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Apr 16

AFROMAN – “Because I Got High”

Popular35 comments • 3,099 views

#911, 27th October 2001

Afroman If rock criticism was a stoner, one of its endlessly repeated good-vibes stories would be Paul McCartney waking up and ‘discovering’ the melody to “Yesterday” in his head as “Scrambled Eggs”. McCartney, no enemy of the herb at this point, became convinced he’d heard it before, only gradually accepting that he’d stumbled upon the tune via luck or talent or sheer morphic resonance – the theory popularised by Dr Rupert Sheldrake in the 80s that blue tits learn to open milk bottles because they’re all connected by a kind of blue tit superconsciousness, mind blown, except it wasn’t true. Though it was true enough for a physics teacher I had to suspend lessons so he could give us all crosswords to fill in, staggered batch by batch to see if morphic learning was happening.

But I digress. “Because I Got High” seems to be another of those “Scrambled Eggs” phenomena, a song so perfect in conception that it feels like it fell out of some superstructure and into the mellow lap of Afroman and then into the charts. “Because I Got High” is folk music, it’s always been with us, or at least it might always have been with us if the man hadn’t made it his business to hassle smokers until a song like Afroman’s had to be passed round the Napster circle PC to PC until in a wave of grassroots popularity – phantom offstage Beavis laughter – it got signed and floated hazily to number one anyhow. The first fruits of a supposed 6-LP deal, which tells you more about the early 00s than anything on any of the records this year.

It was treated as a joke because it was a joke, but there’s a saving mordancy in it, as Afroman’s troubles wax and deepen. “I fucked up my entire life, because I got high” has a bitter nihilist after-taste lacking in low-bar antecedents like “Rainy Day Women Nos 12 & 35”. Parts of it can even jolt you out of the comfortable haze of 2001, into the present: “I wasn’t gonna run from the cops, then I got high” was surely never as abstract as its white college listeners might have imagined, and now sounds the opposite of jolly. But the song is nothing if not flexible – its template can be extended beyond the horizon, and was. The parody listings on the “Because I Got High” Wikipedia entry are a thing of horror – but the specifics of the original can be recovered. A career washout keeping the flame lit, even if the only reasonable audience were his weed buddies.

You can hear that in it, too. You’d have to reach back a decade, to the rushiest parts of the early 90s, to find explicit drug songs which sound so steeped in their drug – the campfire ad libs, whooshing outrushes of breath, and on the LP version a collapse of even the record’s tenuous rules: “I don’t believe in Hitler that’s what I said / Now all you skins, please give me more head… MUH FUH!”. “Because I Got High” is critic-proof in a way – it sounds really, really fucked up, and is selling purely on that basis, as a stoned campfire song. But that very straightforwardness also makes it weed-proof – there’s nothing on it that smoking might actually enhance, no doors it can open. “Because I Got High” is an ironic song about how terrible pot is that’s also an unironically terrible advert for pot. If you smoke it, you get it, but you also don’t need it.

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Comments

  1. 1
    AMZ1981 on 20 Apr 2016 #

    Because I Got High is a strange record in the context of 2001; a year that has other one hit wonders (okay the follow up got to number ten but who remembers it now) and other novelty songs but only one that combines the two. And yet it was only the year’s second biggest comedy rap song, the difference being that It Wasn’t Me can be seen in the context of Shaggy’s wider career.

    By the time this finally dethroned Kylie the initial shock and grief at 9/11 was fading and the focus was very much on the war in Afghanistan. If, as Tom suggested, Can’t Get You Out Of My Head was the sound of a generation going out on the town determined to live life while they could, Because I Get High might be the flipside. This is the anthem for the slackers happy to stay at home and carry on as before. In the immediate aftermath of 9/11 there was talk of Armageddon and World War III but ultimately most of us simply watched on television. Life didn’t really change, even if we tried to react, and the seven weeks of Kylie and Afroman might reflect that. For the rest of 2001 the top of the charts returns to normal with a ticker tape of pop acts before we get to the next bunny really worth discussing.

    On Because I Got High’s second week its two immediate predecessors gave us the first static top three since – if I’ve kept my tabs right – Blue, S Club Party and Man I Feel Like A Woman almost two years before. A mention here also needs to go to Iio’s brilliant (if dated now) club hit Rapture which missed number one by a whisker in Afroman’s third.

  2. 2
    Ricardo on 20 Apr 2016 #

    Oh man, that Iio song is pure bliss! I still remember when they were being tipped for big things back then. Which, as we know, all but ended up happening that way.

  3. 3
    weej on 20 Apr 2016 #

    At the end of 2001 I was living in a shared house with a collection of other people who were in the process of giving up being students, for some of the reasons outlined in this song, but none of us were really up for laughing about the situation – except, that was, for one regular house guest who would drive over in his souped-up BMW with blacked-out windows, introduce himself with “Wazzzzzup!” and put Eminem or Limp Bizkit on the stereo. He found Because I Got High hilarious, but oddly enough was the only one holding down a decent career (a family business). I hope I haven’t painted too poor a picture of him – he was fundamentally a decent enough human being, just way too normal to be someone I associated with at any other time.

    Listening to BIGH again for the first time since then I don’t feel any of the embarrassment of recognition – instead it seems to have a faintly worrying aspect. A lot of this is due to the fact that I’m currently fairly immersed in recorded pop music of the 1890s, a time when the first black American pop music (ragtime / cakewalk / coon songs) was emerging. Some of this stuff is truly remarkable, but much of it is horrifically racist, especially in its presentation of negative stereotypes of black people as being either dumb and lazy (i.e. Jim Crow) or dangerous and untrustworthy (i.e. Zip Coon). Even something like Hello Ma Baby (which you might know from Looney Tunes) is a joke about a Jim Crow trying to use a phone (apparently this was hilarious, I dunno). The worst offender might well be “All Coons Look Alike to Me” – one of the biggest hits of the decade, offensive enough to be written out of history and (here’s the kicker) written by the foremost black songwriter of the era, Ernest Hogan. Racist stereotypes were what the public apparently wanted, and he wasn’t about to disappoint them.

    It should go without saying that BIGH isn’t particularly comparable to this – as far as Afroman is concerned it’s harmless clowning, and who am I (a white British male) to raise any objections? But I can’t help but wonder about the people like my house guest who bought the single. Was BIGH reinforcing these stereotypes for them? Have we really moved on from that pair of offensive stereotypes or are they just below the surface? And if not does pop music have any responsibility? Pretty heavy questions for a very silly song, I know.

  4. 4
    mapman132 on 20 Apr 2016 #

    So I guess I’ll be the person who notes the appropriateness of this particular record getting reviewed on this particular date. Funny how Popular works out that way sometimes….

    That being said, I really can’t stand this record – perhaps mildly amusing the first time, but too tuneless and amateurish every time after that. Give me “Hey Baby” any day over this.

    Interestingly this song along with Drowning Pool’s “Bodies” were the two then-current records that were most hurt in US radio airplay following 9/11. Both disappeared from the charts almost immediately. While it’s obvious why radio would feel uncomfortable about “Bodies” at the time, the discomfort with “Because I Got High” is less so. I like to think it was just plain too stupid ;) BIGH was already on its way down the charts by this time anyway after having peaked at #13 on the Hot 100.

  5. 5
    Phil on 20 Apr 2016 #

    Gosh, I hated this record, although I could never quite work it out tonally – “now I’m paraplegic” just sounds like the deliberate exorbitance of gross-out humour, but following “I wasn’t going to run from the cops” makes it sound a bit different. And he is, at best, describing doing absolutely nothing thanks to weed. I guess it falls into the long tradition of ‘awful warning’ songs which are half-revelling in what they’re warning against (just in the folk area, Nancy Whiskey, Wild Wild Whisky and Oh Good Ale come to mind). I still hate it, though. 3.

  6. 6
    thefatgit on 20 Apr 2016 #

    If I were a regular smoker and listened to BIGH, I would feel Afroman was mocking me personally. It would most definitely spoil my buzz. (2)

  7. 7
    Matthew K on 21 Apr 2016 #

    Nice Afroman review as always Tom, but I have to take exception to your description of “Rainy Day Women Nos 12 & 35” as a “low-bar antecedent” gettin’-high song. Despite its cartoon arrangement and what everyone *thinks* the chorus line means, it’s not even about weed. It’s about no good deed going unpunished, and is actually a bitter and almost nihilist song.

    Well, they’ll stone ya when you’re trying to be so good
    They’ll stone ya just a-like they said they would
    They’ll stone ya when you’re tryin’ to go home
    Then they’ll stone ya when you’re there all alone
    But I would not feel so all alone
    Everybody must get stoned

    Well, they’ll stone ya when you’re walkin’ ’long the street
    They’ll stone ya when you’re tryin’ to keep your seat
    They’ll stone ya when you’re walkin’ on the floor
    They’ll stone ya when you’re walkin’ to the door
    But I would not feel so all alone
    Everybody must get stoned

    They’ll stone ya when you’re at the breakfast table
    They’ll stone ya when you are young and able
    They’ll stone ya when you’re tryin’ to make a buck
    They’ll stone ya and then they’ll say, “good luck”
    Tell ya what, I would not feel so all alone
    Everybody must get stoned

    Well, they’ll stone you and say that it’s the end
    Then they’ll stone you and then they’ll come back again
    They’ll stone you when you’re riding in your car
    They’ll stone you when you’re playing your guitar
    Yes, but I would not feel so all alone
    Everybody must get stoned

    Well, they’ll stone you when you walk all alone
    They’ll stone you when you are walking home
    They’ll stone you and then say you are brave
    They’ll stone you when you are set down in your grave
    But I would not feel so all alone
    Everybody must get stoned

  8. 8
    James BC on 21 Apr 2016 #

    What I like is the posse of voices (not sure if Afroman’s mates or more copies of himself) enjoying the song in the background. Also the self-referential ending “Imma stop singing this song because I’m high” which harks back to earlier novelty songs like “The Railroad Runs Through The Middle Of The House”.

    4 is very harsh for something so perfectly formed. Tom is absolutely spot on with the Yesterday comparison.

  9. 9
    Neil C on 21 Apr 2016 #

    Based on memory alone, I was all set to give this an amiable, “not for me but I can see why some people like it” type review.
    But revisiting it, I’m surprised by how mean-spirited it is. Lines like “I was gonna pay my child support but then I got high” and “Now I’m a paraplegic” (ho ho ho) leave a nasty taste, and make me wonder how those buying the single would feel about it now.

    The actual lyrics, divorced of Afroman’s sniggering delivery, are incredibly bleak – Afroman lives in squalor, fails his exams, loses his job, his money, his family, his home and all feeling in his lower body (although apparently he still manages to jack off, so fair play) – just because of his all-consuming penchant for weed. In fact it’s so grim that I’m almost tempted to view it as a sardonic character study, Afroman sparking up with a stoical grin every time his life falls apart a little more – a greater lyricist such as Eminem or ‘Party Hard’-era Jarvis could probably pull that off. But then he makes that infuriating squawking chicken sound in the last verse, and I’m disinclined to give him the benefit of the doubt. (Edit: looking at the other comments so far, I might be in a minority here!)

    The radio edit also features a personal bugbear, namely explicit lyrics blanked out to leave just empty space. Pathetically, they’re still blanked out on the official Afroman VEVO channel. At least the Outhere Brothers managed to substitute something bland that fitted the rhythm – all we’re left with are Afroman’s friends honking with glee to let us know just how funny the missing words are. Personally I’d far rather go to the Beach Boys giggling their way through Barbara Ann for my studio-based stoner hilarity.

    A brief word on Jay And Silent Bob Strike Back, which has to be one of the most deflating and patronising films I’ve ever endured. When Mark Hamill makes his cameo appearance, and Kevin Smith freezes the screen to superimpose the caption “HEY KIDS!!! IT’S MARK HAMILL!!! >>>”, I wanted to put my foot through the multiplex screen. Watching Smith hamming it up in the video to “Because I Got High” has engendered similar feelings toward my smartphone.

    I was gonna give this song a 3 but then I relistened. TWO, bumped up from 1 cause there’s an undeniable earworm bouncing along under those grim lyrics, one that has popped into my head regularly for the last 15 years…

  10. 10
    Cumbrian on 21 Apr 2016 #

    This is what can happen in the new world of music consumption. I gave Afroman a listen last week on Spotify and now, on my browse page, I’ve been alerted to the fact that there is a Spotify curated playlist called The Gold School, which looks like something in the region of 40/50 songs all by hip hop artists, relating to weed. A couple of listens to Afroman and Spotify starts pushing you playlists of of weed related music. It made me wonder whether there are other ones using the same theme and, sure enough, there are, just not curated by Spotify that I can see.

    Afroman sits in amongst this playlist. By comparison to Snoop, Outkast, Dre, Warren G, Youngbloods, et al, he’s not very good – though more prone to discussing potential dangers of the herb than the others. Mind you, I know about as much about hip-hop, who is good and why as I do about jazz, who is good and why, so my mark is not very well informed. 3 or 4 seems about right – didn’t Hey Jude get a 4?

    Speaking of which, was pleased to hear Hey Jude has been dusted off by England fans at recent friendlies in the run up to Euro 2016. We might not be very good at football, we might be an ex-colonial power everyone wants to beat, we might be the pariahs of Europe, but at least we’ve got The Beatles.

    Kevin Smith is, I find, a really odd presence in the culture. There’s some of his movies I really intensely dislike (Jay and Silent Bob being one and I’ve never really liked Clerks or Mallrats) and others that I really like (I really enjoyed Dogma and Red State for instance) and spend a lot of time thinking about having seen them. Sometimes, he seems like a total idiot that I wouldn’t want to spend any time with, then I see things like the 30 minute long Youtube clip where he talks about his experiences with Prince and I warm to him, at least find him an engaging storyteller and somewhat amusing. I guess this makes him a human being, with all of the contradictions involved but I find him really hard to pin down and, consequently, am very wary of anything he is involved in until someone I trust has reviewed it for me.

  11. 11
    James BC on 21 Apr 2016 #

    People concerned over the “grim lyrics”: er, it’s a cartoon. The guy’s not actually meant to be paraplegic AND divorced AND homeless AND sitting in his messy bedroom. The whole song is in the first and last verses, the ones in the middle are just examples to show how you can make up your own.

  12. 12
    Mark M on 21 Apr 2016 #

    I like this a bit more than some, I feel. Not like as in really like, but am perfectly happy to hear it once every couple of years. It makes me half-chuckle…

    …and, unlike everyone else here so far, I enjoyed Jay And Silent Bob Strike Back. I’ve maybe only seen it once more since it came out, but I definitely was pro it at the time. But then I love Clerks and like Dogma and Mallrats. As a self-taught director, Smith never really seemed to get past primary school, but I think he’s a good writer. And, based on what he was like to interview, a decent enough bloke.

  13. 13
    Neil C on 21 Apr 2016 #

    @11 – fair enough, my original comment may have been taking the song far too seriously. I guess that “paraplegic” line in particular just seemed in poor taste, and left me feeling less generous to Afroman. Then again, if it was Eminem singing (where I’d expect a lyric like that) I’d have probably winced, smiled leniently and forgotten all about it. Depends on the context, I guess.

  14. 14
    Steve Mannion on 21 Apr 2016 #

    I also enjoyed Jay & Silent Bob Strike Back a lot in the cinema – but I’ve never rewatched as even just a few years on I don’t know how I stood the repeated fourth-wall breaks and aforementioned hamfest. But it was actually great to see both Hamill and Fisher in a film any film at that time let alone the same one (and of course even more so more recently) – and better to have had Morris Day & The Time playing at the end than ‘Because I Got High’ (which probably played over the credits but I don’t remember hearing it all in connection with the film).

  15. 15
    thefatgit on 21 Apr 2016 #

    Took a long while to sink in, but if you take into account the Stateside date arrangement, posting this on 4/20 is a genius move on Tom’s part.

  16. 16
    Chelovek na lune on 21 Apr 2016 #

    I suppose it’s better that people mark that date to smoke dope than to mark Hitler’s birthday.

    Can’t say this record is a good advert for dope-smoking, anyway. It completely passed me by at the time, and while mildly entertaining/amusing, up to a point is hardly detaining of attention.

  17. 17
    Phil on 21 Apr 2016 #

    #11 – I think we can take the lyrics for what they are (extravagant freestyle bullshit) and still notice that their implications are pretty dark. It’s like the folksong “Oh good ale” which I mentioned earlier – a friend of mine said that he’d sung it for years, under the impression it was just a jolly drinking song, when he noticed that it’s actually a jolly drinking song about being broke and friendless and not caring:
    It’s you that’s made me wear old clothes
    It’s you that’s made my friends my foes
    But since you’ve come so near my nose
    It’s up you comes and down you goes…

    Come to that, the oldest drinking song I know is called “Back and side go bare”, which pretty much tells you what you’re getting.

  18. 18
    Andrew Farrell on 21 Apr 2016 #

    #10 I swear I half-considered mentioning earlier (before the news) that Prince, by comparison, is one of those artists where whatever his recent strike rate, I’m always interested in hearing his next offering because he clearly has at least one great one left in him – I thought it was a stretch too far, but it’s part of why his death today really stings.

  19. 19
    lonepilgrim on 22 Apr 2016 #

    I was going to respond to this song but then Prince died :’-(

  20. 20
    Phil on 22 Apr 2016 #

    …but you got low?

  21. 21
    ThePensmith on 23 Apr 2016 #

    I think my biggest memory of “Because I Got High” – the start of the second year of secondary school for me, just as tricky as the first had been – was the encountering of one of my classmates having it, but not on CD single, but instead on a blank recordable CD. It took me a few months later to twig that he’d downloaded it for free off the internet, so it was my awakening of music – illegally, mind – being obtained from other sources than over the counter at HMV.

    #1 – I remember iiO. One of the better one hit wonders of the early 00s. I used to play keyboards at this time and had mastered that along with Liquid Child’s ‘Diving Faces’ and ATB’s ‘9pm’ in a repertoire of dance music covers I did for a talent show, coming 2nd. Heady days…

  22. 22
    fivelongdays on 25 Apr 2016 #

    By my calculations, this would have been number one when the greatest single of the noughties, Andrew WK’s magestic Party Hard, got to number 17.

    In a perfect world, we’d be talking about that.

    Erm…

    That’s it.

    FLD

  23. 23
    Kordian86 on 25 Apr 2016 #

    I managed to avoid this song for long, because I almost haven’t been listening to radio that fall, I had too much to study. Got to know BIGH during local sport contest more than half year later and even didn’t catch the title.

    On the other hand, I still have fond memories of iio. In Poland, also follow-up single At the End was promoted.

    And I had favour of listening Party hard live 2 years ago during OFF festival in Katowice…

  24. 24
    Tommy Mack on 25 Apr 2016 #

    This coincided with the nadir of my youthful weed abuse. I’d enjoyed a toke throughout the last couple of years but in my second year of university I moved in with a bunch of mates I’d met in halls, a couple of whom were enthusiastic caners and the inevitable ensued.

    We weren’t listening to Afroman, that’s for sure, we were quite po-faced about it: ‘As future rock stars, it is our duty to get baked, that we might more viscerally connect with 36 Chambers and Daydream Nation’

    Within a couple of months it was making me dozy and paranoid and I knocked it on the head. As ‘my drug hell’ stories go, it’s not exactly Nikki Sixx stuff and needless to say, there are plenty songs I’d rather have soundtracking my life!

    The main thing that sticks in my mind about BIGH was how bare and sketchy the music was under the song: strikingly stark even for a novelty hit.

    I seem to remember that the follow-up was actually a bit of a better tune, the only bit I remember was ‘Roll, roll the ’64 Cadillac Coupe DeVille / If my tapes and my CDs just won’t sell, I guess my caddy will’ which again seems shot through with the same bleak fatalism as BIGH – he knows he’s a lucky chancer on his way to getting dropped from his deal but at least he can flog the flashy motor he bought with his advance!

  25. 25
    Tom on 25 Apr 2016 #

    My story is pretty much the same as Tommy Mack’s except close to a decade earlier, so the records I was seeking deeper communion with via the herb were Chill Out and U.F.Orb. Cypress Hill would have been the smokers of student choice at the time, though they captured a side of weed I was very happy to experience at a distance. Really great and unearthly sounding records though – DJ Muggs seemed to be at the cutting edge of hip-hop for a few months and then fell from grace terribly quickly: what happened there?

    Anyway I also drifted away from the heaviest smokers and more or less gave it up bar the occasional toke at parties or hash cake at Glastonbury. Oddly enough my trip to Seattle last weekend was the first time I’d been offered a puff in over a decade – I felt quite young again! (Your reporter made his excuses and left.)

    Speaking of the Wu-Tang, my feeling is that the terrible deeds in BIGH are closer to the “torture, torture” sketch than anything else – continual one-upmanship more than anything serious. Not to say they can’t have the odd shiver of unpleasant resonance of course.

  26. 26
    Billy Hicks on 26 Apr 2016 #

    I don’t think I even heard this until a few years ago – I’d have probably found it gloriously edgy as a 13 year old, but I was still clinging onto a rapidly fading 90s pop-scene at the time.

    I was never a huge weed smoker – my first try of it wasn’t until 2009 and it left me cold. Most #1s of the late noughties remind me of shameless late-teenage/early twenties alcohol abuse though…

  27. 27
    pink champale on 27 Apr 2016 #

    Being thick, I still don’t understand why it was an appropriate date.

    My feeling about BIGH is that it seemed strangely out of time for stoner humour. Wasn’t the early nineties the heyday of Take Me to Your Dealer and I Love the Pope because the Pope Smokes Dope (er, no he doesn’t, though the two words do rhyme)? Or perhaps this stuff is ever-present and it is just that I was at university in the early nineties.

  28. 28
    Rory on 27 Apr 2016 #

    Pink Champale, here you go.

  29. 29
    Mark M on 27 Apr 2016 #

    Re27: Yeah, it’s eternal – e.g., Cheech & Chong’s Up In Smoke (1978), Harold & Kumar Go To White Burger (2004) – but drifts out of your focus depending on your proximity to stoners of a certain sort (as noted above, there are plenty of the ‘we’re not doing this for a good time, we’re doing this to expand our consciousness’ type, too. God, I hated them).

  30. 30
    Phil on 27 Apr 2016 #

    #29 – White Castle shirley?

    #27 – David Peel recorded (and caught John Lennon’s attention with) The Pope Smokes Dope in 1971! Culturally speaking, any time’s a good time to discover cannabis & babble on about it as if you’re the first person ever to do so. Which is appropriate, really, for a drug that achieves its effects through short-term memory loss. David Matza likened being stoned to waking up out of a deep sleep and gradually getting yourself back together – then doing it all over again at five-minute intervals. Or there’s the bit in Gravity’s Rainbow where a stoned Tyrone Slothrop says (doesn’t get as far as ‘asking’) “What are we”. A couple of minutes later somebody asks him, what are we what?, but not only has Tyrone forgotten what he was going to ask, he’s lost in contemplation of the words “what are we”.

    Can’t be doing with it myself – give me beer any day.

  31. 31
    Mark M on 27 Apr 2016 #

    Re: 30 Yes, obviously. Sorry.

  32. 32
    pink champale on 27 Apr 2016 #

    Thanks Rory. Wierdly I don’t think I ever came across that in my Cheech n Chong Days. Unless I forgot about it.
    #30 I was thinking of the …Pope t-shirts they used to sell from the small ads in Viz etc. I had no idea the phrase had a noble lineage in “raw acoustic street rock” that “appealed mostly to hippies” (thanks Wiki!).

  33. 33
    Valentin on 19 May 2016 #

    This song is a great song and I love it, I would love to see him performing in a concert, as I love reggae concerts and gigs. Working for an events promotion company in London, I am used to seeing many reggae concerts and events, but I really like what I see here on your blog

    Valentin – http://jorlio.com

  34. 34
    Erithian on 20 May 2016 #

    Guess this was one for which you had to be there! At first it’s as much of a laugh as they’re having but it palls quite quickly, and kudos to those above who identify the running from the police gag as not at all funny in the 2010s. In the end it’s as much of an advert for weed as Trainspotting was for heroin – i.e. if you feel more like taking the drug after watching the film you want your head examined.

    Since people are fessing up on this thread, I can say that I’ve partaken, ooh, four times in my life – but because I don’t smoke cigs, I probably didn’t inhale enough for it to take effect. Once on a leisurely day in Oxford with my predecessor at the French lycée I’d taught at; once at a footy friend’s birthday do (the host’s housemate turned out to be a police cadet, sufficiently “not off duty” to say to the bloke who produced the joint “if you don’t put that away you’re leaving this party in a different car to the one you came in”); and twice in the company of an Aussie work colleague. That last time I felt woozy enough to suggest I was getting the hang of it though.

  35. 35
    Mark G on 20 May 2016 #

    “Now I’m leaving this party in a different car to the one I came in, and I know why…”

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