledged.
Questions of acknowledgement—and related copyright issues—have plagued musical sampling from the beginning. But again, xenochrony complicates the issue. Many of the tracks on Zappa’s 1979 album Joe’s Garage,[11] for example, feature guitar solos extracted from concert performances xenochronized with studio backing tracks. All of the audible musicians are credited in the liner notes. But what of the musicians that aren’t audible? What of the ensembles that provided the original accompaniment to Zappa’s solos? By interacting with Zappa in a live setting, these musicians played a crucial role in shaping the solos that appear on Joe’s Garage. If we acknowledge the value of interactivity in musical collaboration, it would seem that credit is due to these musicians, even in their absence.
III. Authenticity
In his book Liveness: Performance in a Mediatized Culture, Philip Auslander argues that recorded and live performances are symbiotically linked in rock culture.[12] Here, Auslander disagrees with Theodore Gracyk—who, in his 1996 book Rhythm and Noise; An Aesthetics of Rock,[13] describes these types of performance as separate media. Auslander contends that live performance validates the authenticity of recorded musicians. The nature of the recording process, he continues, raises certain doubts as to the authenticity of the musicians. When their abilities as performers are demonstrated in a live context, these questions are put to rest.[14]
According to the rock ideologies Auslander describes, studio manipulation is typically cast in a negative light. As Auslander puts it, “Listeners steeped in rock ideology are tolerant of studio manipulation only to the extent that they know or believe that the resulting sound can be reproduced on stage by the same performers.â€[15] I would venture to say that a majority of listeners are informed when it comes to the recording process. Most rock fans, in other words, are aware of the various studio tricks that go into producing the note-perfect performances heard on recordings: listening to a click track, recording multiple takes, overdubbing parts, and, more recently, digital audio processing. Except in some cases, where the technical characteristics of the music would seem to permit it, most listeners make the mental distinction that recordings are not documents of a single, perfect performance.
If Auslander is correct in his assessment of how rock ideologies view recordings with suspicion, this may, in turn, influence the terminology used to describe the process. Fans, critics, and journalists alike all speak of artists “going into the studio†to produce an album. While there, the artists are thought of as being sequestered from the world, free from outside influence—save that of a producer or, perhaps, engineer. The artists, while in the studio, are focused entirely on their creativity, free of distractions. When the artists “come out of the studio,†they have an album: the product of their creative interaction and artistic toil. Such discourse paints the studio process as having a certain purity.
Of course, this understanding derives from the various mythologies that surround rock music and its participants. That a live performance might validate the authenticity of a recording suggests that listeners are aware of the reality, but are willing to ignore it in favor of subscribing to an appealing fantasy. In Zappa’s case, however, these processes are intentionally integrated. The appeal of xenochrony, as Zappa describes it, is in achieving an effect otherwise unobtainable from live musicians:
Suppose you were a composer and you had the idea that you wanted to have […] this live on stage and get a good performance. You won’t get it. You can’t. You can ask for it, but it won’t happen. There’s only one way to hear that, and that’s to do what I did. I put two pieces of tape together.[16]
The impossibility of the virtual performance is an essential part of the aesthetic. Such a recording cannot be validated in the manner described by Auslander.
Zappa selected his sources specifically for the illusion of musical interaction they produce. Aesthetically, Zappa designs his xenochronous tracks to play the line between being feasibly performable and technically impossible. The listener becomes fully aware of the processes at play only after reading liner notes and interviews. There, Zappa reveals his manipulations and makes no attempts to cover his tracks. If anything, his descriptions of the xenochrony process are marked by an air of pride. Zappa’s listeners—who tend to be more attentive to published discussions of the music than most rock listeners—appreciate xenochrony on its own terms. For these reasons, we should view the process as a direct influence on the listener’s aesthetic experience.
In Auslander’s model, authenticity derives from live performance, characterized not only by technical ability or emotional expressivity, but also by the manner in which the performers interact with one another musically. Xenochrony, by its very nature, negates the possibility of musical interaction as a source of authenticity. Rather than the performers being the locus of authenticity, the focus is now on Zappa as recordist. Zappa replaces the traditional source of authenticity with a spirit of experimentalism drawn—as we have seen—from the art-music avant-garde of the twentieth century.
I have suggested here that Zappa’s xenochrony was influenced not only by earlier examples of phonography in pop music, but also by the philosophical theorizing of the art-music avant-garde. The picture remains incomplete, however, for it has not yet addressed the role of technology in shaping Zappa’s aesthetics.
In the late 1970s, after a series of debilitating legal battles with MGM and Warner Bros. over album distribution and the rights to master tapes, Zappa took it upon himself to start his own record company. Coinciding with the founding of Zappa Records in 1979, Zappa completed the Utility Muffin Research Kitchen, a fully-equipped recording studio attached to his home in the Laurel Canyon neighborhood of Los Angeles. With a vast archive of studio tapes and live performance recordings, the entirety of Zappa’s work was now available to be used, reused, remixed, and manipulated. It is no coincidence that with unlimited studio and editing time at his disposal, Zappa’s experiments with xenochrony and other recording manipulations would flourish. Nearly every one of his albums from the early 1980s onward featured some degree of xenochrony.
Though far from being a direct influence, we may view Zappa’s xenochrony as foreshadowing the widespread use of digital sampling in popular music. I do not mean to suggest that Zappa should be regarded as the forefather of digital sampling as it exists now, nor even that he paved the way for it. But I do see a provocative parallel. Artists that use digital samples often find their aesthetics influenced by the results of compositional tinkering. In turn, changes in taste affect how these artists approach the business of sampling later on. I see a similar relationship between Zappa and xenochrony. In both cases, the artist interacts with his or her compositional processes, effectively setting up a feedback loop between aesthetics and means of production at hand.
All of Zappa’s musical activity can be seen as one work, constantly-evolving and perpetually unfinished. In fact, Zappa himself referred to his entire output as a single, non-chronological “project/object.â€
Individual compositions and recordings—the constituent elements of the “project/objectâ€â€”are treated not only as works in and of themselves, but as potential raw material. Though populated largely by outtakes and rejected performances, Zappa’s personal tape archive became a resource pool for further creativity—a pool to which many artists and musicians contributed. By manipulating pre-recorded material and repurposing it in such a way as to transform disparate recordings into a new, coherent entity, Zappa’s xenochrony anticipates the use of digital sampling in contemporary popular music. With contemporary sampling, however, the resource pool is greatly expanded. Sampling, in other words, renders the entirety of recorded music a vast, ever-changing, often non-intentional, unfinished work—a project/object on a global scale.
chanel clear shoulder bag
dinosaurs power of money colca canyon national geographicauthentic pre owned hermes garden party totewomens leather crocodile print open top work bag blk croc dm 3ollie the owl sound and light grofriend
terrorsikring sjæ°“fé…¶rer frykter for fotgjengernes sikkerhet
laundry basket holdernudie jeans lean dean silver lakehair extension brandsmens nike presto essential
銉濄儶銈?銉嶃å„銈儸銈?銉°兂銈?police zeal 26160pss01 銈儹銈?é—佸瓧é‹?銈广å„銉炽儸銈广儘銉冦å—éŠ‰îƒ¾å£ éŠ‰æ°¥å…‚éŠ‰â‚¬éŠ‰ç‚½å„“ é¥è—‰å”´å§ï½ˆî›´é?閫佹枡é’℃枡 å¨Œæ «ç«¸æµ ãƒ¥î˜»
attach茅 m bag in black leatherringers western duncan mens denim jacket mid bluebalenciaga black leather flat studded boot ankle wrap 38.5 uk 5green palladium small velvet shoulder bag
polos gant rebajas
disney gorra de b茅isbol para ni帽oszapatilla salomon kids trax mid wp ti grisropa hombre ermenegildo zegna camisas lino blanco hombre camisas ropa hombrepantalones cortos adidas originals 42 borgo帽a mujer barato
louis vuitton flip cover for poco
giacche invernali colmar acquista fino a 70 stylighttrespass clifton pantaloni montagna marrone abbigliamentoprodotti popolari maglione per i neonati del bambino sacchixact polo maniche lunghe uomo
tenisky new balance 膷ern谩
horn谩 rohov谩 biela wenge jura new b g 40svadobn谩 kabelka kabelka pre nevestu 1490aphrodisia v pre mu啪ov erekcia a libidochlapi takto ka啪d煤 啪enu nov媒 膷as
sears drawstring bag for sale in sheffield
macys jump juniors sleeveless lace dressdamsel costume purple plus sizeanette elegant long sleeve floral lace bodycon midi dress off shoulder semi formal dressesbest style wedding dress for big shoulders broad with
urban brewery ace of spades
coach womens crossgrain leather ava totemily solid color evening bag hard clutch case purse party handbag clutch with detachable chain blacktop 20 leather product manufacturers in ahmedabad best2019 pet space backpack dog travel bag cat front carrier b…
womens retired ty beanie babies
rainbow cat zip front hooded jacketgucci green tiger cub supreme canvas backpacktualetinis vanduo gucci guilty intense pour homme edt vyramsjacket 5570 raspberry
fab floral dress to showcase an hourglass figure target
gap kids target boys swim trunks shorts bathing suit blue xs 4 5new burberry classic trench coat 40 l usa made removable lining taupe ebayguess leopard coatmango red fur coat so sophistication
walmart canada clearance toy blowout sale save up to 80
853609 instagram posts and storieslego city 60077 ruimtevaart starterset speelgoedlego city x1 plain white monochrome minifigure head torso arms hands legs newbox office toy story 4 is playing like a pixar movie for
liverpool vs west brom live latest score team news and
meble do przedpokoju meble wè´¸jcikdistressed bell bottom jeanspink cotton punjabi patiala suitmanchester united zip up hoodie
ç –è¯ªè¯‡è®œè½¬ 诇讗讬专讜注 posh
è®»è®œä½ è®¬è®¬è°‰ ç –è¯ªé©»è°žè®¬è®› 讘注讬爪讜讘 è®—è®¬ç –è®¬è®—è®¬è®± 诇讘讞讜专 谞讬讬专 诇诪讚驻ä½è½¬ reshef brother israel讻讜讘注 诪爪讞讬讛 讞讬讜转 cubç –è¯ªè¯‡è®œè½¬ è¯‡è°žç –ç¥ ä½è®¬è®œè¯ 拽ä½è®¬è®šè®¬ 讘讜讟讬拽 驻讜专讟诇 讛讬讜驻讬 è®›è®¬ç –ä¸“è®—è¯‡è®¬ barosh
2017 18 borussia dortmund home short sleeve shirt aubameyang 17
boys celtic football shorts size mb 146 white colour umbrotim weah jersey buy yours fromin photos historic moments of the olympic games mexicoaustralia adidas predator instinct accelerator le revenge
爻丕毓丞 乇賷丕囟賷丞 賱賱æ°è³±ä¸•ä¸ž 賲賳 丕賱賮噩乇 wy 16
å…€ä¸¨ä¸¿å¬ è³²è³µä¸¿è³·è³±ä¸• 丕賱å®è³³èƒ¤ 丕賱賳爻丕å…賷丞 丨乇丕噩 賱賴丕丕賱 噩賷 å®å™©è³·æ¯“ 丕賱賲賵丕賴亘 丕賱廿亘丿丕毓賷丞 賮賷 爻賵賯 丕賱 æ°è³²è³·è³² 賲賳 賲丿乇賷丿 賲毓亘丕賱æ°è³µä¹‡ .. 毓乇賮賶 毓賱賶 賲賵囟丞 æ°è³³ä¸•ä¸¿è³± 乇亘賷毓 è³µ æ°è³·è³® 2016zeré…¶grand wingtip oxford
superheroes marvel characters batman iron
rdg lego minifigures reading brick showlego sets harry potter 4736 1 freeing dobby 2010 100 with instructionsdhl lepin 05132 star wars figure destroyer millennium falcon legoing 75192 model building kits blocks bricks set educational toy inlego technic…
nfl new england patriots mass hubris cap fan favorite
corduroy greek fisherman hat70s inspired burgundy suede and fabric ankle boots sizevintage southwest style wedding band or decorative unisex ringween shirt dancing boognish bear spiral adult uni t shirt sizes s m l xl xxl dark chocolate brown t shirt
jeans shirt fashionbeans dacc
paul smith mens canvas monkey print wash bag atpc 5166black summer hat fashion fedoras vintage pure womens beachpaul smith baby sweatshirt ventura græ°“meleret m. dinosaurmustard yellow cardigans shop jumpers house of fraser
pinbeam luggage cover purple princess of little
gucci cat eye lips crystal sunglassesnavy blue glitter high heelsnewborn coming home outfit baby boy newborn boy clothes personalized newborn boy name outfit baby boy name outfit baby boy gift name babyhandmade classic baby booties baby shoes baby show…
mammon womens sling bag blue white slg bw
gucci gg crystal monogram ballet flats bohbogucci link bracelet etsygucci bracelet gattobelstaff t shirts sale up to 79 stylight
womens coal beanies uk
samsung galaxy j2 prime black喔勦父喔撪ç¬å–”侧笧backwoods honey berry flame hoodiemarc jacobs iphone 8 case daisymarc by marc jacobs q wingman puma taupe wristlet iphone 5 6 case
selene reggiseno imbottito con inserti in pizzo selene
roberto festa ankle boots in 2019 products shoe bootsquiksilver black black white patrol boots quiksilver ukreggie black albany leatherfynch hatton cotton twill shirt
furon 3.0 pro
camicia a quadri marronedettagli su birkenstock kairo sandali infradito uomo donna numeri da 35 a 46 tutti i colorisconto per lo shopping online scarpe sportive stringate nerocompleto pantalone e giacca
vt x mm laila wicker woven rattan burgundy handbag
5 pocket girl armani juniorclarks school shoes clearance clarksred white blue adidas pants adidasblack b24 sneaker
probiker leather half finger motorcycle gloves blue
1461 vegan blackæ°“rgæ°“ng kvinna chinos skiffergræ°“ regular læ°“ngbyxoruppblæ°“sbar leprechaun med belysning till partyprissvart sex klocka vadderad jacka barbour herr
nike kalè°‹n taban
brillabenny cappello sciarpa pashmina nera 4 pon ponkids dorfman pacific light blue cotton bucket hholographic shoes shop for holographic shoes on wheretogetm臋skie czapki bejsbol贸wki zimowe letnie
讗讜驻讟讬拽讛 讬驻讛 注讬谞讬讬è¯
讗讘讬è®ä¸“讬 谞讜讬 诇讘讬转诪讛 讛讛讘讚诇 讘讬谉 ä½è°žè®œæ‹½ä¸“ 诇讘讬诇讬讗专讚 讘讬诇讬讗专讚 ä½è°žè®Ÿä¸“诇诪讬 ç –è¯ªè®œè®»è°‰ è¯‡è®›è½¬é©»ç –ä¸“ 讜诪讬 ç –è¯ªè®žé©»ç – 讗讜讻诇 讘诇讬 讙诇讜讟谉 ç –è¯‡è®— 讬转拽专讘 è®™è¯ è®—è¯è¯ªè½¬æ‹½è°‰ 讙讬专讜讚 讙讚讜诇 3 拽讜诪讜转 è®Ÿè®¬é©»è®œä½ æ³¨ä¸“ä½è¯‡
stillbaymotel
air jordan true flight venta website parajumpers long bear leather black mens moncler red jacket price calculator free nike wmns roshe run hyperfuse rosso nike air max cage billig air jordan 1 infrarojo zoo
mangano stupenda e ecopelle giacca introvabile in depop
stivali con pelliccia esternalampada led unghie semipermanente fornetto unghie 36w led ccfl manicure pedicure meanailcinturino orologio lorenz pelle marrone ansa 14 mm nuovoroksanda abito raso di seta powder blue abiti
top 8 most popular mate 7s armor ideas and get free shipping
hanging toiletry kit clear travel bag cosmetic carry case toiletry organizer women cosmetic cases travel bag in cosmeticfendi ladies french purse wallet selleria gray fd sell lg french pursebrand new kate spade black white polka dot bag nwt3pcs set kid…
puma kids blue superman cape backpack
new white cat eye heart shaped sunglasseshs eyewear golf sunglasses designed by henrik stenson comebobbi brown small makeup bag blackglofx diffraction glasses tie dye funky multi color frame limited edition rave
carhartt wip terrace jacke herren rot blau
ç –è¯ªè¯‡è®œè½¬ 诇讬诇讚讜转 é©»è®œæ‹½ä½ castroç –è¯ªè¯‡è®œè½¬ ç –è®¬é©»è®œè°‰ 讗专讜讻讜转 castroä½è®Ÿ 6 诪讻讜谞讬讜转 诪注抓 viga转讬拽 讙讘 ua patterson backpack black 讗谞讚专 讗专诪讜专
bloom acqua di fiori 锌邪褉褎褞屑懈褉芯èƒé‚ªè–ªè–ªé‚ªè¤Ÿ èƒèŠ¯å†™é‚ª 30 ml æ³»è¤é”Œæ‡ˆè¤Œè¤œ èƒ
faith blue faux leather drawstring tassel duffle bagchristian dior quote tote baglouis vuitton mens pouch19in children cartoon animal carry on luggage super light material suitcase 4 wheels
讗讬驻讜专 诇讗讬专讜注 诪讞讬专讬è¯
讻讬转讛 è®žè®šç –è®› ç –è¯‡ è¯ªç –ä¸“è®š 讛注讘讜讚讛 è¯ªè®»ç –è®¬ä¸“è®› 讛谞讚ä½è®—è®¬è¯ è®¬ç –è®¬ä¸“è®œè½¬ 诇讗讬谞讟诇step in nine west 转讬拽 讙讘 讗讜专讘谞讬诪讬讚注 è¯ªæ‹½è®¬ç¥ è®œè¯ªæ‹½çˆªè®œæ³¨è®¬ 注诇 è¯ªè®¬çˆªè®œè®˜è®¬ç –è®¬ 驻讗讙专讜 2008 2018 讗转专 icar诪讬讬拽 è®—é©» 谞讜è®è¯‡è®¬ 诪讟
extra time soft vibrating ring condom for men pack of 1
shining diva latest kundan choker traditional necklace jewellery set for womenpitching machine wikipediamushroom head penis pump enlargement cylinderseditable sayings bubbles and birthday ages printable pdf for
boston bruins alumni game matt light foundation
blackfish blazers hommes vintedjean slim taille haute raccourcivaude womens strathcona pants black au meilleur prix surconnu les hommes emerica indigo defy denim
askjms
new balance 750v3 nike air max thea kvinders outfit nike classic cortez nylon glowing star dark blu rosso pandora crystal charm addict barn adidas light up sko oransje gré…¶nn nike air jordan 6 schwarz friday
nutraxtractor
kvinners ralph lauren city polo græ°“ ré…¶d hermes kelly 28 rouge tomate evercolor air jordan 4 retro green glow wearing fendi wallet continental net parajumpers jacket price comparison price oakley deviation sunglasses 46mm
puma baby t shirt
converse leder damenlatest converse chuck taylor all star music patchworkconverse x off white eu 39.5 us 6.5 ukconverse dc comics men womens sandals uk official online
anita potters juwelier antiquair verkocht oorbellen
solitario in oro 18 carati con diamantesneakers chain reaction di colorerivestimenti per porte blindatesector orologio tempo e data 890 orologi sector r3273803004
smart wifi led på¿™re
pin on basic sexy casualspring outfit navy lace dress nude sandals for under 60colorful women s sexy lace thongs g string underwear panties briefs for ladies t back lingerie 1pcs lot ah74lace off the shoulder contrast skater dress boohoo
Tenisice Adidas hr
tenisice Nike Air Fear of God hr
samsung galaxy ace 4 neo g313 carcasa tpu suave ajuste
bruins vs lightning preview betting odds predictions tvlos angeles kings sweatshirt smythe division nhl hockeylight blue dresser etsyadidas nhl winnipeg jets full zip hood
logo seamless bralette
sudadera champion rosaabrigo cuero largo hombrebabyliss pro optima 3000 preciofunda samsung galaxy j5 2016 mercury goospery ijelly gel oro rosa
reebok womens classic slim sage green chalk sneakers
chloe gosselin helix velvet pumps with embellishmentout from under casey hoodie sweatshirtlizzie mcguire clothing redbubblejacket pierre louis mascia multicolour size m international
kate spade jemma petite single vision full frame
1990s cazal eyewear gold and black trim cleardesign kids insulated lunch bag with strapfake me harry clwcarrera carrera new champion s ha havana black mens
opticapegaso
kyrie 3 pç…¤rpura air jordan 6 ré…¶d brun parajumpers kodiak jacket parajumpers jacka rea canada goose down hoody definition government nike huarache negro us pandora mom charms earrings wholesale
blog speed painting
new york jets mr. throwback nycfashion canada maple leaf printed women hoodies fall cotton casual female sweatshirts ladies spring autumn streetwear pulloverteam golf carolina hurricanes vintage fairway headcoverfirst jewish player to be drafted no. 1…
carta da parati in vinile scarpe da collezione 5
presa online trova economico scarpe nike air huarache driftdettagli su maglione lupetto uomo gns 51amazon fiori uomo abbigliamentoabito da sera con spalle scoperte
cinturè´¸n reversible de hombre en color negro y estampado
ropa oficial de equipos camiseta umbro west ham 2018 19ofertas zhuikun pelaje parka con capucha chaqueta invierno largo abrigo para hombre moda ofertastoplos zapatos corrientes de preescolar new balance vazee dedisfraz bebe ni帽o