Please note this is an archived topic, so it is locked and unable to be replied to. You may, however, start a new topic and refer to this topic with a link: http://www.banjohangout.org/archive/218334/2
Page: 1 2 3
moses - Posted - 10/27/2011: 21:31:14
Stanger,
Have you ever seen the D tuners I posted pics of?
stanger - Posted - 10/27/2011: 22:09:54
quote:
Originally posted by SWCooper
Gosh, I wish I knew which model my dad's was. I don't know the year, but the story -- as I remember it -- is that Baldwin gave a banjo to Earl hoping for his endorsement. Some time later, Earl gave the banjo to my father. The original head was signed "to my best friend, Nat Winston" (though that head is no longer on the banjo; it's framed).
I would murder for that banjo. Not just because of the story, but it was the heaviest, best-playing banjo I've ever picked up. I can't remember a thing about the inlay shape, though.
Hi, Sarah...
That banjo & head are both fine and rare pieces of Scruggs memorabilia. I'm sure you know about Nat Winston, but for those who are unfamiliar with him:
Nat Winston was a doctor and an artist. He was indeed a close personal friend of Earl's, and he painted the original cover art for many of the Flatt & Scruggs record albums released in the 60's, including the cover of Foggy Mountain Banjo.
His artwork helped a great deal in creating interest in the band; the Foggy Mtn. Boys were just becoming nationally recognized when Winston's covers started coming out. At that time, there was a lot of non-photographic cover art that brought a lot of fresh interest to artists and bands that had been around for a while, especially in the Jazz and Classical music area.
Dave Brubeck's 'Take 5' featured an abstract painting as cover art, and several of Miles Davis' covers were also only artwork. Classical music, which actually sold very well in the 60's, most often used paintings and fresh graphic cover art.
Folks saw these covers in record shops, and good artwork tended to imply a level of sophistication that photo portraits did not, as they were so common. Nat's art was thoroughly modern in approach, and created a much more sophisticated association that all the other bluegrass recordings of the period. All the other bluegrass artists and bands had basically the same photo art- guys in hats and string ties standing in a line holding their instruments. The general impression these covers gave were that bluegrass was country music that was directed to an audience that wasn't very uptown or metro.
For sure, Flatt & Scruggs were country folks, but the art got city folks to pick up the record and give it a listen. The music, for those people was a revelation and a marvel. Scruggs started becoming compared to the jazz guys, the records started getting serious reviews in major newspapers and magazines, and Flatt & Scruggs became steadily booked on the college circuit where they played to audiences of 2,000 or more. All this happened at a time when Monroe and all their contemporaries were barely hanging on, playing to audiences of 200 at churches, fire houses, city halls, or wherever they could find a space.
Nat's covers also became a hallmark of the band. When a city kid bought one of their records, they could immediately recognize a new recording, or one they didn't own already, from the cover art alone. The only exception that comes to mind is the band's Carnegie Hall album, which had a photograph on the cover.
While I'm sure that Earl just liked his friend's art a lot, as marketing, the art work was brilliant. It did a lot to make Flatt & Scruggs the most famous bluegrass players in the country, and made them all a lot of money. The artwork is still memorable to this day, too.
(my fave Nat cover is the one with Earl, Lester, and Doc Watson)
Many records had great cover art, but the real greatness is always in the listening. To their credit, Flatt & Scruggs and the Foggy Mountain Boys always delivered the goods, big-time.
regards,
stanger
SWCooper - Posted - 10/28/2011: 04:14:55
I know the artist you're talking about, Stanger, but that wasn't my dad. Gosh, I can't think of his name. Those covers were iconic.
My father was (is, still very much with us) a psychiatrist, casual musician and a huge bluegrass fan, particularly banjo. When we moved to Nashville, my dad made a bee-line for Earl (his hero). Over the years, Doctor Nat became a fixture around Nashville, sort of the unofficial (and occasionally official) pshrink to the industry (he treated Johnny Cash, for example, and was consulted -- but declined to take on -- Elvis).
Many, many great musicians passed through our house in Madison. What do musicians do on their days off? They play music, of course. Oh, what a lucky girl I was.
My mother was a very good portrait artist, and she did the covers for the seven or eight music instructional albums my father recorded or produced in the Sixties. The only piece of art she did that you might have seen, she sketched little pointy beatnik beards on a photo of Lester and Earl that may have been used in the promotional material for Nashville Cats.
Oldtwanger - Posted - 10/28/2011: 04:43:37
quote:
Originally posted by SWCooper
I know the artist you're talking about, Stanger, but that wasn't my dad. Gosh, I can't think of his name............
________________________________
Thomas B. Allen
stanger - Posted - 10/28/2011: 12:31:05
Yep. Thomas B. Allen. Thanks for that, Twanger.
Age is gettin' to me.
and Sarah...
I'm very glad your Dad is still kickin' and doing well!
Sorry for the mix-up.
regards,
stanger
backwardroll - Posted - 10/28/2011: 14:06:13
Well, before I get to the "D"tuners, it might be interesting to comment more on this fascinating thread. Steve, I don't want to dismiss the possibility of your dad's neck not being part of the development of the final "C" design. As mentioned earlier, I played with various pieces of pearl for a couple of months. I ran thoughts past a lot of banjo players and artists before arriving at the final "C". If you left Cincinnati in 1968, it's probable that your dad was part of this process. I did at that time and would still respect his opinion regarding any design. It's obvious his neck is very close to the production models. Sarah, I doubt if your father would remember me but I spent an evening in your home with your father Nat, Earl and Louise,Chuck Thompson (a Baldwin guitar demonstrator) and various other people. I believe Chuck was there as well but I can't be sure. I'll have to ask him. It was during the 1967 Nashville Disc Jockey convention. We were obviously interested in Earl becoming a "Baldwin Artist" and we were invited to your home. I believe my boss, Russell Kurth, was friends with your dad. You have to remember that Earl Scruggs was my idol and next to a "God" to me. I was nearly in shock. Chuck Thompson had a Baldwin-Burns electric guitar, Earl and I both had Style "D"s, and your mother was playing bass. I'll never forget that moment. Earl did not have a capo and when Chuck asked what key he would like to play in, he said, "Just any old one you want". It goes without saying that I didn't challenge Earl and just sat there in awe. As I think Ed has said, that banjo would be an early Boulder "D"banjo. I would not be surprised to find that it's also mahogany. I had just signed John Hartford as an artist and he received an early mahogany "D". The last I heard of John's banjo, it was in the "Hall of Fame". Earl liked the banjo but never agreed to endorse it. To be honest, I don't think we gave it to him. I believe that it was probably purchased for intended sale by his music store. I'm not sure. At any rate, Sarah, your father and mother were very hospitable to us. I remember him having a "museum" in the house which had all sorts of interesting memorabilia. It was an evening to remember by a young Scruggs "wanabe" for sure. More on the tuners later. Myron Koenig
SWCooper - Posted - 10/28/2011: 15:02:28
Oh, man, my dad *loved* to throw together musicians (and fans) like that, Myron. He was a huge fan himself and could gather a roomful of amazing people -- so many great names lived in that end of Nashville then. We also have a cabin way back in the woods on Grandfather mountain where he hosted more extended (and boozier) jams, and the local mountain boys would show. Lordy, could some of them pick.
There was a reason Earl gave him the banjo. It was a thank-you for something specific, and I forget what (I'll ask, next time I talk to him). But it really is a stand-out instrument; easily the best banjo I've ever played. It's been my father's main banjo ever since, so it's picked up some wear, but it's still going fine.
The roof literally fell in on the "museum" one day, and my dad donated the lot to the Reece Museum at ETSU. Kind of symbolic of the whole thing falling apart, really.
moses - Posted - 10/29/2011: 07:37:00
Hi Myron,
I talked with my Dad at great length a couple of days ago. He is sure there was no C model at the time you upgraded his B neck. He remembers telling you that it needed a pattern because it sounded too good not to look good also. He says he was probably not the only one who told you that during that time. I'm sure he didn't mean to imply that he was the only influence you had for the upgrade to the C model. He was very pleased with the pattern you two came up with for his banjo and was very appreciative that you agreed to do the work for him.
He also told me a story about Tommy Hill's mandolin! Maybe you remember that one as well! I think it had something to do with an irate wife! He also says we moved in 1969 instead of 1968. But, he remembers well the many nights you came and sat in with them during their practices and the many pots of coffee you guys would drink.
Thanks a lot for the memories, Myron. Even though I was young I remember seeing you at our house and hearing those guys play some really good bluegrass!
My dad has lost his hearing for the most part. He no longer plays or sings and hasn't for years. So, now he writes songs and builds instruments. Right now I have four of the banjos he has built. They really sound good.
Thanks for the reply. I, and maybe some others, still look forward to hearing about those D tuners.
Steve Bruce
Jim Bo - Posted - 10/29/2011: 09:56:44
quote:
Originally posted by moses
Hi Ed,
Here are a few pics of my Dad's Baldwin. It was bought in the early to mid 60's at Hughes Music Store in Norwood, OH. I couldn't find a serial no. on the banjo. I will post pics of the "D" tuners when I can find them.
Thanks,
Steve Bruce
FXHERE - Posted - 10/29/2011: 10:22:06
Good stuff indeed for us Ode lovers....
Jim Bo - Posted - 10/29/2011: 11:21:19
quote:
Originally posted by moses
Hi Ed,
Here are a few pics of my Dad's Baldwin. It was bought in the early to mid 60's at Hughes Music Store in Norwood, OH. I couldn't find a serial no. on the banjo. I will post pics of the "D" tuners when I can find them.
Thanks,
Steve Bruce
I have a banjo just like that and I love it. Has the Baldwin banner and nothing else. Great banjos!
I would also be interested in joining the Balwin, Ode, and Ome group.
Edited by - Jim Bo on 10/29/2011 11:24:47
Jim Bo - Posted - 10/29/2011: 11:35:19
quote:
Originally posted by Jim Bo
quote:
Originally posted by moses
Hi Ed,
Here are a few pics of my Dad's Baldwin. It was bought in the early to mid 60's at Hughes Music Store in Norwood, OH. I couldn't find a serial no. on the banjo. I will post pics of the "D" tuners when I can find them.
Thanks,
Steve Bruce
I couldn't find any serial numbers on my banjo either.
moses - Posted - 10/29/2011: 11:48:41
Hey Jimbo,
I'm sure you have a good one, too. Did you buy yours new or used? And, about the serial number, I found it. It is punched in small numbers around the co-ordinator rod. I attached a picture to see if it helps you.
Steve
moses - Posted - 11/01/2011: 05:44:10
FXHere and others,
I grew up with the Baldwin banjo, so it is very interesting to me. I hope the rest of you Baldwin Banjo guys find it interesting as well. I'm going to try to put a few sound files of this particular Baldwin on here. I may try a video or two. I'd like for you guys to hear this banjo and those cam D tuners in operation.
Steve Bruce
BrittDLD1 - Posted - 11/01/2011: 07:04:59
Hi Steve --
By the way... I believe Myron had some illness in the family, to attend
to. Which is probably why he hasn't posted his response about the
cam tuners, yet.
He did mention that the flat mounting plate for the tuners goes on
the BACK of the peghead. You have to remove the two tuners, first.
Note the small slots in the two mounting holes, on the plate. Each tuner
has a small anti-rotation 'tooth' on the flat surface that comes in contact
with the back of the peghead.
Make sure each tuner's tooth is aligned in that slot, BEFORE re-tightening
the clamping nut on the front of the string-shaft.
Best-
Ed Britt
biganvils - Posted - 11/01/2011: 21:42:07
Oh, you can be sure the rest of us Baldwin guys find this post interesting. It's wonderful....keep it going!
moses - Posted - 11/02/2011: 05:05:09
Hi Ed,
Yeah, I have had the tuners off and on before. Actually, my Dad had already put them back on and all I had to do was set them. It's a good sounding banjo! And, the tuners work great! If you talk with Myron, tell him we are ready to hear about the tuners and any other stories he has to tell.
Thanks,
Steve Bruce
moses - Posted - 11/02/2011: 05:07:13
Biganvils,
I'm glad you guys are enjoying the stories. I am reliving my childhood through this!
Steve
BrittDLD1 - Posted - 11/02/2011: 06:39:05
I'll also be 'out-of-the-loop' myself, through this weekend...
I'll be at the 14th annual 'Banjo Collectors Gathering" -- which is in the
Boston area (Waltham) this year.
It should be called "The Banjo-Crazies Gathering" since the whole bunch
of us are complete 'whack-jobs' about early banjos.
See:
and:
It's primarily focused on 19th Century banjos, but things do expand at either
end of the timeline.
One of this year's presentations is on The Arthur E. Smith Banjo Co. -- a small
artisan company, located here in Massachusetts, during the 1970s, and early-'80s.
I had a high-end custom banjo made by them back in '79. (See photo below.)
It will be featured in the presentation by AES co-founder, Kate Spencer. (The
banjo is now owned by my daughter.)
AND.. I'll have a my small group of Boulder-made ODE banjos, on display.
(Not typical fare for the Gathering... But hey, they're 45 to 50 years old now --
and are both 'unusual' and rare.) You can see a few of them in my photo albums:
I'll check back in, next week.
Best-
Ed Britt
Edited by - BrittDLD1 on 11/02/2011 06:42:09
moses - Posted - 11/02/2011: 06:59:27
Hey Ed,
Have fun! Looks like you have a great group of old banjos. Before you leave, let me share these pics with you.
BrittDLD1 - Posted - 11/02/2011: 12:21:56
Hi Steve --
Thanks for the pix!
Interesting... From a distance, they almost disappear -- and just look
like larger 'waist-cuts' in the 'fiddle'-shaped peghead.
And I see that the tuning pegs ARE the original ODE-made ones. Many
people don't realize that Chuck Ogsbury and Kix Stewart were the FIRST
to create a set of REPRODUCTION 'Planet" banjo tuners. For ODE.
They were based on the original "Planet" pegs -- designed and made by
Ludwig, in the mid-'20s. Ludwig, like some other drum makers (Slingerland,
Leedy, etc.) made banjos during the 1920s Jazz boom.
Ludwig's Planet pegs were MORE successful than their banjos! Most of the
major banjo makers -- Gibson, Vega, Bacon, etc., used Ludwig's pegs on their
high-end banjos. Wm. Lange (Paramount /Orpheum) used "Page" tuning pegs.
Lange apparently bought the patent on them, and had them made.
Kix Stewart, and partner Bill MacDonald started Stewart-MacDonald (Stew-Mac)
and eventually began making their own brand "5-star Planet" pegs in the 1970s.
Best-
Ed Britt
moses - Posted - 11/02/2011: 14:42:18
Thanks Ed. Again, you are schooling us in all things Ode!
Steve
moses - Posted - 11/03/2011: 09:04:07
Here's a couple of sound files of my Dad's B model Baldwin with a Myron Koenig upgraded inlay pattern. Tell me how you think it sounds.
SWCooper - Posted - 11/03/2011: 09:40:43
I think it sounds awesome.
moses - Posted - 11/03/2011: 11:04:05
Thank you, Sarah. I like the sound of it.
Steve
FXHERE - Posted - 11/06/2011: 07:34:01
Great banjer and picking..I enjoyed that..Thanks
moses - Posted - 11/06/2011: 14:03:16
Doug,
Thanks for the comment. I really like the sound of this banjo.
moses - Posted - 11/06/2011: 14:03:16
Doug,
Thanks for the comment. I really like the sound of this banjo.
biganvils - Posted - 11/07/2011: 04:26:57
that's an awesome sounding banjo and the picking is very good too! what are the names of those songs please?
moses - Posted - 11/07/2011: 04:34:55
Those are both my own. One I call Rolling Forward. The one with D tuner is untitled. Thanks for the compliment.
BrittDLD1 - Posted - 11/09/2011: 06:52:25
Steve --
Thanks for posting those sound files.
YOU and the Baldwin BOTH sound GREAT!
And, on a somewhat related topic...
Today, Nov. 9th -- is Chuck Ogsbury's 73rd birthday.
I've started a "Happy Birthday" topic -- to send some
birthday wishes to him:
Best-
Ed Britt
.
Edited by - BrittDLD1 on 11/09/2011 06:53:59
moses - Posted - 11/09/2011: 06:57:14
Thanks Ed!
I was always impressed by the sound of this Baldwin banjo. Have you heard from Myron lately? We're still interested in hearing from him on the D tuners! I know you said he was tending to some family sickness. I hope everything is well with him. Also, thanks for letting us know about Chuck Ogsbury's birthday. Happy Birthday, Chuck!
Steve
BrittDLD1 - Posted - 11/09/2011: 07:12:22
quote:
Originally posted by moses
... Have you heard from Myron lately?
Hi Steve --
No... I haven't heard from Myron, since I last posted about him.
The family illness still might be taking some of his time. He WILL get back
to us eventually. (I'll give him a 'gentle reminder' next week, if we don't hear
from him by then.)
Best-
Ed Britt
Edited by - BrittDLD1 on 11/09/2011 07:13:33
moses - Posted - 11/09/2011: 07:33:56
That would be great, Ed.
backwardroll - Posted - 11/14/2011: 08:10:03
Please excuse my tardiness in responding about the "D" tuners. Yes, my 101 year old mother has been sick and I'm glad to say that she is doing much better. Thanks for the concern. The real reason is that I'm rooting through my basement and taking pictures which I hope will be of interest. I'll hopefully post in the next few days.
Steve, I loved your banjo playing. It's no secret that the player can make a good banjo sound better. You have certainly done that. I was blown away by your "touch" and would love to hear much more of it. It really sounded good. Again, sorry for the delay. I am remembering much as I go through my basement parts drawers. The post will be long and uninteresting to most, but it should be coming soon for those "banjo history nuts" like myself.
Myron
moses - Posted - 11/14/2011: 09:23:10
Myron,
I'm sure any info you share is going to be of much interest to all Baldwin/Ode owners/players. I know it will be for me! Thanks for the compliment on the playing. I will try to post more as I find time as well. If you would like to hear more of my/our group and my playing, you can find several tunes I have posted on my hangout jukebox. They won't be on the Baldwin but it is my playing none the less. I also have a link to my jukebox on Bluegrass Gospel Lovers group page. Anyone can listen to those sound posts, and everyone is welcome to join.
This banjo is LOUD! And, the tone is great also. Looking forward to your next post, Myron.
Steve Bruce
moses - Posted - 11/15/2011: 06:20:23
Myron,
I never meant to overlook the fact that your mother is doing better. 101! Wow that is amazing blessing!
Steve Bruce
moses - Posted - 11/18/2011: 15:31:57
Spoke with Myron (backwardroll) last night. He is getting a post ready for all of us Baldwin/Ode fans (with pics)! Lots of good stuff to come, hopefully over this weekend, from Myron.
backwardroll - Posted - 11/20/2011: 18:05:07
Hello to all Baldwin/Ode folks,
Thanks for your patience. This reply on the history of the ill fated Baldwin "D" tuners is long over due and probably uninteresting to most. The post may be long. Here's hoping a few of you will find it worth reading.
As most of you know, Earl was the great innovator of the 5 string banjo. When he started dropping the second string in Earl's breakdown years ago, he just "winged it" with no help from any modern style tuners. It wasn't long before he and friends developed tuners with stops that were more accurate. Unfortunately, it was necessary to drill holes through the peg head and this still makes most collectors "wince" at such a thought. Dan Bump and Bill Keith developed the "Keith/Scruggs pegs that were and still are very good. However, some pickers were looking for something different.
In the 1960's, I had the great priviledge of spending many hours listening to a great banjo player by the name of Walter Hensley. He played with Earl Taylor and the Stony Mountain Boys here in Cincinnati. He had a set of tuners that were a bit different. They were "cam" tuners that he said had a better "twang" to them. My first posted photo is the type used by Walter. I believe that his tuners were made by a Jim Alexander who lived in Cleves Ohio. (This info comes from Vernon Mcintyre who is an accomlished bluegrasser and runs the Famous Old Time Music Company in central Ohio) (He's also the son of Vernon "Boatwhistle" Mcintyre who played bass and offered comedy for the Stony Mountain Boys).
When I became the Banjo Product manager for Baldwin, I thought that it might be a good idea to have an accessory that would not necessitate drilling holes in the beautiful peg head created by Chuck Ogsbury. I'm not sure who first thought of the "backplate" (I'd love to claim it) but I asked the Baldwin engineering department to draw up some plans for a prototype. I have original drawings dated January and May of 1968. I'll not post these unless there is interest in seeing them. The result is the prototype that is seen in my second and third photo. I note that the tuners seen earlier on Herman Bruce's banjo utilize a thicker brass backplate than those in the drawings. No doubt,his was made from an earlier prototype.
I understand that it is possible to offer only three photos per post, so I'll see if this can be accomplished by a computer illiterate. Here's hoping. I'll do more with more photos later.
Thanks for you patience and special thanks to Steve Bruce for helping me with the photo posts.
'til later,
Myron
backwardroll - Posted - 11/20/2011: 18:13:42
Well, my computer illiteracy has won out again. I'll try again.
Myron
backwardroll - Posted - 11/21/2011: 08:28:40
These pictures refer to my first post of last night. Sorry for the confusion.
Myron
moses - Posted - 11/21/2011: 08:42:05
Thanks for the update Myron! I wonder, why did this prototype never get into production? The ones on my Dad's banjo still work great! I noticed also that the plate on my Dad's tuners were thicker and either brass or maybe unplated as the ones in your pictures show.
Steve
backwardroll - Posted - 11/21/2011: 09:24:48
Well, it looks as if my photos went through. I'll try another post.
As mentioned in previous posts. Baldwin Piano and Organ Co. had hoped to become a "full line" music company and diversify into many non-keyboard instruments. President Morley Thompson was also diversifying into the banking and insurance industries and decided to "consolidate" all non-keyboard instruments into the Gretsch system. Gretsch was wholly owned by Baldwin and had it's own product office and sales force. I was asked to join Gretsch in their Chicago office but declined. The decision to consolidate was made in late summer of 1968. Gretsch had been banjo people for years but they knew practically nothing about the five string market. I wrote a letter dated September 9, 1968 describing the "work in progress" "D" tuners. I'm posting a copy of my thinking at the time. Also, I'm going to send a copy of the purchase order for mother of pearl that I have alluded to earlier.
As an after thought, this could be of interest. The idea for these pegs was good, I believe. However, they would have probably been a "nightmare", if Gretsch had picked up on the idea. I say this because, after this post began, I asked myself, "why haven't I installed these tuners on my style "C"". As we have noted, all style "C"s were made in Arkansas. The tuners were designed to fit Boulder peg heads. There has been much written on Doug Hutchen's Yahoo Ode web site about subtle peg head shape changes. When I tried to install the prototype tuners on my "C", they wouldn't fit. I then tried to install them on my Boulder made "B" and they fit perfectly. I'm not sure that Gretsch would have been able to control the peg head shape sufficiently to accommodate the back plate of the proto type tuners.
Remembering all of this has been fun for me. I'll post some other photos of "C" related stuff, If interested.
Myron
moses - Posted - 11/21/2011: 10:27:16
Myron,
I see what you mean about the "subtle" peghead changes causing less than "subtle" problems if those tuners went into full production. I wonder what modifications would there have been to fit the peghead changes? Thanks for posting the letters to Gretsch. Another nice history lesson.
I don't know about everyone else but I am interested in seeing more posts on your knowledge of the C model and other stuff you know about and/or were in on.
Thanks,
Steve Bruce
Edited by - moses on 11/21/2011 10:28:32
BrittDLD1 - Posted - 11/21/2011: 10:46:18
Great information, Myron!
Thanks for posting the background on the "Baldwin" D-tuners,
the photos of the prototype, and the correspondence.
If the pegs HAD gone into production... there would have been 2 choices:
1. Standardize the tuner spacing on ALL Baldwin banjo pegheads.
(Which I'm sure Chuck Ogsbury had done, at ODE...)
2. Create individual mounting-plates to fit each model. And you'd have
to assign a 'dash-letter' variant to the product order-number.
Example: #107384-C, #107384-D, etc.
Hope everyone here has a good Thanksgiving!
Best-
Ed Britt
moses - Posted - 11/21/2011: 11:38:05
Happy Thanksgiving to you, too Ed.
On the product order numbers, that makes sense to me.
Ed, Myron, do you have any idea why those subtle peghead changes took place?
Steve Bruce
biganvils - Posted - 11/27/2011: 15:47:20
just got back from a great family Thanksgiving trip and hope everyone here had as much fun. Myron, this is fascinating stuff and I'm sure I am not alone in hoping you keep posting any information you have about these great banjos!
moses - Posted - 11/28/2011: 06:15:21
Yes, please continue!
moses - Posted - 01/24/2012: 15:02:23
It's been a while. How about some updates from anyone?
DHutchens - Posted - 01/24/2012: 15:55:59
I'm awaiting a reply as well :)
Myron what did you find in the basement?.......
Pure gold those of who thinks of "all things of "ODE/BALDWIN"
Page: 1 2 3
