1) a British ba… Read Full Bio ↴At least four artists exist by this name on last.fm:
1) a British band
2) an American rapper
3) a Brazilian death metal group
4) a Mongolian rock band
1) Madness is a British pop and ska band from Camden Town, London, England that was formed in 1976. As of 2012, the group has continued to perform with their most recognised lineup of seven members, although that has varied slightly over the years. Known for their cheeky humour and musical eclecticism, the band members called a "dysfunctional family", the group was one of most prominent artists in the late-70s 2 Tone ska movement. As their career progressed, Madness moved closer toward conventional pop music and has become one of the most successful British bands of all time.
The guys achieved most of their success in the 80s, often picking up new wave fans who enjoyed the band's eclectic sound. Madness, in fact, spent exactly 214 weeks on the U.K. singles charts from 1980-89, thereby sharing the record for most weeks spent by a group in said charts with UB40. Examples of some of their most popular songs include 1979's "One Step Beyond", 1982's "Our House", and 1984's "Keep Moving".
Formation
The core of the band formed as "The North London Invaders" in 1976. This outfit included Mike Barson (Monsieur Barso) on keyboards and vocals, Chris Foreman (Chrissy Boy) on guitar and Lee Thompson (Kix) on saxophone and vocals. They later recruited John Hasler on drums and Cathal Smyth (better known as Chas Smash) on bass guitar. Later in the year, they were joined by lead vocalist "Dikron". This six-piece lineup lasted until part way through 1977, when Graham McPherson (better known as Suggs) took over the lead vocals after seeing the band perform in a friend's garden. Smyth, who was poor on bass guitar, was replaced by Gavin Rogers, an acquaintance of Barson. McPherson was kicked out of the band for too often choosing to watch football instead of rehearsing. As well, Thompson left the band after Barson criticised his saxophone playing.
By 1978, the band had allowed McPherson to return, after filling in temporarily for Hasler (who had taken over vocals when McPherson was removed). Thompson returned after patching things up with Barson, and Daniel Woodgate (Woody) and Mark Bedford (Bedders) also joined the band, on drums and bass guitar respectively. After briefly changing their name to Morris and the Minors, the band renamed itself as Madness; paying homage to one of their favourite songs by ska/reggae artist Prince Buster. The band remained a sextet until late 1979, when Chas Smash rejoined and officially became the seventh member of Madness as a backing vocalist and trumpet player.
Early success
In 1979, the band recorded the Lee Thompson composition "The Prince". The song, like the band's name, paid homage to their idol, Prince Buster. The song was released through 2 Tone Records, the label of The Specials founder Jerry Dammers. The song was a surprise hit, peaking in the UK music charts at #16. A performance of "The Prince" on popular UK music show Top of the Pops helped Madness gain public recognition. Madness then toured with fellow 2 Tone bands The Specials and The Selecter, before recording their debut album, One Step Beyond..., which was released by Stiff Records. The album included a re-recording of "The Prince" and the band's second and third singles: "One Step Beyond" and "My Girl". The title song was a cover of the B-side of the 1960s Prince Buster hit "Al Capone". One Step Beyond... stayed in the British charts for over a year, peaking at #2. After the release of "My Girl", the band felt that they had exhausted the material from One Step Beyond..., and did not want to release any more singles from the album. However, Dave Robinson, head of Stiff Records, disagreed. Eventually, a compromise was made, and the band decided to release an EP featuring one album track and three new tracks. The result was the Work Rest and Play EP, which was headlined by the song "Night Boat to Cairo", from the One Step Beyond album. The EP reached #6 in the UK singles chart.
The following year, the band's second album, Absolutely reached #2 in the UK album charts. Absolutely spawned some of the band's biggest hits, most notably "Baggy Trousers"; which peaked at #3 in the UK singles chart. "Embarrassment" reached #4 in the charts, and the instrumental song "Return of the Los Palmas 7" climbed to #7.
Change of direction
In 1981, the band's third studio album, 7 reached #5 in the UK album charts and contained three hit singles. In an article in 1979, Chris Foreman explained that the band's music would move with the times, and change styles as time goes on. This was shown to be the case, as unlike the two ska-filled, fast-paced albums that preceded it, 7 was somewhat of a change in direction. Suggs' vocal performance changed significantly, and his strong Cockney accent from the previous albums had been watered down. The album strayed from the ska-influenced sound of One Step Beyond... and Absolutely, and moved towards a more conventional and mature pop sound; a trend that continued with subsequent albums. Near the end of 1981, Madness released one of their most recognised songs; a remake of Labi Siffre's 1971 hit "It Must Be Love". The song climbed to #4 in the UK and entered the US charts at #33. In 1982, Madness released their only #1 hit to date, "House of Fun"; as well as their fourth studio album The Rise & Fall. The album contained their most internationally successful single to date, "Our House", which reached #5 in the UK music charts and # 7 in the US charts. In 1983, their single "Wings of a Dove" peaked at #2 in the UK charts. Their following album, Keep Moving, peaked at #6 in the UK album charts, and several singles from that album reached the top 20 in the UK music charts.
Decline and breakup
In October 1983, the band's founder, keyboardist and prominent songwriter Mike Barson decided to leave the band, partly because he had relocated to Amsterdam, Netherlands. He officially left the band in June 1984, following the release of "One Better Day". The six remaining members left Stiff Records and formed their own label, Zarjazz Records, which was sub-label of Virgin Records. In 1985, the label released the band's sixth album, Mad Not Mad. Barson's keyboard parts were filled by synthesisers, and in later years, frontman Suggs described the production as "polished turd". The album reached #16 in the UK charts, which was the band's lowest position on the album charts to date. Despite the poor chart showing, the album was listed as #55 in NME's All Time 100 Albums. The singles for the album fared even worse, with "Yesterday's Men" peaking at #18 in the UK charts. The subsequent singles, "Uncle Sam" and "Sweetest Girl", failed to make the top 20, which was a first for Madness singles.
The band then attempted to record a new album, and 11 demo tracks were recorded. However, musical differences arose between band members, and in September 1986, the band announced that they were to split. Barson rejoined the band for a farewell single, "(Waiting For) The Ghost Train", but did not appear in the music video. The band officially split following the release of the single, which reached a high of #18 in the UK. In 1988, four members of the band — Suggs, Chas Smash, Lee Thompson and Chris Foreman — created a new band, using the name The Madness. After one self-titled album and two singles that failed to make the the top 40, the band split.
Reunions and The Dangermen
In early 1992, "It Must Be Love" was re-released and reached #6 in the UK singles chart. Following that, the singles compilation Divine Madness was released and peaked at #1 in the album charts. Madness then announced plans for a reunion concert, Madstock!, which was held at Finsbury Park, London on August 8 and 9 of that year. The original lineup reunited, performing together for the first time since Mike Barson left the band in 1984. Over 75,000 fans attended the weekend festival, and during "One Step Beyond", the crowd danced so much they caused an earth tremor which measured over 4 on the richter scale. A subsequent live album was released, and the associated single, "The Harder They Come" (a cover of Jimmy Cliff's 1973 song) reached #44 in the UK.
The band continued to reunite for annual UK Christmas season tours and held three more Madstock! festivals; in 1994, 1996 and 1998. In 1999, Madness released their first studio album since 1986, entitled Wonderful. The album reached #17 in the UK album charts, and the lead single, "Lovestruck", gave the band their first new top 10 hit in the UK since 1983. Neither of the two subsequent singles from the album, "Johnny The Horse" and "Drip Fed Fred", entered the top 40 of the UK charts.
From October 28, 2002 to August 16, 2003, a musical based on Madness songs, Our House, ran at the Cambridge Theatre in west London. Madness played a role in the executive production of the show, and Suggs played a role in the production for a period of time, playing the central character's father. It won an Olivier Award for best new musical of 2003, and the performance was released on DVD on November 1, 2004. There was also a previous musical based on Madness songs, One Step Beyond!, written by Alan Gilbey. The musical had a brief run at the Theatre Royal Stratford East in 1993.
In 2004, the band played a series of low-key concerts as The Dangermen, performing covers of classic reggae and ska songs. A lot of the songs were those played by the band when they were first forming, and the band performed the songs as a celebration of their 25 year anniversary. This led to the release of the album The Dangermen Sessions Vol. 1 in August 2005. However, during the sessions which produced the album, the band's guitarist Chris Foreman announced his departure. Foreman left the band in mid 2005, citing "the petty, time consuming bollocks that goes on in the band" in a statement announcing his decision to leave. The band completed the album without him, and on release, it peaked at #11 in the UK album charts, which was the band's highest studio album chart position in 21 years. Although two singles were released, neither was a major success in the UK. The more successful of the two, "Shame & Scandal", reached #38. Despite the poor chart showing, the single reached #12 in France.
In late 2006, this six remaining members of Madness began working on their first original album in seven years. However, for Madness' 2006 Christmas season tour, Foreman rejoined the band. In March 2007, the single "Sorry" was released from the band's upcoming album, peaking in the UK charts at #23. The single included a version featuring UK hip hop artists Sway DaSafo and Baby Blue. Both artists were included on the music video which accompanied the hip-hop version of the song, but not on the original music video. Both music videos were also without Chris Foreman, despite the fact that he was a band member at the time of release.
The new Madness song "NW5 (I Would Give You Everything)" and a re-recorded version of "It Must Be Love" were featured in the German film Neues vom Wixxer. The two songs were released in Germany as a double A-Side, and both of them were turned into music videos. While promoting "Sorry", Sway DaSafo confirmed in an interview with NME that he will perform in the recording of Madness' updated version of their song "Baggy Trousers", entitled "Baggy Jeans". The updated song will be featured on Madness' upcoming studio album, and also released as a single. DaSafo predicted the song will be a "huge smash gaurenteed", although the date of release is not yet known.
Lyrical themes
Although Madness were seen by many as somewhat of a humorous band with catchy, bouncy songs, they sometimes tackled, what were at the time, controversial issues in their lyrics. "Embarrassment" (from the "Absolutely" album) was written by Lee Thompson, and reflected the unfolding turmoil following the news that his teenage sister had become pregnant and was carrying a black man's child. The band discussed animal testing in the song "Tomorrow's Dream". The band criticized the National Health Service in "Mrs. Hutchinson"; which told the story of a woman who, after several misdiagnoses and mistreatment, became terminally ill. The story was based on the experiences of Mike Barson's mother. Madness' final single prior to disbanding, "(Waiting For) The Ghost Train", commented on apartheid in South Africa.
Skinhead controversy
Early in their career, Madness were linked to skinheads; members of a British working class subculture that the media often stereotyped as racist (although the clear majority of skinheads were anti-racist). Not only were Madness, along with other 2 Tone bands, popular with skinheads, but it was said that the band members themselves were associated with the subculture. The band's relationship with the skinheads varied at times. Mike Barson was particularly displeased with the band's skinhead following, often finding it disappointing that so many were present at performances. Prior to becoming a full member of the band, Chas Smash had been involved in fights with skinheads at performances. In one particular incident on November 18, 1979, Madness were supported by "Red Beans and Rice", who featured a black lead singer, and the band were prevented from completing the performance due to the racist chants from certain members of the skinhead filled audience. Suggs later came on stage to show his displeasure at their behaviour, but this didn't stop much of the audience from Nazi saluting at the end of the show.
In a 1979 NME interview, Madness member Chas Smash was quoted as saying "We don't care if people are in the NF as long as they're having a good time." This added to speculation that Madness was a racist band supporting the fascist group National Front, although the band members denied those allegations. Numerous fans felt upset that Chas Smash's views were mispresented by the media, with yellow journalists just looking for a story in their eyes. Smash responded to the NME article in the song "Don't Quote Me On That". Eventually, band members denied their skinhead roots, which disappointed much of their skinhead fan base. The issue faded as the years went by and the far-right skinhead groups failed completely in winning converts, their particular fringe shrinking massively while in the meantime Madness' international popularity grew.
Awards
The band's first notable musical award came in 1983 when they won an "Ivor Novello Award" for Best Song for the international hit "Our House". They received another "Ivor Novello Award" 17 years later for an "Outstanding Song Collection". In 2005, they were awarded the Mojo Magazine "Hall Of Fame" award, notably for being 'an artist's artist'. As of 2007, a campaign is taking place by fans of Madness for the band to be awarded a Brit award. Many fans and critics feel they have been overlooked over their past 30 years in the music industry.
Website
madness.co.uk
2) Madness is also the name of a hip-hop artist from Florida in the U.S. He has competed in many Grindtime Rap Battle events, and the rapper work is featured on the release 'Fresh Coast Perishables Volume One' as well as in his own underground albums.
3) Madness is a Brazilian death metal band.
4) Madness is a Mongolian rock band.
Ich sterbe für HipHop
Madness Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oldschool-Trainbombing-Graffiti-Aufnahmen
Es kommen noch mal andere OldSchool-Aufnahmen
Dann kommen noch mal OldSchool-Aufnahmen
Dann kommt noch KRS-One später
Und dann kommt noch mal 'ne Abschiedssendung
Also dranbleiben.“
Yassin, Kollege Schnürschuh
Also ich steig' jetzt ma' ein, checks schon ma' aus
Mach' du dir schon ma'n Reim darauf
Doubletime braucht zu viel Lines
Frankfurt hat ja auch nur eine Zeil'
Ich war einma' ein Riesenfan von Luda
Da war 'n iPad noch 'n Blackbook, Sneaker waren Schuhe
Retro war da Hier und Jetzt, der Rucksack war aus Jute
Heut' hab' ich 'n Auto, doch fahr' trotzdem überall mi'm Zug hin
Gude alte Zeit, wie sie rumging
Splash, Freundeskreis, Mainstage, Schunkeln
Heute, Fortschritt, Sätze, Stumpfsinn
Ich spiele immer noch mit den Jungs hier Tennis ohne Punkte
Denn keiner nimmt mir meinen HipHop, den einen HipHop
Ich mein' nich' deinen HipHop
Eine Liebe klingt zwar geil, doch auch leicht schizo
Deshalb geb' ich dir 'n Rat/Rad
„Bicycle“
Des geht raus an alle Breaker und Sprüher
An alle Mic-Checker, die wack rappen wie früher
An alle die ganz genau wissen, hundert Prozent
An alle Backspin-Abonnenten, ihr seid Rap
Ich sing' dieses Lied für dich HipHop
Lalala Lalala
Ich sterbe für HipHop, mein Herz für dich HipHop
Lalalalala La
Die Liebe meines Lebens
Dieses Lied für dich HipHop
Lalala Lalala
Ich sterbe für HipHop, mein Herz für dich HipHop
Lalalalala La
Würd' dich ficken, hättste Titten
Komm, wir bleiben true to the old school
Mein Albumcover nur ein Tag meines Namens
Zwischen Anführungszeichen gesetzt
Jeder Track respektiert die fünf Elemente
Propz geh'n raus an Rahzel, doch das fünfte ist Fashion
Sm58 realstes Mic der Welt
Krs dreht sich im Grab um, ihr verdient mit Rap Geld
Ihr Schweine begeht Verrat an der Kultur
Jams die Eintrittskosten sind keine Gage, nehm' nur Huren
Das Wichtigste beim Schreiben sind und bleiben die Vergleiche
Ruhig immer dieselben solang's funktioniert - Primos Hi Hat
Ich kann nicht zusehen wie ihr HipHop vergewaltigt
S-A-V du hattest Recht: Sie ham die Mucke gefickt
Des geht raus an alle Breaker und Sprüher
An alle Mic-Checker, die wack rappen, wie früher
An alle die ganz genau wissen, hundert Prozent
An alle die Caps noch knicken, ihr seid Rap
Ich sing' dieses Lied für dich HipHop
Lalala Lalala
Ich sterbe für HipHop, mein Herz für dich HipHop
Lalalalala La
Die Liebe meines Lebens
Dieses Lied für dich HipHop
Lalala Lalala
Ich sterbe für HipHop, mein Herz für dich HipHop
Lalalalala La
Würd' dich ficken, hättste Titten
An alle mit geklautem Benz-Stern, ihr seid Rap
An alle Cypherkreisbilder, ihr seid Rap
An alle Mixtapeverschenker, ihr seid Rap
An alle Majordealablehner ihr seid Rap
An alle DJs ohne Laptop, ihr seid Rap
An alle Freestyler nach Auftritten, ihr seid Rap
An alle B-Girls mit Eiern, ihr seid Rap
An alle die auch Reggae ticken, ihr seid Rap
The song "Ich sterbe für HipHop" by Mädness feat. Yassin is a tribute to the hip-hop culture that influenced the two artists' lives. In the lyrics, the artists reminisce about the old-school days of hip-hop, specifically mentioning graffiti and breakdancing, and how it has evolved to the present time. They express their love and loyalty to the culture, using bold and controversial statements such as "I would fuck you, hip-hop, if you had tits." The song is a critical commentary on the current state of popular rap music, which the artists see as having lost its way from the roots of hip-hop. They reject the commercialization of the genre and call for a return to the authenticity of underground hip-hop.
The chorus of the song emphasizes the central theme of the song: “I sing this song for you, hip-hop. I die for hip-hop, my heart for you, hip-hop. You are the love of my life, this song for you hip-hop." The song reflects the artists' deep commitment and respect for the values of hip-hop, as well as their sense of pride in being part of the culture.
The song presents an interesting mix of old-school and new-school hip-hop styles. The artists try to balance their love for the old-school hip-hop with their need to adapt to the changing times, such as the use of doubletime in modern rap. They also acknowledge the commercialization and corporatization of the genre, which they see as a threat to hip-hop's authenticity.
Line by Line Meaning
Es kommen noch äh Oldschool-Trainbombing-Graffiti-Aufnahmen
We'll be seeing some old school train-graffiti footage
Es kommen noch mal andere OldSchool-Aufnahmen
There will also be other old school footage
Dann kommen noch mal OldSchool-Aufnahmen
Then there will be more old school footage
Dann kommt noch KRS-One später
KRS-One will appear later
Und dann kommt noch mal 'ne Abschiedssendung
And then there will be a farewell show
Also dranbleiben.
So stay tuned.
Yeah, is de Gude, Baby
Hey, what's up, baby?
Yassin, Kollege Schnürschuh
Yassin, my colleague Schnürschuh
Also ich steig' jetzt ma' ein, checks schon ma' aus
So, I'm jumping in now, check it out
Mach' du dir schon ma'n Reim darauf
You can start trying to make sense of it yourself
Doubletime braucht zu viel Lines
Double time rhyming requires too many lines
Frankfurt hat ja auch nur eine Zeil'
Frankfurt only has one subway line
Ich war einma' ein Riesenfan von Luda
I used to be a huge fan of Ludacris
Da war 'n iPad noch 'n Blackbook, Sneaker waren Schuhe
Back then, an iPad was just a black book, and sneakers were shoes
Retro war da Hier und Jetzt, der Rucksack war aus Jute
Retro was the present, and backpacks were made of burlap
Heut' hab' ich 'n Auto, doch fahr' trotzdem überall mi'm Zug hin
Today I have a car, but I still go everywhere by train
Gude alte Zeit, wie sie rumging
Good old times, how they passed
Splash, Freundeskreis, Mainstage, Schunkeln
Splash, Freundeskreis, Mainstage, dancing
Heute, Fortschritt, Sätze, Stumpfsinn
Today, progress, phrases, nonsense
Ich spiele immer noch mit den Jungs hier Tennis ohne Punkte
I still play tennis with the guys here, without keeping score
Denn keiner nimmt mir meinen HipHop, den einen HipHop
No one can take away my hip hop, the one hip hop I love
Ich mein' nich' deinen HipHop
I don't mean your hip hop
Eine Liebe klingt zwar geil, doch auch leicht schizo
One love sounds great, but it's also a little schizophrenic
Deshalb geb' ich dir 'n Rat/Rad "Bicycle"
That's why I'm giving you a piece of advice, "bicycle"
Des geht raus an alle Breaker und Sprüher
Shoutout to all the breakers and taggers
An alle Mic-Checker, die wack rappen wie früher
To all the mic-checkers who rap wack like back in the day
An alle die ganz genau wissen, hundert Prozent
To all those who know exactly, one hundred percent
An alle Backspin-Abonnenten, ihr seid Rap
To all the Backspin subscribers, you are hip hop
Ich sing' dieses Lied für dich HipHop Lalala Lalala Ich sterbe für HipHop, mein Herz für dich HipHop Lalalalala La Die Liebe meines Lebens Dieses Lied für dich HipHop Lalala Lalala Ich sterbe für HipHop, mein Herz für dich HipHop Lalalalala La Würd' dich ficken, hättste Titten
I sing this song for you, hip hop. I would die for hip hop, you are the love of my life. This song is for you, hip hop. I would fuck you if you had tits.
Komm, wir bleiben true to the old school
Let's stay true to the old school
Mein Albumcover nur ein Tag meines Namens Zwischen Anführungszeichen gesetzt
My album cover is just one day of my name, in quotation marks
Jeder Track respektiert die fünf Elemente
Every track respects the five elements
Propz geh'n raus an Rahzel, doch das fünfte ist Fashion
Props to Rahzel, but the fifth element is fashion
Sm58 realstes Mic der Welt
SM58 is the realest mic in the world
Krs dreht sich im Grab um, ihr verdient mit Rap Geld
KRS-One is turning in his grave, you're making rap money
Ihr Schweine begeht Verrat an der Kultur
You pigs are betraying the culture
Jams die Eintrittskosten sind keine Gage, nehm' nur Huren
Jams have no entry fee, only whores
Das Wichtigste beim Schreiben sind und bleiben die Vergleiche
The most important thing when writing is and remains the metaphors
Ruhig immer dieselben solang's funktioniert - Primos Hi Hat
Always use the same ones, as long as it works - primo's hi hat
Ich kann nicht zusehen wie ihr HipHop vergewaltigt
I can't watch you rape hip hop
S-A-V du hattest Recht: Sie ham die Mucke gefickt
S-A-V you were right: they fucked the music
An alle mit geklautem Benz-Stern, ihr seid Rap
To all those with stolen Mercedes-Benz emblems, you are hip hop
An alle Cypherkreisbilder, ihr seid Rap
To all those cypher circle photos, you are hip hop
An alle Mixtapeverschenker, ihr seid Rap
To all the mixtape givers, you are hip hop
An alle Majordealablehner ihr seid Rap
To all those who reject major deals, you are hip hop
An alle DJs ohne Laptop, ihr seid Rap
To all DJs without laptops, you are hip hop
An alle Freestyler nach Auftritten, ihr seid Rap
To all freestylers after shows, you are hip hop
An alle B-Girls mit Eiern, ihr seid Rap
To all B-girls with balls, you are hip hop
An alle die auch Reggae ticken, ihr seid Rap
To all those who also love reggae, you are hip hop
Lyrics © Budde Music Publishing GmbH, Universal Music Publishing Group
Written by: MARCO DOELL, DIRK BRETTRAEGER, YASSIN TAIBI
Lyrics Licensed & Provided by LyricFind
@TimEngertable
Ich weiß nicht genau was du mit "ähnlich wie das" meinst, also Zähl mich mal alles auf, was in Frage kommt.
Das "lalala, lalala" ist n biting aus nem alten raptrack (Titel fällt mir grad nicht ein) gibt's auch bei den 257ers
(Achtung ist eher so spaßrap nicht jedermanns Sache)
Wenn du oldschool meinst kann ich dir verrückte Hunde und Mädness, sowie die 2000er Deichkind Sachen ans Herz legen.
Wenn du was mit kritischen Texten und aggressivem Flow suchst dann gönn dir audio88 & Yassin
Allgemein guten HipHop/Rap findest du bei Marsimoto, Karate Andi und Cr7z.
Tracks mit ähnlicher Hook: Megaloh - HipHop , Marsimoto - mein Dad ist hiphop.
Ich hoffe ich konnte dir weiterhelfen, viel Spaß beim stöbern und immer schön geschmeidig bleiben.
@GermanzDreamboy87
Ich bin selten zu einem Lied so oft zurück wie zu dem.... echt das beste was bis jetzt dieses Jahr gebracht wurde. Danke dafür
@freshdachs6200
Letztens live in Brandenburg gehört, als der ganze Club 'lalala' brüllend sich zu Tode pogte war einfach Magie! <3
@tisch853
2023 immer noch Hammer
@AllEine777
Wie es scheint, hat dieser Yassin wieder richtig Bock auf Rap. Und ich hab richtig Bock auf Maggo und Normaler Samt!
@hikageniko
Ganz normal guter Avatar!
@Avakr
und vier Jahre Später hat er doch nur Auto-Tune-Dreck gemacht. :/
@0NK3LS4T4N
@@Avakr ein Kommentar von vor 4 Jahren,von dir direkt unter diesem - the time machine is real!
@ekeleklat
Props an Mädness, Yassin und das Tomatenmark auf dem Schreibtisch
@torstenstriebel5573
Ich sterbe für Hip Hop 🔥🔥🔥
@trailnomade
Ah Döll, schön zu sehen, dass es noch Menschen gibt die trotz eigener Weiterentwicklung sich treu bleiben können.