[翻譯] 美國鞭金史（一）
THE HISTORY OF AMERICAN THRASH
美國鞭金史
來源：Revolver.com（頁面已失效）
An all-access oral account featuring Slayer's Kerry King, Metallica's Kirk
Hammett, Anthrax's Scott Ian, and many more
由Slayer的Kerry King、Metallica的Kirk Hammett、Anthrax的Scott Ian等人完整口述
給你聽！
CAST OF CHARACTERS
受訪者
Chris Adler, founding drummer, Lamb of God
Chris Adler，Lamb of God創團鼓手
Chuck Billy, vocalist, Testament
Chuck Billy，Testament主唱
Rick Ernst, producer/director of the forthcoming documentary Get Thrashed
Rick Ernst，紀錄片《Get Thrashed》導演／製作人
Maria Ferrero, original Megaforce Records publicist; currently runs
Adrenaline PR and manages Testament
Maria Ferrero，原Megaforce Records宣傳人員，目前經營Adrenaline公關公司，
Testament經紀人
Lonn Friend, editor of RIP magazine, 1987–1994; author of Life on Planet
Rock (Morgan Road)
Lonn Friend，《RIP》雜誌1987-1994年編輯，《Life on Planet Rock》作者
Kirk Hammett, founding guitarist, Exodus; Metallica lead guitarist, 1983–
present
Kirk Hammett，Exodus創團吉他手，Metallica主奏吉他手（1983年至今）
Gary Holt, founding guitarist, Exodus
Gary Holt，Exodus創團吉他手
Scott Ian, founding guitarist, Anthrax and S.O.D.
Scott Ian，Anthrax與S.O.D. 創團吉他手
Kerry King, founding guitarist, Slayer
Kerry King，Slayer創團吉他手
Jeff Kitts, Eighties fanzine writer and publisher; current managing editor of
Guitar World magazine
Jeff Kitts，80年代樂迷雜誌作者與出版者，現任《Guitar World》編輯
Dave Mustaine, lead guitarist, Metallica, 1982–83; founding
singer-guitarist, Megadeth
Dave Mustaine，Metallica主奏吉他手（1982-83年），Megadeth創團主唱兼吉他手
Brian Slagel, founder, Metal Blade Records
Brian Slagel，Metal Blade Records創立者
Jonny Z, founder, Megaforce Records
Jonny Z，Megaforce Records創立者
At the beginning of the 1980s, the U.K. was in the midst of a heavy-metal
renaissance, thanks to bands like Judas Priest, Iron Maiden, Motörhead, and
Venom, but the state of American hard rock was a sad one, indeed. With the
exception of Van Halen, the big U.S. acts of the Seventies—like Kiss,
Aerosmith, and Ted Nugent—seemed old and tired; and in the newly
conservative climate of the early Reagan era, Journey, Styx, and REO
Speedwagon were the closest thing to “heavy music” that you could hear on
the radio.
在1980年代初，拜Judas Priest、Iron Maiden、 Motörhead和Venom等團之賜，英國成
為金屬樂復興的中樞。但在美國，重搖滾卻形勢慘澹。除了Van Halen，70年代的美國重
量級樂團──如Kiss、 Aerosmith和Ted Nugent──似乎顯得老憊無力；而在雷根主政初
期新吹起的保守風氣下，Journey、Styx和REO Speedwagon是你在收音機上所能聽到最接
近「重音樂」的東西。
Out of this foul wasteland came a new kind of music that was fast, heavy, and
unapologetically brutal. Its lyrics encompassed everything from the demons of
hell to the scumbag politicians of Washington. Its devotees banged their
collective heads to the beat with an intensity that no one had ever witnessed
before. Some called it “speed metal,” others called it “power metal.”
Today we know it as thrash. More than just a passing fad, the movement
launched the careers of some of the greatest bands to ever storm a stage—
including Metallica, Megadeth, Anthrax, and Slayer—and its take-no-prisoners
sound and ethic continue to reverberate to this day.
在這片污濁的荒地上，出現了一種新的音樂，它既快、又重，而且凶暴無情。它的歌詞範
圍涵蓋了從地獄的惡魔到華盛頓的爛政客。它的愛好者隨著節拍一起甩頭的熱情前所未見
，有些人曾叫它「速度金屬」，有些人曾叫它「力量金屬」，但今天我們知道的它叫「鞭
笞金屬」。這場運動非但不是曇花一現的熱潮，也創造出許多在舞台上掀起狂熱的偉大樂
團──包括Metallica、Megadeth、Anthrax和Slayer──而它那毫不留情的聲音以及熱情
，至今仍不斷迴響。
Part I: Jump In the Fire
其一：投身火中
Like punk rock, thrash metal sprang from a secret society, a movement so
underground that most people weren’t even aware of its existence until
several years after its birth. San Francisco, New York City, and Los Angeles
were where the music developed in the early 1980s, fed by a steady diet of
then-obscure records from the New Wave of British Heavy Metal and fortified
by a haphazard network of tape traders, fanzine writers, college-radio DJs,
record stores, and independent record labels. Nobody knew where it was going,
but everyone into cutting-edge metal wanted to be part of it.
就像龐克搖滾，鞭笞金屬也是發源於一種秘密結社；一項如此隱密，以致於大多數人直到
它誕生好幾年後，才知道它存在的地下運動。舊金山、紐約、洛杉磯是80年代初這類型音
樂的發祥地，它一邊吸收著來自當時非主流的英倫金屬新浪潮（New Wave of British
Heavy Metal，NWOBHM）錄音的營養，一邊受到錄音帶交換者無意中所組成的網絡、樂迷
雜誌作者、大學廣播的DJ、唱片行以及獨立唱片公司的推波助瀾。那時沒人知道將來的發
展會怎樣，但每個喜愛最新最流行的金屬樂的人都想參與其中。
GARY HOLT How did it all start? That’s always been a really hard one to
answer. I think it was due to Ron Quintana and Ian Kallen, who did this radio
show, Rampage Radio, on KUSF at the University of San Francisco. They totally
got us into the New Wave of British Heavy Metal thing—everything from Tygers
of Pan Tang to Venom to Budgie to Diamondhead to Angel Witch.
「一切是怎麼開始的？」這真的是很難回答。我想是因為Ron Quintana和Ian Kallen在舊
金山大學的廣播頻道上做了個叫Rampage Radio的節目，他們完全讓我們迷上了那些
NWOBHM的作品──從Tygers of Pan Tang到Venom、Budgie、Diamondhead、Angel Witch
的全部東西。
KIRK HAMMETT Rampage Radio came on at some ungodly time—it started at 1 or 2
in the morning. By the time it came around, me and my friends were all drunk.
I remember the first time I heard a Venom song—it was “Live Like an Angel,
Die Like a Devil,” and it literally sounded like someone dragging a shovel
across the pavement. I was like, Oh, my God, this is a sound I’ve never
heard before! It’s kinda shitty—but I like it! After two bottles of vodka,
it sounded beautiful to our young, unjaded ears.
Rampage Radio的播出時間還真要命──它在凌晨一點還是兩點播出。播出的時候，我和
我的朋友都喝醉了。我記得第一次聽到一首Venom的歌──就是〈Live Like an Angel,
Die Like a Devil〉，它聽起來真的就像有人拖著鏟子刮過地板。我只覺得，「天啊，我
從來沒聽過這種東西。還蠻爛的──但我喜歡！」在幹掉兩瓶伏特加之後，它在我們年輕
、血氣方剛的耳裡聽起來很好聽。
BRIAN SLAGEL Lars Ulrich was just a kid who’d moved to L.A. from Denmark,
and he was huge into the whole NWOBHM thing, as was I. A friend of mine met
him in the parking lot of a Michael Schenker show at the Country Club in
Reseda, and he was wearing a Saxon European tour shirt. The next day, the
three of us went around L.A., trying to scrounge all the European imports we
could find. He was a record collector. We would laugh, because we would go
over to his house and he would have a drum set sitting in the corner, not
even put together. He was always like, “I’m gonna put a band together!”
And we were like, “Yeah, sure you are, Lars!”
Lars Ulrich那時候是個剛從丹麥搬到洛杉磯的小子，非常迷NWOBHM的那些東西。我的一
個朋友去Reseda的Country Club看一場Michael Schenker的表演，在停車場遇到他，他穿
著Saxon歐洲巡迴的T恤。隔天，我們三個跑遍了洛杉磯，試著把能找到的歐洲進口盤都給
收了。他收集了很多錄音。我們常笑他，因為我們會到他家玩，有套鼓放在他家角落，連
組都沒組好。他老是說，「我要組個團！」我們則說，「對啦，你當然會，Lars！」
SCOTT IAN Rock and Roll Heaven was a booth in this weird indoor flea market
in Old Bridge, New Jersey. There’s all these people selling their crap
antiques, and then there’s this little booth filled with every rad British
record that we’d seen in the magazines but never knew how to get. It was
only open on the weekends, so we would drive down and hang out every
Saturday, which is pretty much what everyone would do. You’d hang around
Jonny Z’s booth, crank metal, and then you’d go back to someone’s house
and drink beer and crank some more metal.
那時，Rock and Roll Heaven只是紐澤西Old Bridge那兒某個詭異室內跳蚤市場裡的一個
攤位。一堆人在那邊賣他們的爛古董，然後突然冒出這麼一個小攤，賣一堆我們只在雜誌
上看過，一直不知道要怎麼入手的稀奇英國唱片。它只在週末營業，所以我們每個週六就
開車到那裡混，差不多每個人都是這樣。你在Jonny Z的攤子那邊混，聽聽金屬樂，然後
到某人家，喝喝啤酒，聽更多的金屬樂。
JONNY Z My wife, Marsha, and I had our little flea-market operation, and we
started promoting concerts. We were shipped an Angel Witch album by mistake,
and I fell in love with it, so I started bringing in all the British stuff,
like Raven and Diamondhead, because that was blowing my mind. It was very
different than what was happening in the States. I wasn’t just touting things
—I believed in it. I believed in the cause. It felt like you were in some
kind of a revolution.
我老婆Marsha和我在跳蚤市場做點小生意，後來我們開始舉辦一些表演。我們不小心收到
了一張Angel Witch專輯，結果我愛上它，所以我開始進口這些英國樂團的東西，像是
Raven和Diamondhead，因為我覺得它們真是讚翻了，和當時美國的音樂很不同。我不是單
純賣賣這些東西而已──我對這些音樂有信心，我相信它們的理念。這感覺就好像你參與
了某種革命一樣。
HAMMETT We [Exodus] kept on looking for music with faster beats. I remember
the first time I heard Overkill, which by today’s standards is kind of
medium-paced. It was almost the fastest thing I’d ever heard. It was
blinding! We kept telling our drummer, Tom Hunting, “Faster beats, man! The
faster, the better!” And then when we saw Metallica, we were like, “Oh, my
God—this is the American version of all the bands we’ve been listening to!”
我們（Exodus）一直追求拍子更快的音樂。我記得自己第一次聽到Overkill這首歌，以現
在的標準來說差不多是中拍子吧，不過那幾乎是我當時聽過最快的音樂了，超炫。我們一
直跟我們的鼓手Tom Hunting，說：「打快一點！歌越快，就越好！」然後當我們看到
Metallica，感覺就是：「噢，天啊──這就是我們一直聽的那些團的美國版！」
KERRY KING I remember seeing Dave Mustaine play with Metallica at the
Woodstock in Anaheim, and I was just blown away. He was ripping these killer
solos and riffs, and he was just glaring at the crowd—not even looking at
his fingers.
我記得在安納海姆的伍茲塔克音樂節看過Dave Mustaine和Metallica一起表演，感到很震
撼。他彈著這些精采萬分的solo和riff，而且就直視著觀眾──完全不用看他的手指。
SLAGEL Lars and James Hetfield had been jamming, and when they heard about
the Metal Massacre compilation I was putting together of L.A. bands, the two
of them recorded “Hit the Lights” on a little Fostex cassette, and they had
their friend Lloyd Grant, who was a guitar teacher, come in and do the lead.
There was a second version with Dave, which they recorded for the No Life ‘
Til Leather demo.
Lars和James Hetfield那時候就開始一起玩音樂了，當他們聽說我正打算為洛杉磯樂團出
張叫《Metal Massacre》的合集，他們兩個用台Fostex的小卡式錄音機錄了〈Hit the
Lights〉，找來他們的朋友Lloyd Grant，他是個吉他老師，彈吉他主奏。第二個版本是
跟Dave錄的，收錄在《No Life ‘Til Leather》Demo上。
RICK ERNST Tape trading was so important to the thrash scene. It was sort of
the equivalent of what the Internet is today. It was the way that you found
music. It was the way that you were cooler than your friends, because you
found a demo tape from Sweden that nobody else had.
交換錄音帶當時在鞭金風潮是很重要的一件事，大概等同今天的網路吧。
那是你發現音樂的方式；讓你比其他朋友更酷，因為你找到了一張從瑞典來的Demo，
其他人都沒有。
KING That was a real cool thing, looking back. I know Metallica’s first demo
got passed around, big time. We all had that. Everyone under the sun had that!
回顧起來，那真的很酷。我知道到處都在傳Metallica的第一張demo，超猛的。大家都有
，幾乎是人手一張。
HOLT We could have done a highly successful European tour without even having
an album out, because of all the tape trading. People would send me their
lists of bootlegs, and they’d have, like, 200 different live shows of ours,
complete with set list and sound-quality grading. It was awesome—it’s what
made bands like us and Metallica.
我們大概可以連一張專輯都沒出，就能做場很成功的歐洲巡迴，因為交換錄音帶的風氣太
熱烈了。大家會給我他們的靴腿（bootleg，聽眾私錄的演唱會錄音）清單，上面有兩百
場我們不同場次的表演，還附註演出歌單和音質等級。超棒的──這真的造就了像我們和
Metallica這些樂團。
JONNY Z Somebody came to our flea-market stall with a cassette of Metallica
called Live at the Mab—at the Mabuhay Ballroom in San Francisco. It wasn’t
very well recorded, but to me it was like the most perfect sound I’d ever
heard. We hustled together $1,500 for them to rent a van to come out to the
East Coast and play some shows. When they got here, it was like, “We have no
money to get back, no place to stay—we’re livin’ with you!”
有人到我們的跳蚤市場賣一張Metallica的錄音帶，叫做《Live at the Mab》，在舊金山
的Mabuhay Ballroom錄的。錄音品質不是很好，但那真是我聽過最完美的聲音了。我們湊
了1500塊，讓他們租輛箱型車來東岸做幾場表演。到了以後，他們說，「我們沒錢回家，
也沒地方住──所以我們要住你那裡。」
MARIA FERRERO These bands, these guys, they were family. Venom came over from
England and stayed at Jonny and Marsha’s house. Metallica, too. That house
definitely needed an exorcism!
這些團，這些人，他們就像家人一樣。Venom從英國來是住Jonny和Marsha家，Metallica
也一樣。那屋子絕對需要驅一下魔！
IAN Jonny Z asked us, “Hey, are there any extra rooms in that place where
you rehearse?” It was the Music Building, a dilapidated old office building
in South Jamaica, Queens. It was the only place in Queens where you could jam
24-7, but we didn’t know Metallica would actually be living there.
Jonny Z問過我們，「嘿，你們練團的那個地方有多的房間嗎？」我們在音樂會館練團，
那是皇后區South Jamaica一座老舊破爛的辦公大樓，那是在皇后區唯一你可以在晚上12
點到凌晨7點彈音樂的地方，不過我們不知道Metallica後來真的會住進那裡。
JONNY Z Living in the Music Building was really horrendous. But [Metallica]
couldn’t stay in my house anymore, because they just about burned the place
down! They and Venom came home one night with a big thing of venison. I’m
sleeping, and all of a sudden I see this fire coming up from downstairs—the
whole kitchen was on fire!
住在音樂會館實在很恐怖，不過我真的不能再讓Metallica住我家了，因為他們差點把那
裡給燒了！有天晚上他們和Venom回來，帶了一大塊鹿肉。我正在睡覺，突然之間火從樓
梯那兒出現──整個廚房都燒了起來！
IAN Metallica only played a couple of shows in New York when Mustaine was
there. I specifically remember them opening for the Rods and Vandenberg at L’
Amour in Brooklyn. You gotta remember, nobody knew who Metallica were at the
time, except for the small army of people who had their No Life ‘Til Leather
demo. We were all down at L’Amour in the afternoon, hanging around and
waiting for Metallica to get their chance to soundcheck. The Vandenberg guys
were onstage doing theirs. Mustaine was already shitfaced by 3:30 in the
afternoon, and he was yelling at Adrian Vandenberg and his band, “Get the
fuck off the stage! You suck!” And we were all like, ‘What the fuck, dude?
Shhhh!’”
Metallica和Mustaine只有一起在紐約表演過幾場，我印象最深的是他們在布魯克林的
L'Amour幫Rods和Vandenberg暖場。你要記住，除了有他們《No Life ‘Til Leather》
Demo的那一小群死忠擁護者，那時候沒人知道Metallica是誰。那個下午我們大家都到了
L'Amour，在那邊閒晃，等Metallica他們去做soundcheck。Vandenberg的人在台上弄他們
的，到下午三點半的時候Mustaine已經擺出一副臭臉，而且對Adrian Vandenberg和他的
團大喊，「滾下台！你們爛透了！」我們全都，「什麼鬼話？噓───！！」
SLAGEL Everybody liked to drink back then and have a good time, but Dave
could go much further over the line than anyone else would, and you could see
that sooner or later that was going to be a problem. When everything was
good, they all got along pretty well. But to this day, Metallica have this
attitude that the band is the holy grail, and we all have to do the right
thing to make this what it is.
那時候大家都很愛喝酒、愛玩，但Dave就是會比別人還要過火很多，你看得出這遲早會
變成問題。之前事情順利時，他們之間相處得很好。但到那個時間點，Metallica開始有
種態度，「這個團就像聖杯，我們都必須做正確的事，讓它成功！」
HOLT In the early Metallica days, James sang and played guitar, but Dave did
all the talking in between songs, and he was pretty much the focal point.
That's why everybody was so shocked when he was ousted—the people who saw them
in the Bay Area back in the very, very beginning saw it as Dave’s band. I
mean, James went on to become one of the great frontmen of all time, but at
the time he was pretty shy. People go, “Wow, what would have happened if
they hadn’t parted ways, and you and Kirk were still together?” I think it
could have ended up great for me and Kirk, because we were the best of
friends, but James, Lars, and Dave were three very strong-willed people.
James and Lars are metal gods, and Dave is, as well. I just think that some
things are meant to be.
在早期的Metallica，James負責唱歌和彈吉他，但歌與歌間說話的部分都是Dave負責，而
且是團裡的焦點人物。所以當大家聽到他被踢出團時都很震驚──那些最早在灣區看過他
們表演的人都以為那是Dave的團。我是說，James後來變成了最了不起的台前人物（
frontman）之一沒錯，但他當時非常害羞。大家都問，「哇，要是他們沒有拆夥會怎樣？
你們和Kirk會繼續在一起嗎？」我想這對我和Kirk來說會很棒，因為我們那時就是好朋
友了，但James、Lars和Dave三個都是意志非常強的人。James和Lars是金屬之神，Dave也
是。我想有些事是註定發生的。
HAMMETT Metallica took our sound guy, this guy named Mark Whitaker, out to
the East Coast with them, and when there were problems with Dave, Mark
Whitaker gave Lars our tape. I got a phone call from Mark on April Fool’s
Day ’83 about coming out to the East Coast to audition for Metallica. He
said, “I’ll send you the tape—learn the songs as quick as you can.” On
April 7th, I was on a plane to New York, and by April 12th, we were playing
shows on the East Coast. We were of kindred minds, and I just fell right into
place. And three weeks later, we were in the studio recording Kill ‘Em All.
Metallica帶了我們的音控，叫做Mark Whitaker，和他們一起去東岸。當他們和Dave發生
問題時，Mark Whitaker給了Lars我們的錄音帶。我在83年愚人節接到Mark的電話，叫我
到東岸去給Metallica面試。他說，「我會寄錄音帶給你──盡快把歌學起來。」4月7日
，我搭機前往紐約；然後在4月12日，我們在東岸一起表演。我們志趣相投，而且我跟他
們搭檔得很好。三個禮拜後，我們一起進錄音室錄了《Kill ‘Em All》。
（待續）
繼續回顧系列XD
--
I had nothing but the embittered sun...
我一無所有，除卻那怨毒的太陽……
--
※ 發信站: 批踢踢實業坊(ptt.cc)
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02/26 17:54, , 8F
02/26 17:54, 8F
推
02/26 18:02, , 9F
02/26 18:02, 9F
推
02/26 18:36, , 10F
02/26 18:36, 10F
推
02/26 18:37, , 11F
02/26 18:37, 11F
推
02/26 18:57, , 12F
02/26 18:57, 12F
推
02/26 18:57, , 13F
02/26 18:57, 13F
推
02/26 19:07, , 14F
02/26 19:07, 14F
推
02/26 19:20, , 15F
02/26 19:20, 15F
我是它們網站上看的XDDD
這篇好像是在2007年7月號的Revolver？
推
02/26 19:22, , 16F
02/26 19:22, 16F
推
02/26 19:37, , 17F
02/26 19:37, 17F
推
02/26 19:54, , 18F
02/26 19:54, 18F
→
02/26 20:01, , 19F
02/26 20:01, 19F
推
02/26 20:03, , 20F
02/26 20:03, 20F
推
02/26 20:03, , 21F
02/26 20:03, 21F
推
02/26 20:08, , 22F
02/26 20:08, 22F
推
02/26 20:20, , 23F
02/26 20:20, 23F
推
02/26 20:37, , 24F
02/26 20:37, 24F
推
02/26 20:58, , 25F
02/26 20:58, 25F
推
02/26 21:40, , 26F
02/26 21:40, 26F
推
02/26 21:43, , 27F
02/26 21:43, 27F
推
02/26 22:20, , 28F
02/26 22:20, 28F
推
02/26 22:24, , 29F
02/26 22:24, 29F
推
02/26 22:43, , 30F
02/26 22:43, 30F
推
02/26 22:54, , 31F
02/26 22:54, 31F
推
02/26 23:08, , 32F
02/26 23:08, 32F
推
02/26 23:13, , 33F
02/26 23:13, 33F
推
02/26 23:25, , 34F
02/26 23:25, 34F
推
02/26 23:26, , 35F
02/26 23:26, 35F
推
02/26 23:38, , 36F
02/26 23:38, 36F
推
02/26 23:41, , 37F
02/26 23:41, 37F
推
02/26 23:42, , 38F
02/26 23:42, 38F
推
02/26 23:46, , 39F
02/26 23:46, 39F
推
02/26 23:49, , 40F
02/26 23:49, 40F
推
02/27 00:16, , 41F
02/27 00:16, 41F
推
02/27 00:32, , 42F
02/27 00:32, 42F
Revolver這篇蠻讚的^^
從鞭金起源、流行、grunge之後的沒落，到最近的復興都有介紹到
推
02/27 01:00, , 43F
02/27 01:00, 43F
推
02/27 01:44, , 44F
02/27 01:44, 44F
推
02/27 01:47, , 45F
02/27 01:47, 45F
推
02/27 02:17, , 46F
02/27 02:17, 46F
推
02/27 02:44, , 47F
02/27 02:44, 47F
推
02/27 03:13, , 48F
02/27 03:13, 48F
推
02/27 06:09, , 49F
02/27 06:09, 49F
推
02/27 11:54, , 50F
02/27 11:54, 50F
推
02/27 14:30, , 51F
02/27 14:30, 51F
推
02/27 15:33, , 52F
02/27 15:33, 52F
當然可以囉^^
推
02/27 16:27, , 53F
02/27 16:27, 53F
推
02/27 17:14, , 54F
02/27 17:14, 54F
推
02/27 17:23, , 55F
02/27 17:23, 55F
推
02/27 18:33, , 56F
02/27 18:33, 56F
推
02/27 20:06, , 57F
02/27 20:06, 57F
推
02/27 20:34, , 58F
02/27 20:34, 58F
推
02/27 20:40, , 59F
02/27 20:40, 59F
推
02/27 21:34, , 60F
02/27 21:34, 60F
推
02/27 21:48, , 61F
02/27 21:48, 61F
推
02/27 22:29, , 62F
02/27 22:29, 62F
推
02/27 23:35, , 63F
02/27 23:35, 63F
推
02/27 23:41, , 64F
02/27 23:41, 64F
推
02/28 00:58, , 65F
02/28 00:58, 65F
推
02/28 02:09, , 66F
02/28 02:09, 66F
→
02/28 04:30, , 67F
02/28 04:30, 67F
推
02/28 06:51, , 68F
02/28 06:51, 68F
推
02/28 10:49, , 69F
02/28 10:49, 69F
推
02/28 11:25, , 70F
02/28 11:25, 70F
推
02/28 12:47, , 71F
02/28 12:47, 71F
推
02/28 12:51, , 72F
02/28 12:51, 72F
推
02/28 15:20, , 73F
02/28 15:20, 73F
推
02/28 17:49, , 74F
02/28 17:49, 74F
→
02/28 22:12, , 75F
02/28 22:12, 75F
推
02/28 22:46, , 76F
02/28 22:46, 76F
推
03/01 15:54, , 77F
03/01 15:54, 77F
推
03/23 17:36, , 78F
03/23 17:36, 78F
※ 編輯: coolfly 來自: 114.38.101.231 (04/30 17:27)
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