“My Name Is Earl” star Jaime Pressly is 'evolving with the times,' joins OnlyFans

My Name Is Earl star Jaime Pressly has joined OnlyFans as a way to better connect with her fans.

Entertainment Weekly Jaime Pressly in 2021 in West HollywoodCredit: Rich Fury/Getty

Key Points

  • "This is another way for me to connect directly with my audience, on my own terms, with creativity and intention," she said about launching her account.

  • Pressly's turn to the subscription-based page comes weeks after Shannon Elizabeth joined.

As times are a-changing,Jaime Presslyhas decided to joinOnlyFans.

The actress, known for television seriesMy Name Is EarlandMom, launched her OnlyFans page on May 7 at 4 p.m. ET/PT. Pressly offered her reasons for joining the platform.

“I’ve always believed in evolving with the times,” Pressly said in a statement toVarietyabout this career move. “This is another way for me to connect directly with my audience, on my own terms, with creativity and intention. I’ve loved meeting fans at various Comic Cons, and the excitement of having those real face to face moments made me want to seek options like OnlyFans.”

Her page profile reads, "This is where things get a little more personal, playful, and completely unfiltered. 🌶️," adding a list of content subscribers can expect. "If you’ve ever wondered what I’m really like when the script ends…Come closer. 💋," Pressly added.

Jaime Pressly in Burbank in 2019Credit: Paul Archuleta/Getty

Pressly isn't the only celebrity to join the paid subscription service. Shannon Elizabeth, known forAmerican PieandScary Movie,launched her own page in April— days after shefiled for divorce from her husband of five years.

"I've spent my entire career working in Hollywood, where other people controlled the narrative and the outcome of my career. This new chapter is about changing that, showing off a more sexy side no one has seen, and being closer to my fans,"Elizabeth told PEOPLE.

Get your daily dose of entertainment news, celebrity updates, and what to watch with ourEW Dispatch newsletter.

Like Pressly, Elizabeth chose OnlyFans to "connect directly with my audience, create on my own terms, and just be free. I really do think this is the future."

During her first weekon the subscription site, Elizabeth reportedly made "more than seven figures"

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The actresses recently met up in Texas, sharing a jointInstagram postof the moment.

"Always nice crossing paths again and sharing a moment like this," Elizabeth captioned the post. "Such a beautiful human, inside and out. Hope we get to do it again soon 💫."

OnlyFans, founded in 2016, is known for hosting NSFW content. Since its arrival, it has seen several celebrities create their own pages.

In 2020, Bella Thorne said that sheearned $2 million a weekafter joining OnlyFans.

"OnlyFans is the first platform where I can fully control my image; without censorship, without judgment, and without being bullied online for being me," she toldPAPERat the time.

In September 2023,SopranosactressDrea de Matteo joined the platformafter her children encouraged her to.

"My kids were the ones that were like, 'Do it,'" de Matteo said onFox News Digital. "I figured, 'Okay, so everybody's in their underwear and being sexy on Instagram, and I don't do that, but I can do that and get paid for it.' … I don't know why I didn't think of this sooner."

Jaime Pressly in Los Angeles in 2018Credit: Rodin Eckenroth/WireImage

More recently, in July 2024,Lily Allenjoked thatshe had join the platform, as well, with a page dedicated to pictures of her feet. As for the account's name? "La dolce feeta."

She said she was “just dipping my toes in” on OnlyFans in the description. Among the captions were feet-related puns, such as "sole trader."

Read the original article onEntertainment Weekly

“My Name Is Earl” star Jaime Pressly is 'evolving with the times,' joins OnlyFans

My Name Is Earl star Jaime Pressly has joined OnlyFans as a way to better connect with her fans. Key Points "...
Timothy Spall: ‘I can’t abide this modern taste for outrage’

If anyone asks Timothy Spall to describe what actors actually do, he often finds himself lost for words. “Partly because of the ineffable nature of it,” he says. “But also because, if you don’t watch out, you can end up sounding like a big pseud. Pretentious. You can overcomplicate it.”

The Telegraph Timothy Spall

It’s hard to imagine the avuncular, easygoing Spall popping up in Pseuds Corner. Perhaps this is why he is having so much fun playing the reclusive retired thespian John Chapel in theBBC’s crime caperDeath Valley, which returns for a second series on Sunday. Chapel played a fictional detective on TV, and so finds himself assisting Gwyneth Keyworth’s daffy copper each time a murder disrupts the calm of their rural Welsh life, which naturally happens with preposterous frequency. Chapel is prone to giving grandiloquent masterclasses on the art of acting, and Spall takes evident pleasure in his actorly affectation and plummy delivery, rolling vowels around like marbles.

“I do like to expose the weakness in a man,” he says casually. “We have in this country a wonderful ability to create characters that are both annoying and at the centre of things. Characters likeAlan Partridgeor David Brent.” Why does he think this is? “I dunno, but it goes back to Shakespeare’s mechanicals. Characters who are extremely conceited, and yet your heart breaks for them.”

Spall takes evident pleasure in John Chapel's actorly affectation and plummy delivery

Spall is, unsurprisingly, the best thing in the knowingly glibDeath Valley, despite comedy – even the off-centre humour on offer here – not really being his thing. “It’s not something I tend to do,” he says. Indeed,cosy crime– that pernicious species modelled onMidsomer Murdersand now all over the TV schedules like bindweed – is even less his thing.

“I don’t watch them,” he admits. “It’s not really my cup of tea.” It’s tempting to wonder whether he accepted the role of Chapel because he needed a bit of light relief after playing the tormented academic Peter Farquhar, allegedly murdered by his student Ben Field, in the BBC’s gruelling true crime dramaThe Sixth Commandment(he is unable to talk about this series sinceField’s conviction was recently quashedby the Court of Appeal, and a retrial has been ordered). “Well, just because things look like light relief on TV, that doesn’t necessarily mean they are any less difficult to do. It’s all hard as far as I’m concerned. Acting is not something that you learn once and then know how to do it.”

Gruelling characters: As tormented academic Peter Farquhar in The Sixth Commandment

Instead, the 69-year-old Spall thrives on regarding each role as a bit of a challenge. A series of formidable parts – JMW Turner in Mike Leigh’sMr Turner(2014); Holocaust denier David Irving inDenial(2016); Ulster Unionist leader Ian Paisley inThe Journey(2016)– have pegged out his transition from quirky supporting character actor (including Peter Pettigrew in the Harry Potter franchise) to leading man. Does the weight of playing these more extreme characters ever take its toll? “Not really. Although not that I would know. There’s a very funny instance when my wife Shane [they married in 1981 and have three children, including the actorRafe Spall] and I were talking to a friend of an acquaintance, who asked me whether I ever took my work home with me. And I said absolutely not, and Shane said, ‘Absolutely’, at exactly the same time.”

He’s unacquainted with the concept of drama therapy – the support service increasingly deployed in theatre and film to help actors deal with the psychological toll of playing demanding parts. “Never heard of it,” he says breezily. “For me, the beauty of being another character is that I’m not using it as therapy. I don’t want to be pretentious here, but when you act, you put a ring around your character. It’s not about your emotions. But I can see how these new tools grow out of good intent.”

Naturally, much in the industry has changed since he graduated from Rada in 1978. Spall, who is liberal-minded by nature, tries his best to keep up with shifting attitudes. “I’ve got three children and eight grandchildren, so not a lot feels new to me,” he says. (Alongside Rafe, he and Shane also have two daughters, Pascale, a primary school teacher, and Mercedes, a textile designer). “I’ve grown up with it. And there’s no point being reactionary if you can help it. I know some people can be sensitive about pronouns, but I’ve never seen that as being an annoying thing.”

With wife Shane and son Rafe

But he’s not a fan of everything. Take behaviour codes on set, for example. “I’ve been around a long time. And you think, ‘Are these new conversations about how to behave on set happening because someone cares, or because it’s now a legal requirement?’ I don’t like it when something pretends to be something it’s not.”

Has he ever witnessed bad behaviour in this environment? “I never saw anybody being abused – nothing like that. OK, maybe some of the language was a bit fruity. But I was never familiar with it. Although I’m not really in the world of casting couches. If I’d been an attractive young woman, then I might have had a different story.”

He’s suspicious too of the quickness to take offence. “I can’t abide this taste for outrage. It’s so easy these days to get annoyed about things, but it’s such an easy option to take. Obviously, there are people with serious axes to grind about serious issues, but you also get the sense that there is a taste for jumping on bandwagons, and a yearning for something destructive to happen.

“There is very little forgiveness and understanding and very little ability to see the full story. Because for a lot of people it’s too entertaining.” He is warming to his theme. “For those on the receiving end, they never get a hearing when the police, the judge and the hangman are all on social media. A lot of people have been destroyed.”

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Is he, I wonder, thinking ofScott Mills, the Radio 1 DJ who was recently sacked by the BBC over a historic sexual assault allegation, which he denied and which was not proceeded with by police? “Well, that’s a different thing. I’ve heard that this sort of thing [when public opinion isn’t involved] is called silent cancelling. And [Mills] is difficult to talk about because I don’t know anything about it. But that’s not really what I mean. I’m talking about the [public] taste for it.”

Spall frequently works with the BBC. Fifteen years ago, he presented three travel documentaries that followed him and Shane on a barge as they travelled around the British coastline. In 2024, he appeared inThe Mirror and the Light, the concluding instalment in the TV adaptation of Hilary Mantel’sWolf Halltrilogy.

Spall's frequent work with the BBC includes a series of travel documentaries that followed him and Shane on a barge around the British coastline

Before filming, the decision was made to cut severalWolf Hallscenes for budgetary reasons; more recently, it has been reported that a planned adaptation ofDouglas Stuart’s Booker-winning novelShuggie Bainis delayed because of a lack of available funding. Does Spall fear for the BBC’s ability to continue producing quality drama given the financial challenges it faces?

“It’s another shifting environment,” he says. “There’s definitely less budget. They are cutting back and back, and the budget for a BBC drama today is the same as the catering budget for something [on one of the streamers]. The BBC is our calling card, a totem that we used to dance around, and it set the model for the mix of documentaries and drama that the streamers all now follow. But because of the competition, it’s getting nipped and nipped. And you wonder for how long this can be sustained. Yet somehow it still comes up with great work.”

He wonders whether part of the problem lies in the BBC’s conflicted identity. “It’s independent, but also on some level answerable to government. It’s a bit like the Royal family – it’s both incredibly powerful and yet has no power at all. And, like the Royal family, we all have an opinion on it. But what I do know is that 50p a day brings you things like the BBC Symphony Orchestra.”

Spall is so easygoing that I find myself sometimes forgetting to ask him actual questions. His initial greeting is disarming: “Hi, I’m Tim,” he says, as though there is a real possibility I might not know who he is. He has the lazy Cockney drawl of someone who has just stepped out of a London boozer – not because he sounds drunk (he no longer drinks) but because he has never pretended to be anyone other than who he is: a working-class South Londoner whose mother was a hairdresser and father was a postman.

Much has been made of Spall's unconventional looks

Much has been made of his unconventional looks – his crooked tooth, which he has never succumbed to correcting, his long, sloping jowls, which can give him the wounded appearance of a whipped dog. “You’ve played a lot of fat slobs, haven’t you?” Jonathan Ross once said to him. But it’s water off a duck’s back to Spall, who has carved out a vintage career from mining the hidden ambiguities beneath the most unlikely surfaces.

“Fate created me in such a way that I don’t fit the bill as an actor who has to represent a certain wish-fulfilment type,” he says. “Because the pressure of having to be that is enormous. Marlon Brando struggled with that all his life. It’s why he put on so much weight after he retired. Before that, he had the diet of the jockey.”

Spall, too, has lost a lot of weight after slimming down for a role in 2015’sThe Enfield Hauntings– and is very careful with what he eats. He is trim and sprightly, wearing a nifty waistcoat beneath his jacket, and with age seems to have grown into the unusual contours of his face. He joshes with the waitress over his cappuccino: “I’d like it skinny please, and scaldingly hot – illegally hot”. In another man, this would be flirty. With him, it simply sounds charming.

Spall lost a lot of weight for a role in 2015's The Enfield Hauntings

The question of how to live a good life preoccupies him a lot. He thinks deeply about contentious subjects such as assisted dying and the state of affairs in Trump’s America. Often, he realises he doesn’t know exactly what he thinks. “But what I find disconcerting is being made to feel nervous about not taking a side, and about sitting on the fence,” he says. “Or about being open-minded and seeing both sides. Some people find that offensive. And I don’t know where to go with that.” He reads an awful lot about morality. “I spend a lot of time wondering what it’s all about. Of course, you know I had a run-in, don’t you, when I was 39?”

This is Spall’s way of describing his near-death encounter with acute myeloid leukaemia, which left his life hanging in the balance for several appalling weeks. Since this episode, Spall has taken a serious interest in theology, behaviour and mysticism. “You ask yourself the big questions when something like that happens. I read a lot of Aldous Huxley, I loveThe Perennial Philosophy[Huxley’s 1945 comparative study of mysticism]. I want to know why we’re here and how best we should behave.” His encroaching years have only accelerated his interest. “Of course, at my age, you’re that much closer to not sticking around.”

He tends to take each role as it comes. “There is a word in the canon that keeps every actor humble,” he says. “And that word is ‘unemployment’.” Surely Spall is not plagued by this? He has worked consistently for decades. “Yes, but the reality is, after each job finishes, and if I don’t know what’s coming up next, I feel like I’m never going to work again. Even though logic tells me this is probably unlikely.” Talent and success, it seems, are no defence against pathological insecurity. “Oh no, never. With each job, it always feels like I’ve been rumbled.”

Death Valley is on BBC One and iPlayer on Sunday, 17 May at 8.15pm

Timothy Spall: ‘I can’t abide this modern taste for outrage’

If anyone asks Timothy Spall to describe what actors actually do, he often finds himself lost for words. “Partly because of the ineffab...
20 genuinely horrible albums made by genius musicians: Do you agree?

Making great music is like playing baseball; nobody bats 1000, no matter how good they are. Sure, a few artists have managed the neat trick of never making a bad album, but those artists are, without a doubt, the exception to the rule.

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Horrible albums made by genius musicians: Do you agree?

Like the rest of us, even the most brilliant musician will slip on a metaphorical banana peel and release something that amounts to a stubborn stain on their catalog, which can never come out no matter how many great albums they release afterward. Here’s our list of genuinely crappy albums by great artists, a syndrome that occurs so frequently that we’re doing 20 instead of just 10.

1. Aerosmith — ‘Rock in a Hard Place’ (1982)

The American hard rock band Aerosmith spent the 1970s going from strength to strength, but by the 1980s, they were creatively spent and lost the services of guitarists Joe Perry and Brad Whitford, who were essential to the band’s sound. Ken Tucker of ThePhiladelphia Inquirergave it a one-star review , and the passage of 40 years has done nothing to rehabilitate its reputation.

2. The Beatles — ‘Yellow Submarine’ (1969)

Hey, even the Beatles don’t have an unblemished catalog. Technically, this is only half a Beatles album anyway, since side two is composed entirely of incidental music written by producer George Martin, and it’s safe to say that album side got played by Beatles fans exactly once. Side one is composed of previously released material and unreleased outtakes, of which only “It’s All Too Much” is worth hearing. Other than that song, this album is a complete waste of time.

3. Black Sabbath — ‘Forbidden’ (1995)

After Ozzy Osbourne parted ways with Black Sabbath in 1979, the band suffered years of revolving door lineups with different singers, bassists, and drummers coming and going, with varying degrees of success. Meanwhile, 1995’s “Forbidden” was hot garbage from top to bottom and easily the band’s worst release. It had no redeeming qualities, and the less said about it, the better.

4. David Bowie — ‘Never Let Me Down’ (1987)

David Bowie made a career out of crafting music that was ahead of its time, but by the 1980s, he had become much poppier in his output, which is not necessarily a bad thing. Sadly, by 1987’s “Never Let Me Down,” words like “middling” and “dull” would apply, a massive step down for an artist whose entire career was built on pushing the envelope. Reviews were mostly mixed, but today, this is still nobody’s favorite David Bowie album and likely never will be.

5. Eric Clapton — ‘Money and Cigarettes’ (1983)

1983’s “Money and Cigarettes” was Eric Clapton’s first album after being in treatment for alcoholism. While we’re happy he got the monkey off his back, the album itself is massively dull and contains not one note of memorable music. In theNew York Times, the guitarist conceded that he could probably do better on his next album than on this one.

6. The Clash — ‘Cut the Crap’ (1985)

In their glory days, even people who didn’t like punk rock liked the Clash, or at least respected them and recognized them as the genuine article. As their music changed from pure punk rock to incorporate elements of reggae, dub, and other sounds, their fans stayed with them, even as they committed the worst sin of all – making a popular album with 1982’s ‘Combat Rock.” But the fans could not countenance singer Joe Strummer firing half the band and turning in “Cut the Crap” as a Clash album in 1985, and the reviews were merciless. Strummer disowned the album and broke up the band weeks after its release.

7. The Doors — ‘Other Voices’ (1971)

When Doors singer Jim Morrison died in July 1971, the smart money would have been on the band breaking up immediately, as it was a loss akin to the Rolling Stones going on without Mick Jagger. At the time of the singer’s death, the remaining band members had been playing together and writing new material, so maybe it seemed like a healthy and life-affirming decision to carry on. Still, the sad fact is that without Morrison, it just didn’t work. They recorded another Jimless album, “Full Circle” in 1972 and then mercifully pulled the plug.

8. Led Zeppelin — ‘Coda’ (1982)

It may not be fair to include “Coda” on this list since it was a collection of outtakes compiled by the band two years after they broke up and was not intended to stand alongside their regular studio albums. Having said that, “Coda” fails to clear the very low bar set for it, despite having a couple of songs on it that are not so bad. You will never put it on the same way you put on “Houses of the Holy,” and if you do, you will never listen to it a second time.

9. Lynyrd Skynyrd — ‘Skynyrd’s First and… Last’ (1978)

Just like “Coda” was for Led Zeppelin, “Skynyrd’s First and… Last” was a vault-clearing outtakes album released after the band had been in a plane crash that killed two members. The tracks all came from sessions recorded before the band’s first album, and a couple of the songs are truly outstanding. Then there are another seven songs, which are not. It’s not unlistenable, but it falls far short of the music released during the band’s heyday.

10. Metallica — ‘St. Anger’ (2003)

“St. Anger” is the worst album Metallica ever recorded, for several reasons. The sound is awful (drummer Lars Ulrich sounds like he’s hitting a garbage can lid), the songs are terrible from start to finish, and they go on for multiple eternities, with songs that overstay their welcome after two minutes going on for seven or eight. In their 40-year career, Metallica has released several records that challenged fans and didn’t offer easy retreads of the stuff fans liked the most, but this album feels like pure punishment, and not the good kind.

11. Pink Floyd — ‘The Final Cut’ (1983)

Pink Floyd’s catalog is wide and varied, and quite honestly, not every record is a winner. In fact, some of them are downright crappy! But when it comes to the album that has no good songs and shows bassist and songwriter Roger Waters at his most dictatorial, 1983’s “The Final Cut” has no competition. Waters was primarily responsible for the band’s previous album, “The Wall,” which he had written about 95% of and had been a major hit on the charts. He was driven mad with power and decided he was Pink Floyd, but he left the group after the release of “The Final Cut,” assuming the band would collapse without him. Instead, they went on to make millions and millions of dollars in his absence.

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12 Elvis Presley — ‘Having Fun with Elvis on Stage’ (1974)

Whatever you think of Elvis Presley, you’d have to agree that he was a singer first, maybe an actor second, and someone who shot at television sets to change the channel third. What he was not was a spoken word artist, but that didn’t do anything to stop the release of 1974’s “Having Fun with Elvis on Stage,” which consisted entirely of the guy’s onstage banter and contained not one note of music. Of course, for some people, the complete absence of Elvis Presley’s music might be a selling point.

13. Queen — ‘Hot Space’ (1982)

Queen was never a band that was a critic’s darling, but the fans always loved them, even when they departed from their rock sound to dabble in other styles. The one time this wasn’t the case was on 1982’s “Hot Space” album, which consisted almost entirely of dance music and not the kind that anyone wanted. The one bright spot on the album was the closing cut, “Under Pressure,” which featured a guest appearance from David Bowie and is a stone-cold classic. The 40 minutes preceding it uniformly stink.

14.Queen + Paul Rodgers — ‘The Cosmos Rocks’ (2008)

This may seem like double-dipping since we discussed Queen in the previous entry. Still, we would be shirking our responsibilities as a publication full of actionable knowledge if we let this go. After Freddie Mercury passed away in 1991, Queen became inactive for several years, only to emerge in 2005 with Bad Company singer Paul Rodgers at the microphone. The pairing did not work at all, but fans were so happy to see the band again in any form that the union was tolerated. Then they made the album “The Cosmos Rocks,”it was awful, and the pairing ended shortly after that.

15 Lou Reed and Metallica — ‘Lulu’ (2011)

This also qualifies as double-dipping since we mentioned Metallica a few entries ago, but we would be remiss to overlook it. Whether you want to see this as a misfire for Lou Reed, Metallica, or both, there’s no denying that this record is physically painful to listen to from the word go. It lasts over 88 minutes, with some songs going on for almost 20 minutes. Critic Don Kayecalled it“a catastrophic failure on almost every level” , and he wasn’t wrong.

16. The Rolling Stones — ‘Their Satanic Majesties Request’ (1967)

When you have as long a career as the Rolling Stones, you’re likely to make at least a couple of subpar albums, and Mick Jagger and co. certainly released their share. While a couple receive regular mention on worst-of lists, such as 1986’s “Dirty Work,” we’re going with 1967’s “Their Satanic Majesties Request,” a blatant attempt at ripping off the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band” in both look and sound. The faux-psychedelic album cover housed a record full of ‘faux-psychedelic’ music, which the Rolling Stones had no talent for. In the 1994 book “Keith Richards: In His Own Words,” the legendary Stones guitarist called the record ‘a load of crap.

17. Rod Stewart — ‘Blondes Have More Fun’ (1978)

In the late 1970s, it seemed like every rock artist was going disco, even artists like KISS and the Rolling Stones, whose rock credentials seemed beyond question. Rod Stewart also couldn’t resist participating in the fad, and his “Blondes Have More Fun” album saw him shaking his booty to a disco beat, especially on its lead-off single, “Do Ya Think I’m Sexy.” It’s certainly not the worst record ever made, but when it came out, fans of Stewart’s more rock material were livid with rage, and many of them never forgave him.

18. Van Halen — ‘Van Halen III’ (1998)

Van Halen could seemingly do no wrong in the 1980s when they dominated the airwaves and were all over MTV. Some worried that it might affect their commercial fortunes when they parted ways with singer David Lee Roth, but when new singer Sammy Hagar took over for Roth, the band went from strength to strength. For reasons too convoluted to go into, they parted ways with Hagar and replaced him with former Extreme singer Gary Cherone, who sang on 1998’s very terrible “Van Halen III.”While it’s tempting to blame the new guy for it, the singer described the record as “Eddie [Van Halen’s] baby” in a 2012 interview with Rolling Stone.

19. The Who — ‘It’s Hard’ (1982)

The Who had arguably been in artistic decline in the late 1970s, notably when they released 1978’s subpar “Who Are You” album. Then, legendary drummer Keith Moon passed away, and many people took it for granted that was the end of the band, but they drafted the Faces’ Kenney Jones and carried on. Their first album with Jones, “Face Dances,” wasn’t terrible, but the next one, 1982’s “It’s Hard,” absolutely was. The band must have agreed because they broke up shortly afterward.

20. Yes — ‘Union’ (1991)

The British progressive rock band Yes made their name in the 1970s and even had an unlikely career renaissance in the 1980s. But there was trouble in paradise when the Yes lineup that became popular in the 1980s was operating simultaneously with the members who had been in the band in the previous decade. If that doesn’t make any sense, that’s because it doesn’t! The record company decided to worsen an incoherent situation by taking songs recorded by both camps, combining them on one album, calling the album ‘Union,’ and saying it was a Yes album. The music was as incoherent as the backstory, and not one of the album’s 14 songs is good. Legendary Yes keyboard player Rick Wakemansaidthat he referred to the “Union” album as “Onion” because it made him cry whenever he listened to it.

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20 genuinely horrible albums made by genius musicians: Do you agree?

Making great music is like playing baseball; nobody bats 1000, no matter how good they are. Sure, a few artists have managed the neat t...

 

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