Zombie Fonzie
by Greg GutfeldLux Interior is dead.
I’m not sure when he died or where or how, but I’ve read reports he passed away yesterday, or maybe even the previous weekend. He had a heart condition, which sounds vague, and not very rock and roll. But oh well. If you never heard of Lux, it’s your loss – for he was the legendary showman who fronted the Cramps, the insidiously infectious band that perfected the deranged sound known as “psychobilly.”
Interior’s real name was less flamboyant (Eric Lee Purkiser), and he formed the Cramps with his sultry, red-headed wife, Kristy “Poison Ivy” Wallace, in 1976. I discovered the band in my early teens, enthralled with a grainy photo of the group in an old issue of Creem magazine. With their seedy clothes and unfocused stares, they had the Ed Gein vibe down pat. For three dollars, I sent away for the infamous Urggh! Compilation, a live concert album featuring a number of bands from the IRS label - the Go Gos, X, Pere Ubu and the unforgettable Toyah Wilcox.
On it as well: the Cramps – offering an unhinged version of “Tear it up.” That song drove me to buy the Cramp’s first full length album “Songs the Lord Taught Us,” which I played every day of my life for ten years. It’s solidly one of the greatest rock albums of all time – lurid, hilarious, and savage – I can recall every single moment of that album in my head. I also picked up their EP, “Gravest Hits,” which featured their psychotic surf single, “Human Fly.” I was hooked. While everyone else was listening to David Naughton and Donna Summer, I had the Cramps.
I think I might own about everything the Cramps ever put out between 1976 and 1990. At the age of 15, a buddy and I went to see them at the Old Waldorf, a tiny place in San Francisco. Somehow we managed to get served drinks, and we stood at the front of the stage, waiting for the world’s most dangerous band. I was scared up to the moment they took the stage, and I’ll never forget Lux when he loped out – a skyscraper of veins and sinew. After a few songs, he politely asked people for drugs, which he ingested without much inspection. By the end of the show, he was buck naked, writhing on the ground. He bantered with us during the whole show – endearingly polite and articulate – which made his looming, garish physical presence even more compelling. When I saw the band two years later at the Russian Center, Lux put my friend Geo in a headlock, pounding him in the skull, while singing “The Crusher.” Afterward they thanked each other.
Here’s a clip of the Cramps, from the early days, playing at Napa State Mental Hospital. And yes, those are actual patients wandering among the band.
When I became editor in chief of Stuff Magazine back in 2000, I made it a goal to abuse the job in a number of ways, and one was to meet people I admired. I made a short list, including only Iggy Pop, Joe Strummer, Mike Patton and the Cramps. Over time, I crossed each one off the list – but the meeting with Lux and Poison was the most gratifying.
It was back in 2003, a few days after I’d unleashed a group of midgets on a publishing conference, which led to the end of my tenure at Stuff. I was camped out in LA, fresh from interviewing Pam Anderson about something forgettable, when I got a call that the Cramps had agreed to act as the guinea pig for a new column I’d be writing called “Dinner with _____”. In each column, I’d have dinner with someone, and write about it. If you think this was simply a method to get my meals expensed, you’re not wrong.
I drove through the hills of Glendale, near the massive cemetery, to find Lux’s and Poison Ivy’s cool little home, decorated with candles, blinking lights and – if I remember correctly – gargoyles. I brought them a gift – a weird lamp I found on Melrose. They seem genuinely pleased. I was nervous, and talked too much, a little too loudly. No surprise.
We drank and talked for hours, about music mostly – but we ended up focusing the conversation on marriage and love. As crazy as their band was, Lux and Poison had been your basic, happily married couple, growing old together in a small, cluttered home. With a cat. They were humble, friendly hosts who kept my wine glass full as the night drifted into hazy babble (mine, mostly). I tape recorded the evening for the article – but shortly after that evening, my job was gone. The incident with the midgets caused my undoing –and I was no longer at Stuff. I cannot find the tape, and that kills me.
Still, I didn’t care too much– because I met the coolest people alive and now dead – the Cramps. If you’ve never heard their music, I strongly suggest sampling “Psychedelic Jungle,” first, because it’s the most accessible. Go to Itunes and check out the track “Googoo Muck.” It’s delightful. For people who love their music more manic, go directly to “Songs the Lord Taught Us,” which is one of the best rock and roll albums ever made. It’s evil, fun and reckless. The song “Garbageman,” may be Lux at his best, singing like a man possessed by demons and good humor – imagine Fonzie as a zombie, only cooler.
The man will be missed.
All my best to Ivy.







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335 Comments
Thanks for the music tip, Greg.
Thanks Greg for the remembrance, had all their records around that same time. The soul of those records bought the feel of the 50’s into the 70’s and early 80’s. Dumb and Fun. Never saw them live, but did see their evil offspring The Gun Club a number of times. (Armenian Cultural Center in East Hollywood.) Kid Congo Powers was in both bands at one time (me thinks). I know a few young ones who proudly wear Cramps t-shirts and will take the time to enlighten people to their greatness at the slightest inquiry.
I saw The Cramps for the first time when I was 19 back in Chicago in 1979. They were warming up for, I think, the Talking Heads. I was up front and rockin’ out with all the groovy ghouls (back then, that was a strange collection of very interesting folk). That was the loudest beat thumpin’, twist grindin’ band I ever rocked out to!! The next day I ran out to Wax Trax and bought “Gravest Hits”. They were definitely one of my pet bands for many years. I preferred them with Brian Gregory ~ but kinda went off of them years later when they went all “gold lame’” metallic. Lux always had a great sense of humor that I admired … really down to earth (believe it or not)! All of us old ghouls will miss him!! Oh yeah, Urggh! I have that on tape somewhere … I’ll have to dig it out and take a spazz down memory lane!
I’ll have to give a friend of mine in Colorado the news. He’ll be devastated.
I discovered the Cramps years ago via my infatuation with the Reverend Horton Heat. To this day whenever I hear someone describe some musical genre as being “hardcore”, I let them listen to a few Cramps or RHH tracks to illuminate them.
Loved the Cramps, but he looks like Bill Nighy in that picture.
Hadn’t heard about this. I’ll be honest and admit that I found out about the Cramps later in my musical life. I remember I was watching an episode of Beavis and Butthead (sure do miss those guys) and they were watching a Cramps video.
I was blown away by the music, picked up “A Date With Elvis” and the rest is history. I never had the pleasure of seeing them live, and regretfully I never will.
RIP Lux
I had to turn on my ipod to listen to them. RIP, Lux.
The Urggh clip is amazing . Probably the most memorable part of the whole flick.
A while back I was in a little acoustic duo with an ex-Cramp. She didn’t really talk too much about them, which was odd.
But then again, she was odd.
Sad news, if true. They’re one of the few punk bands I can still listen to anymore (the others being the Buzzcocks and Nonmeansno). I loved the noxious brew of camp horror, rockabilly, punk, and trailer park culture they served up. Wish I’d had a chance to see them.
My six-year-old son is dancing to Garbageman on seeqpod as I write this…
Sad to hear about this. The Cramps were great. Glad to hear it was basically a happy marriage. I always like to hear that.
A nice tribute from Greg, in one of his rare earnest moments (no irreverent mix-up of band members and song titles here!). I never listened to The Cramps but now I might just give them a try.
And btw, Red Eye rocks, although I don’t like the look of the new studio.
Nice piece Greg. In Hollyweird, the Cramps always seemed to be out and about performing right around Halloween and New Years. I’m bummed I never got to see them live.
Thanks for sharing the musical memories, Greg (and everyone)! Was fortunate enough to see The Cramps at Sunset Junction a couple years ago. Sadly, I was exhausted from the Drive-By Truckers and Hank III sets that preceded them, but damn were my ears happy.
I long for the days when punk rock was really punk rock and not a bunch of androgynous mall rats with eye liner and emotional issues. I wasn’t even alive in those days (born 1983) but I still long for them
You ain’t no punk, you punk. You wanna talk about the real junk?
Well if you can’t dig me you can’t dig nothin’.
Do you want the real thing, or are you just talkin’?
Do you understand? Do you understand?
You gotta live until you’re dead. you gotta rock ’til you see red.
Do you understand? Do you understand?
Saw The Cramps at a small, and I mean small, club in Fullerton, CA called Icabods in the late 70’s. It has to be on my top 3 concerts of all times. I’ve seen them a dozen times since, but that first show has been burned into my cranium. The ceiling was so low Lux would bang his head everytime he jumped up. Ivy, with that red mane, glaring at the crowd. Kid Congo Powers, looking like he just got out of a mental institution. And Nick Knox cool rockabilly drumming.
Lux, I miss you already.
I saw The Cramps in 1990 at the Blue Note in Columbia, MO. What a crazy show; at one point, I literally got picked up off of my feet by the mosh pit. I remember by the end of it Lux was down to a red see-thru G-string.
RIP, Lux and condolensces to Ivy.
That was excellent Greg!!!
My first exposure to The Cramps was seeing Urgh! A Music War on Cinemax or Showtime way back when – DEVO, The Police, Gary Numan in the chair-thing doing “Down in the Park”, the towering rasta hairdo on the Steel Pulse singer, X, Wall of Voodoo & can anyone forget seeing/hearing Klaus Nomi?!? Look at that track listing from the wiki link folks, some great stuff there!
I picked them back up again in the mid-80’s on a local access music video show called “Video Wave” here in Green Bay (the intro music was “Planet Claire” by the B-52s). “Garbageman” was a song that was stuck in my head for that entire summer, when people bring up The Cramps that’s the one I always think of – thanks for that link, it’s been too long…
Never did see them live & I regret that now more than ever…
“imagine Fonzie as a zombie, only cooler.” – that pretty much says it all.
My 20 year old discovered the Cramps this year. He also discovered that most of what the Cramps did were covers. I did not know that.
The saddest thing is the older you get, the more dead people you know.
I remember getting this album Bad Music for Bad People at Traxn’Wax in 84 or 85. [An album was a large black compact disc for anyone born after 1983]
I played the crap out of this album, taped it on cassette [cassette tapes were improvements to the 8-track, and I grew up with those too]. And have searched for a disc on this.
The original yellow jacket with the hideous freak art was the bomb. My parents hated it, although my dad did laugh at some of the songs.
Garbage Man was probably the best song of the band.
A fine tribute, Greg.
Lux seemed quite the character. Sorry I missed him along the way, however I look forward to discovering the music of the Cramps.
Thanks for the head’s up.
(love the video)
May his soul rest in peace.
Loved the video!! Congrads on 2 years Greg!!!!
I always love finding out entertainers I like are also good folk. Nothing worse than finding out someone you admire is a schmuck.
Sad to hear Lux is gone.
They were such a wonderfully fun and manic live act.I don’t know how Lux got into those red vinyl pants that barely covered his ass, or managed to lope about the stage in 6″ pumps.If you couldn’t have fun at a Cramps gig, well, you’re too square.RIP Lux.
I own the IRS compilation “These People are Nuts” (complete with cardboard cover) it contains “Goo Goo Muck”. I think I’ll go and give it a listen.
Thanks for the nice tribute Greg.
As a musician it’s heartening to read all of these replies.
Lots of punk rock street cred goin’ on here.
Who says righties are squares?
They played at a mental institution? Would have been perfect for the Ramones (Psycho Therapy). Leave it to Greg to put on somebody I never heard of. This is what happens when you live all your life in Nebraska and never get exposed to this.
Kudos to Greg for giving props to this sleeper of a band. I never saw
them live, but one day back in the mid-eighties I was in a record shop in Isla
Vista and they were playing this CD, and I asked the clerk who is this, he says
The Cramps, it was ” Bad Music For Bad People” I bought the CD and became a fan.
They got it, they did their homework going back to the roots of Rock n Roll,
Blues, and Rock a Billy. They created their own hybrid of Rock N Roll, Punk, and Psycho-Billy.They always snuck in some old cover tunes I especially liked the old cover of Slim Harpos, Strange Love on Flame Job! Condolences to Ivy.
Although I specialized in taking live photos, when it came to the Cramps, I couldn’t take many live photos. I was delirious and in a trance, dancing rather than focusing (in the time when cameras were heavy and no autofocus).
I saw them many times during their earliest LA and SF nights. I posted some off-stage shots on my Cramps album in Facebook. I don’t have time to scan more, so it’s just what had scanned. Fun stuff. Sad times. It’s been amazing to read so many stories in Facebook. The Cramps really had a great impact on LA punk, on and off-stage. I remember shows, parties and Lux and Ivy being so nice to everyone. Lux, RIP.
I grew up around the Germs (though they were older than me) and have met so many people in punk. Maybe because they get their aggression out or something they always seem to be the nicest people. I met Kurt Cobain once, couldn’t have been nicer.
JACK BLACK-yep, that’s him dancing (sort-of) on stage in the suit.
Question-was he a ridiculous poser then, or did he grow into it?
Lots of punks are libertarians … they grow up, mellow a bit and become Republicans.
Jenny, I went to your page.
Way cool.
Funny how we all grow up.
My son went to school with KK’s daughter.
My son’s 18 now…….yikes, I’m old
Yeah, zund, you’d think. It’s weird that so many are sheep for Obama.
Ack. I only made it 0:27 into that vid.
The Cramps are one of those bands I’ve heard of forever, but never heard. Now I know why. I wore out two copies each of Electric Ladyland, Quadrophenia, and Zoso when I was in high school. Those bands had singers who could carry a tune and band members who could play their instruments. How passe.
Um, punk bands , for the most part could play their instruments.
And play them well.
Most of them chose a more simplistic approach in response to the overblown chopmeisters who were dominating the airwaves in the late 70’s.
Tremendous, Greg!
…the Napa state mental hospital…
Pffftt!!!!!
watching you nightly as the clever goofball host of ‘red eye’ i sometimes forget what a cool guy you are, greg. thanks for this touching memorial to one the greats. jeeze, we’re all getting old, aren’t we ?
I have something to say to anyone who’s thinking “why the hell are we paying homage to a guy like this on a conservative website” (I know you’re out there!). I mean, to a certain way of thinking, the guy was a degenerate. If you can’t get past that… well, OK, fair enough. But hear me out.
Whatever his politics (if indeed he had any: they certainly never seeped into his music!), Lux’s legacy ought to qualify him as a conservative pop culture icon for the simple fact that, from the beginning, he rebelled against the hijacking of the culture by what’s come to be derisively termed in some quarters “the 60’s counterculture industry” or “Big Counterculture.” All the hippy-dippy crap that’s celebrated in endless glossy magazine “Summer of Love” retrospectives and TV specials today… that’s the San Francisco-centric rock ‘n roll narrative that got inserted into our collective feeding tube in the late ’60s by the likes of Bill Graham and Rolling Stone’s Jann Wenner. Those cats were a couple of transplanted New York entrepreneurs who built their empires by boosting the San Francisco counterculture and the afformentioned “narrative” at the expense of every other style of music, and every other local rock scene in the country. Lux drew from all these discarded and forgotten approaches to rock ‘n roll for his inspiration, doing his level best to ignore virtually every leftist cultural orthodoxy held since the ’60s. If that’s not “conservative”, I don’t know what is.
Notwithstanding their obvious infatuation with 50’s rockabilly, the cornerstone of The Cramps’ sound and vibe was pre-”Summer of Love” ’60s American garage music: raw, primitive, fuzzed-out, snotty… and Conservative in the sense that it was market-driven, not rammed down our throats by would-be elites and media aesthetes. Every small town in America had a teen club in the mid-60’s, and every neighborhood in every city seemed to have a garage band making more money than their parents playing to enthusiastic local audiences, appearing on local TV, and making records for local labels that actually stood a pretty good chance of getting local radio airplay. Some of these groups were brilliant, while many more were gloriously inept, but according to Wenner, Graham et al., none of ‘em mattered. It was all “teenybopper.” Only the San Francisco ballroom bands were “serious” and “important.” Them, and of course the Beatles and Stones, who were already way too relevant to credibly dis. As businessmen, it’s only natural that they’d take this tack: SF pre-’67 was a smallish, eccentric, Balkanized enclave of anarcho-leftist intellectuals, folkies and aging beatniks that couldn’t hold a candle to NYC’s Greenwich Village or the thriving teen rock ‘n roll scene in LA (anyone remember the Hollywood Strip in ‘66?). Hell–even Texas was producing better rock music than San Francisco. The marketing strategy that made Wenner a multi-millionaire was by necessity an exclusionary differentiation strategy: mock and discredit the “competition.” Sound a little familiar, fellow conservatives?
Many of the late ’70s punk groups that shared bills with The Cramps back in the day enjoyed much more success than Lux and Ivy ever did. Punk being at its core a big bird-flip to the 60’s hippie generation, it was the only credible challenge ever mounted against “Big Counterculture.” But as the years passed, most punk groups proved to be ideological–if not aesthetic–bedfellows with the ’60s generation, so the rift was, it turned out, merely superficial in most cases. Not so with The Cramps, though, who managed to steer clear of all hippie and ex-hippie trappings for three solid decades, behaving as if Rolling Stone had never existed!
Rest in peace, Lux.
Greg, thanks for the article.
I heard the Cramps when they came on Rodney’s KROQ show in 78 or 79. They played a bunch of crazy rockabilly records like Marvin Rainwater and Hazil Atkins. Also in the studio that night: X (playing their first demo tapes), and members of Sham 69!
A bit later when I saw then I realized I knew them by sight from the Capital Records swap meet. The would buy bootlegs from my friend’s stand. I saw both the Brian Gregory and the Kid Congo Powers versions, at, let’s see, the Whiskey, the Roxy, Icabods, and a couple of rented halls around LA.
BTW did you know Lux sings “California Sun” in a Spongebob episode? And it’s a and of the better Spongebobs at that.
Hey Greg, been a fan of Red Eye ever since you made it to Fox!!! Thanx for the informative newsflash, had never heard of Lux, to think I’ve been living a sheltered life all these years and missed out on this one, damn it! I think you may have it incorrect when you show the video of his band playing for the Napa State Mental Hospital, I could of sworn they were patients there at one time when I went to visit my old, crazy and derranged Aunt who was dying of Brain Cancer! She’s still alive and he has passed away, ahhh shukey darn! What does that tell you? Not much I hope. Well enough of the nonsense. Take care Greg, love your show and crass sense of humor, a man after my own heart.
Reading many of the above comments, in particular Chris @ 11:33, combined with Greg’s original post, which I found classy and cool, are reasons why I come to Big Hollywood day in, day out.
There seems to be a little something here for everyone.
I’m hooked.
Oh no you did not post the mental hospital stuff.
imagine Fonzie as a zombie
There is a bronze statue of a Zombie Fonz in downtown Milwaukee: http://www.flickr.com/photos/jacobkrejci/3160169122/
Thanks for that. I really grew to appreciate Lux’n'Ivy as people when I read that interview they did for Incredibly Strange Music, talking about growing up having to be different from the normals, and their joy in collecting those great records.
That record (Urgh!) was a really important one for me, too. I wish it had been reissued.
Gotta agree with Jimmy. Chris , great take.
Absolutely true.
[...] for the right, and which is historically wrong in about 563 different ways. Then there was the fine eulogy for Cramps frontman Lux Interior, a guy few conservatives had anything nice to say about when he was alive. In the comments for that [...]
I’m the guy who wrote the above Feb. 6 comment suggesting, as critic Gary Sussman put it in his blog (see Feb. 10 trackback link above) that “punk is conservative because it was the back-to-basics reaction to the excesses of pretentious hippie art-rock.” That pretty much sums up my view, although Mr. Sussman takes umbrage, offering also Doug TenNapel’s “Republican Is the New Punk” as examples of why we Big Hollywood music lovers are “fish in a barrel” who are “historically wrong in about 563 different ways.”
Obvioiusly, this phenomenon of social and political Conservatives “claiming” various elements from the pop culture past is very upsetting to the critical establishment. Sussman is carrying on as if we’ve come uninvited into his home, grabbed a 6-pack from the ‘fridge and settled into his favorite TV chair to watch some NASCAR (instead of staying down at our seedy truckstop bar where we belong with our “Ballad of the Green Berets” and “There’s a Tear in My Beer”). Sussman probably ought to examine his assumptions before you start talking about fish in a barrel.
First, despite what must seem to Sussman a critical monopoly, the pop culture elements in question are not like the beer in his ‘fridge: they do not “belong” to him, or to said monopoly. The “pop” in “pop culture” means “popular,” as in everyone. If certain motifs and approaches resonate with liberty-loving, anti-leftist, anti-establishment “conservative” types… well, I’m sorry: no one gets to lecture us about what we can and cannot “claim.” Or maybe it’s just our affrontery in coming out of the woodwork to say so that makes him queasy.
Second, by saying that us “Big Hollywood folks” are confusing aural with ideological conservatism, can he actually–as an art/entertainment critic in the 21st century–be suggesting that an attitude, an aesthetic, or a posture cannot have ideological content? Hitler, Stalin and Ellsworth Toohey would certainly disagree. When punk flipped the bird to the ex-hippie music “establishment” that I refer to as “Big Counterculture,” why then was the “reaction” in the ’70s (notwithstanding Lester Bangs) so vehement? “Big Counterculture” threw everything it had (and thought it had) at punk rock, and it triumphed anyway. That’s why it was the only credible challenge ever mounted to “Big Counterculture” and its rigid orthodoxies.
Third, Sussman offers The Clash as a rebuke to the notion that punk was “conservative” (little “c”). This is like using Elvis Presley’s success to disabuse us of the idea that rock ‘n roll was “black.” Like Elvis, The Clash were undeniably compelling, but just as white artists had advantages in the ’50s thanks to racism, an avowedly leftist (or in the Clash’s case, Marxist) artist had huge advantages in a late ’70s music industry dominated by the ex-hippie Rolling Stone cultural dogmas I describe in more detail in my Big Hollywood comment. Panicked scribes framed by Grateful Dead, Mao and “No Nukes” posters gave The Clash the dubious honor of “most critically acclaimed” punk group back in the day, but were they (The Clash) really the best–or even most genre defining–punk group? Maybe he thinks so, but I’ll take The Ramones and–yes, The Cramps.
Last but not least, from Sussman’s post it’s apparent that he spends a lot of his energy differentiating between “forward-looking” and “retro” in music (and, I would suspect, life generally). The ideological tendency among American liberals seems to be to equate the former with their own (liberal) worldview, and the latter with an oppositional (conservative or “reactionary”) worldview.
Let me suggest that Conservatives (big “C”) do not filter the world this way. Rather, we evaluate things based on merit and common sense first (as Jeremy Bentham and John Stuart Mill advised). For us, the fact of a thing’s having succeeded in the past is an important clue (although not the only one) to its relative merit in the here and now: evidence which is by definition lacking in something that is truly new or innovative. Hence the healthy skepticism that liberals like to interpret and portray as “reaction”, whether or not they understand its motivation.
A real “forest for the trees” liberalism would recognize–as Conservatives do–that centralized power and redistributionist policies are neither new/innovative, nor have merit. Quite the opposite is true: if you’re looking at the sweep of history, the enlightenment philosophy upon which the United States was founded and has thrived are the truly revolutionary and “progressive” ideas, besting the atavistic “tyranny repackaged” notions of Marx and Hitler and the various and sundry “lite” versions inexplicably championed by today’s self-described “progressives”.
Until the Age of Obama wanes, and probably beyond, the Gary Sussman’s of the world had better get used to people who identify with this definition of Conservatism “claiming” aspects of our cultural heritage that liberals might have a tough time separating from what their dogmas consider to be their original contexts. An honest reappraisal of Bob Dylan’s music, for example, would have to adduce a greater sympathy, lyrically and attitudinally, with today’s “conservatives” than with pro-establishment, big-government liberals, who have achieved the double-edged distinction as “The Man” in our society, whether they know or like it or not.
“Those bands had singers who could carry a tune and band members who could play their instruments. How passe.”
Punk was a reaction to the fact that rock music had drifted away from its roots and ultimately its importance and meaning. Lux may not be able to “carry a tune” but he was a brilliant singer in terms of intensity and sheer force, and he had a great voice.
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[...] Every once in a while we choose blogs that we read. Listed below are the latest sites that we choose [...]……
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Websites you should visit…
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Sources…
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An answer to plea…
This is an answer to the plea of many women….
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Amazing Post, worth a read……
Websites you should visit…
[...]below you’ll find the link to some sites that we think you should visit[...]……
Online Article……
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Great website…
[...]we like to honor many other internet sites on the web, even if they aren’t linked to us, by linking to them. Under are some webpages worth checking out[...]……
New Ideas For Life…
[...]It’s a known truth that right skill is very useful when doing something new and especially if it is something very important..[...]…
Article on The Topic…
[...]To have many skills you can successfully do at a lot of jobs and doing almost no mistakes…[...]…
Gems form the internet…
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Cool sites……
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Awesome website…
[...]the time to read or visit the content or sites we have linked to below the[...]……
Read was interesting, stay in touch……
[...]please visit the sites we follow, including this one, as it represents our picks from the web[...]……
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