v a l l e j o n o c t u r n o

The Death of Privacy?

From the blog /message:

There is a fundamentally Western perception of rights of privacy -- the right to seclude oneself -- as in the privacy of one's home -- and to conceal information from other people and the state. This includes the right to selectively decide what to reveal about oneself. The notion of what sorts of information may be kept private differs widely across cultures, and while some governments have established laws ensuring privacy rights, many do not. And other laws -- like tax laws -- explicitly require access to information that individuals might otherwise want to keep private.

Our ideas of privacy are not universal, and can't be translated well into languages where cultural norms vary greatly. For example, physical modesty varies greatly across cultures, ranging from nearly naked models on catwalks or the average person on a Miami beach, to women in Islamic countries covering their body, hair, arms, legs, and even the face. But even within a country like the US, bodily modesty varies enormously.

We find similar variability in people's notions of privacy online. Some people are the web equivalent of nudists: they live very open lives on the web, revealing the intimate details of their relationships, what they think of friends and co-workers, their interactions with family and authorities. But, as in the Márquez quote, even these apparently wide open web denizens may keep some things private, or secret.

Secrecy carries connotations beyond those linked to privacy. Secrets are often shared, and as such are social objects that link those sharing the secrets together, and excluding others. Secrecy also may imply shame, or the likelihood of repercussions if the secret is revealed. This dimension of secrecy does overlap with some of the deeper motivations for personal privacy. Lastly, corporations and governments have and keep secrets, like the Coca Cola formula or cell phone recordings of prisoners at Guantanamo. And of course, repressive governments may attempt to conceal large parts of what is going on elsewhere from their citizens, like the the way that China is selectively blocking access to the web.

Obviously secrecy and privacy are critically important aspects of what is happening on the web, and much of the design of social tools is based on certain premises about privacy and secrecy, and the role that they play in social interactions.

Consider the core premises of pre-web and Web 1.0 era collaborative tools, which are still the major form of enterprise software. These are based on the premise that an individual's rights and responsibilities are based on group membership, and the role that individuals play within these groups.

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The killings in Khan Younis

From this weekends NYT-a review of Joe Sacco's Footnotes in Gaza:

Sacco will find readers for “Footnotes in Gaza” far into the future because of the unique format and style of his comic-book narrative. He stands alone as a reporter-cartoonist because his ability to tell a story through his art is combined with investigative reporting of the highest quality.

His subject in this case is two massacres that happened more than half a century ago, stirred up little international attention and were forgotten outside the immediate circle of the victims. The killings took place during the Suez crisis of 1956, when the Israeli Army swept into the Gaza Strip, the great majority of whose inhabitants were Palestinian refugees. According to figures from the United Nations, 275 Palestinians were killed in the town of Khan Younis at the southern end of the strip on Nov. 3, and 111 died in Rafah, a few miles away on the Egyptian border, during a Nov. 12 operation by Israeli troops. Israel insisted that the Palestinians were killed when Israeli forces were still facing armed resistance. The Palestinians said all resistance had ceased by then.

Sacco makes the excellent point that such episodes are among the true building blocks of history. In this case, accounts of what happened were slow to seep out and were overshadowed by fresh developments in the Suez crisis. Sacco, whose reputation as a reporter-cartoonist was established with “Palestine” and “Safe Area Gorazde,” has rescued them from obscurity because they are “like innumerable historical tragedies over the ages that barely rate footnote status in the broad sweep of history — even though . . . they often contain the seeds of the grief and anger that shape present-day events.”

Governments and the news media alike forget that atrocities live on in the memory of those most immediately affected. Sacco records Abed El-Aziz El-Rantisi — a leader of Hamas (later killed by an Israeli missile), who in 1956 was 9 and living in Khan Younis — describing how his uncle was killed: “It left a wound in my heart that can never heal,” he says. “I’m telling you a story and I am almost crying. . . . They planted hatred in our hearts.”

Diversity Reigns

 
   

 

Boy, do I like change! The evolution of music is being greatly impacted by the Internet. Specially in the way it facilitates its distribution and access by people all over the world. On top of that, the computer allows anyone and everyone to create, record, and play music at a fairly sophisticated level-specially when you compare the primitive recording schemes many of us had in the 60's as we tried to capture music from our small AM radios. I know many musicians are frustrated over these developments since it prevents them from earning their deserved livelihood from traditional sources (recordings) but I look at the music that I come into contact today and wonder if under the old,large studio system if any of much of this music would have made it into my ears. Not likely. And this should be part of the opportunity music makers can leverage moving forward to get their music out and heard under their production and control.

And you can see this impact on the multitude of music, of all genres, available and being made accessible via the Internet and the growing difficulty of trying to classify this music into clean, separate buckets as the music industry has been inclined to do in the past. Again, this is a welcome development for those of us who thrive on listening to different and surprising things on each and every day of our lives. As for me, I can not live without new sounds every day. My children have inherited the same lucky fate. Why lucky? I don't think there was ever time when so much new music from so many different places and people have been instantly accessible to those who have an Internet connection. We know what that results in!

For me, this year's music was characterize by a rich mixture of diverse cultural musical sounds and the humanization of the electronically made and mixed sound. This may be a given for most of you, but for me this was the year these things all became "natural sounding" to me and lost its mechanical artifice. So the selection of what caught my attention and emotions is probably somewhat predictable with some popular sounds making my list: Dirty Projectors, Animal Collective, and the wonderful Maxwell. But the majority of what I enjoyed I actually came into contact in person at small concert venues where I was able to be mesmerized by the music I heard: Klaus Paier and Asja Valcic, Wild Beasts, and the precocious Curtis Brothers Quartet. Today, all the music I've listed as "Best" continues to inspire and make me want to keep on living. I hope it will do the same for you. In no special order here is what kept me breathing:

         Think About Life-Family 

         Till Fellner-Bach's Inventionen und Sinfonien

        Matias Aguayo-Ay Ay Ay

        Vijay Iyer Trio-Historicity

        Maxwell-BLACKsummer'snight

        Dirty Projectors-Bitte Orca

        Klaus Paier and Asja Valcic-A Deux

        Rodrigo Amado-Motion Trio

        Concha Buika & Chucho Valdes-El Último Trago

        Komeda Project-Requiem

        Marcio Local-Says Don day don dree don don: Adventures in Samba Soul

        Califone-All My Friends are Funeral Singers

        Animal Collective-Merriweather Post Pavilion

        Gui Borrato-Take my Breath Away

        Wild Beasts-Two Dancers

        Samuel Blaser Quartet- Pieces of Old Sky

        Taken by Trees- East of Eden

        Hildur Guðnadóttir-Without Sinking

        Curtis Brothers Quartet- Blood-Spirit-Land-Water-Freedom

       

Best Music of 2009- Till Fellner

wgbh radio

For those who have difficulty with the pace and direction of classical music, Fellner's interpretation of Bach's Inventions may the the right entry point. Precise and forceful, yet languorous and gentle, Fellner's approach takes advantage of the nuanced ECM recording. Not yet familiar with his Beethoven sonata work, I'm looking forward to similar positive surprises.

From an interview with Fellner:

BF: The contemporary view of the Bach Inventions still tends to restrict the works to the composer’s original design: student exercises in two-part counterpoint.

TF: Yes, I studied some of the inventions as a student and when I started to play the whole cycle I discovered how beautiful they are as a concept piece, with a variety of character. In approaching the Bach Inventions, there is not such a difference from taking on the Beethoven Sonatas in that I am always trying to understand the meaning of each piece, its inner necessities, the “special.” You of course have to think about what is typical to a certain composer, but then there is the danger of generalizing, even more so if you ask about a certain style. A style is not a set of rules, it’s a language, but one that can express a lot of different things. Classical (by which I mean the Viennese School) is a very free and vivid language and style. But of course one big issue with playing Bach is the polyphonic language—ensuring that you make independent lines and not melody and accompaniment. Beethoven’s music, too, is polyphonic, especially in his late period. 

From ArkivMusic.com:

Fellner has a musical personality that is fresh, original, and bracingly healthy. In contrast to many pianists who attempt a translation of Bach’s plucked-string keyboard idiom to their own struck-string instruments, his interpretations bear no hint of Glenn Gould’s specter lurking in the background. One has the sense that Fellner’s interpretive choices are completely his own, borne from an open-minded, searching embrace of the music, unencumbered by preconception or mystical claptrap. His approach is simplicity itself (though far from simplistic), lyrical above all, and, to my ears at least, extremely compelling.

Within the miniature framework of the Inventions and Sinfonias (as Bach titled the three-part pieces) Fellner creates self-contained microcosms of startlingly imaginative potency. The D-Major Invention (No. 2) employs a detaché touch to create a delightfully playful atmosphere, in marked contrast with the fluent legato of the subsequent D-Minor piece that sounds as though it could have originated as an instrumental movement in a Lenten cantata. The bouncing F-Major Invention (No. 8) has a felicitous exuberance that, once again, stands in beautiful juxtaposition with the languishing chromaticism of its F-Minor counterpart (No. 9), so reminiscent of Passiontide. The A-Major Invention, here imbued with a perky non legato, is as satisfying a performance as one can hope to hear on any instrument. A deliciously pastoral affect pervades the leisurely E♭-Major Sinfonia (No. 5). The jaunty F-Major Sinfonia (No. 8) is bright and spry and the G-Major (No. 10), though unrushed, maintains its character as an authentic jig. The same forthright, uncluttered sensibility informs the lovely G-Major French Suite. Each movement is taken at an appropriately danceable tempo (something that can’t be said for many a pianist’s performance of the dance suites). One might wish for more fully embellished repeats, but listeners interested in that stylistic refinement may enjoy harpsichordist Francesco Cera’s superb readings of all the French Suites (Arts 477388) reviewed elsewhere.

From Alex Ross' Blog regarding Fellner's style of playing:

The pianist is a protégé of Alfred Brendel, but he is quite unlike Brendel in his desire to maintain at all times a natural musical flow. He has an almost compulsive attachment to clean, rounded piano tone; a virtuoso of the soft and sustaining pedals, he uses them to put a kind of lacquer finish on Bach’s sometimes rough and dissonant harmony. (He is helped by the inimitable “halo” effect of ECM’s sound engineering.) Before you can bliss out completely to the beauty of the playing, however, carefully shaded crescendos and clipped attacks create a sense of mounting drama. The central minor-key fugues — especially the C-sharp minor, the F minor, the B-flat minor, and the twelve-tone-ish B minor — acquire an ominous density before they make their final turns into the major. In the faster-paced pieces, Fellner executes runs of stroboscopic evenness and clarity. The weight dissolves and the architecture dances.

Meanwhile, of recent Bach recordings on piano, Fellner’s is surely among the very finest. These are interpretations of great taste and refinement, everywhere imbued with Fellner’s irresistible musicality that, while always poised, is never affected. Very highly recommended. 

From All About Jazz review Fellner's Inventionen:

Fellner's inaugural Bach recording was 2004's songful Das Wohltemperierte Klavier, Buch I, BWV 846-869 (ECM) (The Well-Tempered Clavier). Fellner might have been expected to follow this with the Second Book of Preludes and Fugues, but he did not. A deep and thoughtful pianist, Fellner only records a piece after much study, rumination, and performance. According to Fellner, "I've been playing the Inventions much longer, and I felt the time was ripe to record them. I've been playing Part II of the WTC for a year now, but I don't feel ready yet." This approach has paid off for Fellner with his WTC Book I, a revelation of how Bach expressed his talent for choral composing through the keyboard. Inventionen und Sinfonien are likewise expressive. Popularly known as the "Two- and Three-Part Inventions," the Inventionen und Sinfonien are a collection of thirty short compositions consisting of fifteen inventions (two-part contrapuntal pieces) and fifteen sinfonias (three-part contrapuntal pieces). These pieces were originally composed as lessons for Bach's keyboard students. The inventions were written while Bach was in residence in Cothen (1717-1723) and sinfonias during Bach's Leipzig period (1723-1750). Fellner's approach is the most tuneful on record. He makes his playing beautifully transparent, accentuating the elements that reveal Bach's preference for choral composing. Fellner's sound is spacious and well balanced (a credit to Manfred Eicher and his crack engineers). This is Bach at his warmest and most friendly, perfectly presented by Fellner on the modern piano. Like the WTC Book I, Fellner makes the 2- and 3-part inventions sing as if part of a cantata. His lyricism is matched by the sumptuous and muscular tone imparted by the modern piano. The fact that Bach composed these keyboard exercises makes them high art. Fellner's superb playing properly honors Bach's achievement.

Till Fellner's Site

Leonard Freed

Leonard Freed

Best Music of 2009-Matias Aguayo

The tribal, chanting, mesmerizing sounds of Aguayo have perplexed and enchanted critical listeners of his basic music. Using his voice in combination with primal rhythms that morph into an eternal dance jam, Ay Ay Ay is exactly what that Spanish refrain means-climatic and a plea for more. This production shows a different way forward for electronic dance-back to the streets.

From The Phoenix:

A common hang-up among house haters is the apparent absence of the artist within the electronics. Whether it’s naive or not, there exists an unconsciously defended difference for many between the mark of the maker and the click of the mouse. Accidental purists: prepare to lighten up. Ay Ay Ay, the second full-length effort from Chilean-born, German-raised Matias Aguayo (who now splits time between Buenos Aires and Paris) is, in source and spirit, one of the most human dance-pop records of the year. Even more so than on his stunning 2005 debut, Are You Really Lost?, Aguayo blends a finicky minimalist streak with loads of goofball charm (not unlike new Yacht, or old Beck).

He almost completely jettisons oonst-oonst metrics in favor of long stretches of classy continent-hopping rhythms — “Me Vuelvo Loca” and “Juanita” channel the energy of Aguayo’s battery-powered “bumbumbox” parties in the streets of Buenos Aires (check SoundCloud for those mixes), whereas “Koro Koro” conjures a Lagos lounge. But though Ay Ay Ay benefits from Aguayo’s amply stamped passport, its real appeal is his inescapable personality — some of these songs sound like things he’d hum and tap on an armrest while waiting for a flight. Entire rhythm sections are made from his voice, and its timbre becomes a signature texture of the album instead of amateurish beatbox gimmickry. It’s not just that Aguayo replaces anonymity with idiosyncrasy — Ay Ay Ay is the work of a producer in his prime, and an artist who can barely contain himself.

From Little White Earbuds:

Ay Ay Ay, Aguayo’s latest full-length, ramps this casualness towards the death of elaborate recording studios and proper discotheques up a notch. Aside from muted drums and rolling bass lines, Aguayo’s only instrument is his own FXed-to-smithereens voice. He’s lent his vocals to techno recordings before, most notably on Closer Musik cuts like “One, Two, Three — No Gravity” and a handful of Cómeme singles, and he’s known for drenching his DJ sets in mic breaks not far removed from what’s found herein. But Ay Ay Ay takes its maker’s mouth to theatrical, psychedelic new extremes — maybe three parts Dave Aju, one part Animal Collective. I can’t think of another record quite like it on a major dance music label this year. But unfortunately, its singularity is overshadowed by being something of a mixed bag.

From Pitchfork:

Foreign as in unfamiliar: Ay Ay Ay sounds like no other album this year, and it's no stretch to say it's one of the most out-of-character releases ever for Kompakt. Any discussion of musical influence almost seems superfluous, however, as Aguayo spends much of Ay Ay Ay proving his credentials as an inspired goofball. Lead track "Menta Latte", which barrels out of the gate with whumping bass voices, sounds like a group of skilled six year-olds putting Saturday morning to song. "Koro Koro" is Soweto-style pop undercut by compressed, clacking beats. The title track is stepping tropic pop. The clingy "Rollerskate" is disarmingly coherent in its form and presumed function: it sounds like rollerskating.

From Treble:

The most important instrument on Ay Ay Ay is Aguayo himself, his voice, twisted, remodulated, chopped to bits and reassembled. First single "Rollerskate" features layers of Aguayo, track upon track of his vocals woven into a hypnotic swirl atop a kick drum, bassline and handclaps. But from these minimal elements Aguayo fashions a full sound, one intricacy wrapped around the next until things wander into a tripped out forest of voices, breaking apart the false duality between minimal and "maximal," affects belying materials. The trick is one Aguayo used on the excellent electro-pop single "Walter Neff," another 2008 release that foreshadowed the direction taken on Ay Ay Ay.

While the elements across the 11 songs are consistent, Ay Ay Ay manages to travel to some strange and diverse territory. "Koro Koro" is blissed-out Afrobeat, Aguayo's voice floating in multiple directions at once before a drum machine kicks in and then, later, a pulsing bassline that merges the club with the beach as the man makes some wacked airplane noises. Closer "Juanita" is a throbbing booty-shaker, with accordion, that somehow conjures the infinite skies of the pampas (at least for someone who has read a lot of Borges but never made it to Argentina), while album opener "Menta Latte" is very much in the lineage of "Neff," forcefully spinning techno rhythmic ins and outs into the skeleton for a pop song from another dimension, carried by the mad threads of Aguayo's imagination.

Honestly, I have no idea how many people this record will appeal to. It is definitely out there, though its wigged-out sounds can be enjoyed wherever they may happen to be heard. The more I listen to it, the more I appreciate Aguayo's approach to making music at the end of this decade, his ability to embrace digital production methods but to use human elements and more remote musical traditions to create something both strange and comforting, weird and somehow an apt expression of the moment to which it belongs.

 

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Open Letter Books

From Saturday's NYT, an article about an unique publisher:

“There’s a set of readers out there that’s very interested in translations and international literature and is not getting what it wants,” said Chad W. Post, Open Letter’s director. “So we believe our business model can work. American literature has a lot of great works. But English-speaking readers don’t have full access to voices and viewpoints from around the world, and we’re trying to rectify that.”

Though none of Open Letter’s 16 titles has yet sold more than 3,000 copies, its efforts have quickly attracted attention and critical praise. Open Letter books, including the recently published “Season of Ash,” by the Mexican novelist Jorge Volpi, have appeared on Best of 2009 lists; and Amazon.com, which has begun an effort to bring more international writers to the attention of American readers, recently awarded Open Letter a $20,000 grant to support publication of “The Wall in My Head,” an anthology by East European writers about the collapse of Communism there.

The world of American publishers specializing in translation is small, and each house has adopted a slightly different strategy to stay afloat. Archipelago Books has gone the nonprofit route and solicits tax-deductible contributions; Europa Editions is the extension of an Italian house and publishes only trade paperbacks; and the Dalkey Archive Press, where Mr. Post, 34, worked until coming here, is both a nonprofit entity and, like Open Letter, tied to an academic institution, the University of Illinois, Champaign-Urbana.

“If you’re publishing authors whose names aren’t known, you have to give readers a reason to pick up a book and to get excited about your press,” Martin Riker, associate director of Dalkey, said. “There’s a branding going on, and Chad is definitely trying that.”

Open Letter published its first title, a collection of essays by the Croatian novelist Dubravka Ugresic called “Nobody’s Home,” in September 2008, just as the economic crisis was erupting. But more than a year earlier, to herald the book’s arrival and attract potential readers, Open Letter had begun a blog called Three Percent (rochester.edu/threepercent), a mordant reference to the literary ghetto to which translation is consigned.

 

Macedonio fernandez's The Museum of Eterna's Novel

The lost molecules of conflict

Interview with author Joe Sacco at January Magazine:

And, what are your theories for the reasons behind that? Just because those are tumultuous parts of the world?

It's not about that, because you can find other tumultuous parts of the world. It's the fact that, for whatever reasons, when I was younger I became interested, say, in the Middle East, and sort of sucked into it. I went once and I did the book Palestine, and I wasn't really going to go back, I didn't really have any intention to go back, but when the second Intifada broke out, my interest was rekindled, and it's back to that same feeling that I had, I used to feel, which is that I feel compelled to go and do something there. I'll only go to a place I feel sort of compelled to go to. You know, that just pulls me in. I mean there are other places that interest me, and I wouldn't mind going if a magazine sort of made it easy for me to do it. The places I'm really sucked into, that I'm going to go out of my way to go to, there aren't that many of them, to tell you the truth.

You recently spent some more time in the Middle East? In the Occupied Territories?

Yeah, in particular Gaza. I was there in November for a couple of weeks, and then I was there February and March, a couple months, and I just got back less than a week ago.

And how did it compare with the first time you went there?

Very different, I felt that I was much more on the inside this time. And I actually rented a place in a refugee camp. So I stayed in the camp. And I got to know people that way, where I actually had someone with me the whole time, because I don't speak Arabic, and it's a place where you don't want to be just a random foreigner walking around because they'll be suspicious of you. For good reason. So, I think I was a bit more on the inside this time around, and I hope the book'll reflect it.

And so was that sort of more like your experience in the other book, Safe Area: Gorazde?

Yeah, maybe a little more like that. I mean, Safe Area: Gorazde had some elements that won't be in this book; I was staying with a family. But in Rafah that was very difficult to organize, because people are so poor and because of the situation with women, where you can't really be in the same place that the women are in the household. It's very difficult for you to stay at someone's house for an extended period of time. You know, for a couple days OK, but, ultimately, it's just a situation where it's very hard to be in the same -- you know, you're not even really supposed to see the women in a lot of these households. So that wouldn't really have been practical for any extended period of time.

And how did the situation there compare to the last time you were there?

It was just a lot harder, a lot more violent. You know, life's pretty bad, pretty rough in certain parts. It's very different in different parts of the Occupied Territories. Where I was was a refugee camp called Rafah, which is on the southern border of Gaza, with Egypt. And there were a lot of house demolitions going on there, and there are just some sort of spooky parts of the town because they're basically under fire, or in zones where there's a lot of bullets flying around at different times, so it was just a different sort of feeling from where I was before, where I could just sort of travel, get in a taxi and go anywhere. Getting down to Rafah was hard. You know, there are checkpoints, and you can get trapped there. There's only one road out, basically. And if it's closed for three days or four days, you're stuck there. In the first intifada I was kind of going from one place to another, sort of doing a little tour. In this case I just wanted to be in one place, much like the Gorazde book, I feel it was a better way of doing it, get to know some people well.

Best Music of 2009- Klaus Paier & Asja Valcic

A superb due performance with nuances and intimations of all over the place. My appreciation for this wonderful piece of work stems from my seeing them play it live. Perfectly. This is truly world, improvised music. A delicacy of the aural mind.

From The Jazz Mann:

Austrian accordionist Paier is also the composer of all thirteen items on the album and as a writer he covers an impressively wide range of styles, from jazz to classical, musette to tango. He also deploys the Argentinian bandoneon and in this area of music was greatly influenced by the great Dino Saluzzi. Paier also cites jazz composers Thelonious Monk

, Keith Jarrett and Charles Mingus as primary influences on his writing style.

Paier and the classically trained Croatian cellist Asja Valcic recently worked together in the radio.string.quartet.vienna. The quartet’s acclaimed album “Radiotree” is reviewed elsewhere on this site. Valcic has a thorough grounding in classical and chamber music

but her playing in a more improvisatory context such as here and on the “Radiotree” album is little short of astonishing. In these contexts Valcic plays with a verve and passion not normally associated with the cello. Her playing can be immensely powerful and rhythmic, using the fingers as well as the bow and utilising the body of the cello as a sound box for percussive effects. 

The chemistry forged between the two musicians on the “Radiotree” album is even more pronounced in this more intimate setting. Their lines coil around each other like snakes and both players shift effortlessly between their melodic and rhythmic functions. The variety of sounds and textures generated by just two players is amazing, both musicians

get the absolute maximum out of their instruments. However this is no mere technical exercise, the pair are adept at mood building and their music has considerable emotional depth, the wistful, musette flavoured “La Pirouette” being a case in point.

The album opens with a burst of energy in the form of the spirited “Tango Loco” with Valcic’s extraordinary rhythmic cello complementing Paier’s darting accordion. “La Pirouette” calms the mood before the pair trade bebop style lines on the title track.

From The Guardian:

When Vienna's radio.string.quartet played in London last year, Croatian cellist Asja Valcic's playing was the powerhouse of the band, with its jazz-bassist's forward-leaning drive and percussive accents. Those qualities surface again on some attractive and songlike originals by the accordion and bandoneon-player Klaus Paier. For a performer raised on chamber music, Valcic has taken to jazz with an assertive vigour that is still quite rare among classical converts, and Paier unblinkingly switches between swirling cafe-waltzes and a thundering energy like Joe Zawinul's at the organ. Valcic's busy, pulsating rhythms and hand-drum effects alternate with delicate lyricism on Tango Loco, and her pizzicato walks swap with the plunging Mahavishnu-like countermelody in the swinging title track. Some of the pieces are breezy dances (Cici, Valsa Francaise) some are balletic tangos, some have a church-organ ruminativeness (Some Days, Sentiment Pour le Beau) and some a clamorous Balkan energy. For jazzers, improvisation may be a little hampered by this music's tight arrangements and familiar song-forms, but it's a lovely combination of instruments, and virtuosically executed.

 

Paier & Valcic Site

Alan Chin

Skoda car, Slovakia