#a bit of cheeky service!top john standing his ground for once because he wants to make his pretty thing beg? yeah <3

[johnslittlespoon]

omg it was so hard to pick butttt could i request 1 and 2 from the smut dialogue list (list 3) with buck and bucky!

prompts | "i want to hear you beg" + "arch your back for me" + playing around with smth a little different for their dynamic <33 ~800 words of filth below the cut >:-) this was so much fun ahh thx sm for the request!!

“Oh, baby,” John rumbles appreciatively, sitting back to get a good look at Gale while he rolls his hips languidly into him. “Look at you.”

Golden hair frames Gale’s head on the pillow like a halo, blue eyes half hidden by heavy eyelids, doll–like lashes fluttering each time John sinks his cock in deeper. Messy love bites mark a trail south, scattered across his chest and stomach and increasing in numbers where angular hip bones and soft thighs had just begged for John’s teeth to make themselves at home.

Gale rocks his hips down, dragging his kiss–bitten bottom lip between his teeth to muffle a needy little noise as John’s eyes rake over him. That just won’t do.

John stills, wrapping firm hands around Gale’s thighs where they drape over his own, squeezing gently.

“Keep going,” Gale breathes out, eyebrows knit together in frustration, still trying to fuck himself on John’s cock.

John purrs out a laugh, heart twisting in his chest at the glare Gale shoots him; it’s hard to look intimidating when he’s laid out pliant and pretty and cock–drunk beneath him, but John doesn’t tell him so. He just snaps his hips forward once, watching with satisfaction when the scowl leaps off of Gale’s face as flushed lips fall open to let out a gasp.

“John,” Gale almost, almost whines when he makes no move to continue, lithe hands coming up to wrap around John’s wrists imploringly, and John hums thoughtfully, stroking his thumbs over Gale’s thighs.

“You need something?” He tilts his head, feeling a little thrill at the huff he gets in return.

Gale levels him with an unimpressed look, but the light flush that creeps over his cheeks betrays him.

“I want you to ask for it,” John murmurs. He grants Gale with the smallest roll of his hips to egg him on when he stays silent, and he feels his hands tighten around his wrists.

“Want you to fuck me, John.” 

And oh, that’s something– his cock twitches at the rare vulgarity, and judging by Gale’s sharp inhale, he feels it. But it’s not quite what John’s looking for.

“That’s good, baby,” he praises him, delighting in the way his flush deepens. He leans down, sliding his hands up Gale’s hips as he goes, settling them on his waist. He brushes his lips against Gale’s in a ghost of a kiss, trailing them along his jaw until he reaches his ear.

“But I wanna hear you beg for me, Gale,” he whispers. 

The immediate pressure around his cock as Gale reflexively clenches down has his head dropping into the crook of Gale’s neck momentarily, cursing under his breath. He can’t help but press his hips forward, needing just a bit of relief, sitting back up once he collects himself, determined to keep the upper hand.

“C’mon,” he rasps out, running his hands up and down Gale’s sides, fingers splaying over his ribcage. “I know you can do it, angel.”

Gale does whine this time, high and desperate in his throat, eyes slipping closed to hide from his own embarrassment. But–

“Please, John,” he says, barely above a whisper. “Need you.”

“Jesus, Gale,” John breathes, head spinning. “Good, so good, baby.”

John’s not going to push– that’s already a lot more than he’s usually able to goad out of Gale, and he’s going to unravel a lot quicker than he intends to if he keeps talking like that.

“Arch your back for me, pretty thing,” John prompts instead, beginning to shallowly fuck into him, and Gale does, tilting his head back on the pillow to bare his neck as his spine curves beneath John’s hands.

The sight nearly knocks the breath out of John, and he groans, sliding one hand under Gale to flatten his palm against the small of his back, feeling the way it flexes as he jerks his hips forward.

Gale cries out so sweetly when he really starts driving his cock into him, grasping desperately at John’s arms, face going slack as he finally gives him what he needs, and it gets to John like nothing else, forever dizzy with the knowledge that he gets to make Gale feel so good.

Dragging those pretty noises out of Gale and feeling him tremble because of him is what really does it for John every time, and it’s what inevitably has him tipping over the edge seconds after Gale spills over his stomach with a broken whimper.

John sinks his teeth into Gale’s collarbone just to feel him squirm beneath him as he fills him up, hands digging into his hips, rutting into him like he can bury his cock impossibly deeper, feeling nails scrabble at his back as the softest mewls escape Gale’s mouth.

He laves his tongue over the fresh indents in apology before lifting his head to capture Gale’s lips in a messy kiss, swallowing his gasps and sighs as he gives him a few more lazy thrusts, chest warm and fuzzy and lovestruck. 

John smiles into the kiss, and Gale laughs softly, and god, he’s going to be the death of him.

#a bit of cheeky service!top john standing his ground for once because he wants to make his pretty thing beg? yeah <3 #little headcanon that some nights when john's in control he still knows not to push too hard or he'll end up pinned beneath gale lol <3 #sometimes it's a real effort to stay composed and in control because if gale wants to he knows exactly what to say to unravel john #but they both love the push and pull and the fight for control is half the fun some days mwah #buckbucky #clegan #johnslittlespoon asks #johnslittlespoon spicy #johnslittlespoon prompt fills #still taking request asks from the prompt list btw! just very slow at getting to asks atm bc i'm busy writing yad(iym) <3

[timeagainreviews]

When Rosa met Banksy

Racism in Doctor Who has been dealt with in various ways throughout the years. The Daleks themselves represent possibly the essence of racism. Anything that isn’t a Dalek is inferior and to be hated. But even that is a fantastical portrayal of racism. What "Rosa," attempts to address is something far more insidious- the racism of humanity’s past.

Doctor Who has had its own racism to address before, and amended when possible. Li H'sen Chang is set to be portrayed by Nicholas Goh in upcoming audio adventures with River Song. Casting a man of Asian descent is a step in the right direction from the yellowface portrayal by John Bennett in "The Talons of Weng-Chiang." What will the BBC say if a certain missing episode of "The Celestial Toymaker," is ever rediscovered? Will they own up to the use of a horribly racist slur in their family program?

Regardless of what the show has done, or hasn't done, having done an episode like "Rosa," shows a lot of growth in the show's own identity and execution. So let's talk about that execution, shall we?

In my post "Considering 'Rosa'," I worried that one of the biggest issues would be that Rosa Parks didn't survive without her agency intact. She has, as well as anyone who just had their actual real-life traipsed through by fictional characters can.

The story begins in 1947 Montgomery, Alabama, with Rosa Parks (played by Vinette Robinson who was also in the episode "42," written by Chris Chibnall) sitting on the bus. The bus is segregated between "whites," and "coloreds," as it was in those days. When the “whites” section fills, Rosa is asked to move by the bus driver James Blake, played by a very over the top Trevor White. The scene serves to show not only how segregation on the buses worked, but also how Rosa Parks has had to deal with this bullshit for years. We're also given a bit of foreshadowing when Rosa pauses for a moment, as though she may remain seated.

Fast forward to 1955. After fourteen incarnations, the Doctor still can't really pilot the TARDIS, but as we all know, the TARDIS usually has other plans anyway. Her target was present-day Sheffield, instead, she has arrived in 1955 Montgomery. While landed, the Doctor realises there is a strange trace of Artron energy (ambient radiation from the time vortex) in the area. Which means, of course, she has to explore.

Almost immediately, the crew is served a heaping dose of racism when Ryan nearly gets his block knocked off for returning a dropped glove to a white woman. If not for the interference of Rosa Parks, things could have gotten even uglier. The TARDIS crew are star struck by meeting Rosa Parks, but she doesn't really understand why, as her big history defining moment is still a day away. On a whim, the Doctor gives her a cheeky scan with the sonic as she's walking away. The trace of Artron energy is coming from her. But why?

Back at the TARDIS, we're given a bit of the why. A man, looking a lot like Mac from "It's Always Sunny in Philadelphia," (but in Alabama, so Country Mac?) eyes the TARDIS up and down. We're given the impression he knows this is a sort of time machine. After knocking at her doors, Country Mac tries to shoot the TARDIS with an anachronistic device. The TARDIS's shields hold strong as the resounding "vworp," she emits could easily translate into "Yeah mate, try me." Discouraged, Country Mac walks away.

The Doctor and her friends are treated to more racism after being thrown out of a segregated cafe. I liked that this was used as a moment for the Doctor to take a little responsibility and offer to let her friends stay on the TARDIS. “It’s easier for me here,” she says, acknowledging her own white privilege. Ryan and Yaz refuse on the grounds that Rosa Parks doesn’t have that option.

The Doctor and her friends trace the Artron energy to an abandoned warehouse, where they uncover a suitcase full of knackered timey-wimey instruments. The owner of these instruments sneaks up and chases her and her friends away. Their chase ends in a sort of stand-off between the Doctor and Country Mac. The Doctor and her friends find a hotel to use as a base to formulate a plan. Part of that plan is to learn Rosa Parks’ routine, which requires them to take the bus.

Ryan, being a black man, has to ride on the back of the bus. Due to their situation, it’s an unpleasant necessity, despite the Doctor’s apology to Ryan. In watching this scene, I'm reminded of a moment in John Peel's loathsome Doctor Who novel, "Timewyrm: Genesys." In it, Ace is molested by the Gilgamesh, and the Doctor is basically like "Er... duh... just go with it. Ur. Dur. Uh... It's the culture." (I may have taken license there as it's kind of despicable and I hated that book).

The main difference here is that Doctor does not seem to enjoy abiding the situation. You can see the shame on her and Graham's face as they sit in the "whites," section of the bus. Poor Yaz, who gets referred to as a Mexican for most of the episode, is also pretty torn as she's not even sure what part of the bus a non-black, non-white woman should sit. One of the reasons the Doctor may be so abiding, however, is not in that it's "the culture," but that they're in a very important moment of history, which may be in jeopardy. She’s afraid to tip the balance of history in the wrong direction.

This brings us back to the villain of the episode- Country Mac, or "Krasko," as I'm not going to refer to him. Series eleven has had some pretty wonderful highs. Jodie Whittaker is a lovely Doctor. The companions are all developing decently. Though I would like to see more Yaz, lest she becomes the new Nyssa. "Just gonna nap this one out guys, enjoy your ancient snake gods or whatever." For the most part, I've liked a lot of elements of it, but the villains have been absolute tosh!

So far we've had the Tooth Fairy, some bog roll, and now Country Mac. So who is this Krasko? After being interrogated by the Doctor, we learn he's a former prisoner of the Stormcage Containment Facility (the very same that imprisoned River Song), for some sort of crime that resulted in the loss of 2,000 lives. He's been implanted with a device that inhibits his ability to use violence. So when the Doctor removes the vortex manipulator from his arm, he can only watch in anger. They released him and said: "Keep yer nose clean, kid." He's also super racist.

For some reason, he wants to keep Rosa Parks from jumpstarting the civil rights movement, because "That's when everything went wrong." Right. Sure. How that really affects him, a man from the future is kind of perplexing. Considering the 51st century is when people who use vortex manipulators usually come from, it's like he's saying that for at least the next 31 centuries, black people will continue to sit in the back of buses. He's gotta be really stupid. Which, he's racist, so maybe he is. Regardless, it's a pretty thin premise, but whatever.

I was really hoping for the rest of the episode to explain his motives, but it never really does. All we learn more about him is that he's pretty racist. Man is this guy racist. Hoo-boy, so racist. Yeah, that's about all I got on him. Other than that, his plot is basically what I expected from him last week. Only now that the Doctor has relieved him of his cool little timey-wimey toys, he's forced to screw with time in more creative ways, such as delaying buses, sending the antagonist of Rosa's narrative, James Blake, on a fishing trip, or blocking roads. It's not a bad story device on a Doctor Who level. Pretty much classic in those regards.

The brilliance of Malorie Blackman's script comes in how the Doctor and her companions deal with the issue. I said how I worried about maintaining Rosa's agency could be in jeopardy, but Blackman wisely works around this by having the Doctor and her friends aiding time in secret. They have to thwart Country Mac at every turn, which requires some very basic footwork. Instead of pointing the sonic at a magical machine, or beating the sludge monster with the power of love, their methods are more practical, and visible onscreen. I love that about the script. Getting to see the Doctor and her friends be clever is always a welcome sight. Though watching the Doctor rip her coat as to require Mrs. Parks' service as a seamstress made me die a little inside. I've been working on a Thirteenth Doctor cosplay, and that coat has been the bane of my existence!

On a production level, the episode is also rather praiseworthy. Making modern South Africa look like 1955 Alabama, cars and all, is rather impressive. It has the look and feel of a small segregated town in the south. The cinematography is generally really effective, but if I am honest, it’s got some really annoying tendencies at times. Their shot-reverse-shot dialogue scenes can get really hacky. There are moments when a character standing to the right will be framed left, and a character standing to the left will be framed right. You see it used a lot these days, but they seldom use it in context to the scene. It feels used for the sake of “looking cool.”  Another thing I really can’t stand are the extreme close-ups we’ve been getting during scenes of intimate dialogue. They’ve used them in every episode so far, and they’re rather ugly and annoying. Instead of feeling more intimate, I’m left irritated that I can’t actually see the scene. #letcharactershaveshoulders

Another praiseworthy element would be Segun Akinola’s music, once again. I know I keep talking about him, but this stuff is seriously good. Has anyone else gotten a bit of a John Hughes or even Heathers vibe from some of his music? The music during the montage scene reminded me of that 80′s goodness, especially. Though isn’t it a bit sad that Yaz’s shining moment of the episode was in a montage? Give that girl some better screentime dammit!

Perhaps one of the most effective moments in the episode is when the Doctor and Graham realise they have to be on the wrong side of history, in order to protect the future. The bus has not yet reached capacity enough for bus driver James Blake to demand people of colour move to the back. Yaz and Ryan have had to take the brunt of much of the racism, and now the tables have turned. The Doctor and Graham must partake in the racism. They have to use their white skin against Rosa, as much as it pains them, and sit on the bus.

In a lot of ways, the episode strives to portray what it's like to experience racism, and how it affects different people. When the Doctor says "Who's up for a bus ride?" The bus loving Graham's hand shoots up, while Ryan looks less enthused, as he knows what that entails. We spend a large portion of the episode worried for Ryan's safety. Especially after Rosa reminds him that Emmet Till was also a visitor when he was murdered by a lynch mob in Mississippi. Ryan and Yaz are not having a great time, despite the fact that they're travelling with the Doctor. It's a harsh reminder that history has never been very kind to people of colour. Malorie Blackman gives them both a chance at some very powerful character development as the two of them speak on their own experiences. Yaz once again, gets a bit sidelined, sadly. Ryan however, gets to go on his own journey, spending an evening with Rosa Parks, Fred Gray, and Martin Luther King Jr.

Aside from the atrocious American accents (I now know how British people must feel hearing Americans do their accents), my only other major qualm with the episode was the dialogue. It wasn't so much the content of the dialogue, as much as it's hamfisted nature. It seemed choppy and unnatural throughout a lot of it. That’s not to say it was all bad. There were plenty of snappy moments and cute dialogue. The Doctor’s claim that she could be Banksy was particularly funny. The bigger issues were when dialogue was used primarily to expound information.  I was reminded of early Doctor Who when Ian and Barbara used their teacher powers to edutain children into learning something about history. But in this episode, perhaps that was a necessity.

Portraying racism in a family show like Doctor Who really does take a bit of education. When Graham hears Ryan say he couldn't remember exactly what Rosa Parks was famous for, he almost has a stroke. It's perhaps more responsible for the show to assume many young people watching Doctor Who won't know who Rosa Parks actually was. I'm ashamed to admit that I didn't know that she and Martin Luther King knew one another. Also, since when don't Doctor Who historicals pack a load of information about their subjects into the episode? It's part of the journey.

Country Mac is sent back in time by his own stupid time displacement gun, leading me to think that perhaps he'll return again. Older, wiser, racister. It's about as exciting a prospect of more Tim Shaw, which isn't much. Like I said with "The Woman Who Fell to Earth," perhaps they'll get more character development when they return?

There's really nothing fun about portraying racism, which by extension made this episode, not a lot of fun to watch. So far, Chris Chibnall's vision for Doctor Who has been a bit on the dreary side. It's got that Broadchurch misery porn stank to parts of it, that I hope it shakes off soon. Next week's "Arachnids in the UK," could be a welcome bit of respite. The small preview reminded me a bit of “Gremlins 2.” It seems like more of a whimsical romp. Then again, so did Chibnall's "Dinosaurs on a Spaceship," and even that was too serious to be much fun. Even still, I'm glad Doctor Who is attempting to tackle some bigger issues. 'Rosa,' isn't a perfect episode, but it's an improvement on some of the show’s past sins, and hopefully, a step forward.

Up Next: 

In a day or two- Doctor Who and “The Daleks” Midweek- Twin Peaks season 1 episode 1

#Doctor Who #rosa #thirteenth doctor #chris chibnall #jodie whittaker #bbc #tardis #time and time again

[greatdrams]

A review of the Powers Irish whiskey range; one of the most underrated in whiskey

Powers Irish whiskey is owned by Irish Distillers, or IDL as they are better known and are an amalgamation of the Powers, Jameson and Paddy whiskey brands and businesses who joined forces for the good of the Irish whiskey category, as well as to grow their united company through strength in numbers.

Prior to sitting down with their global brand ambassador to taste through the range, the whiskey I loved most from the Powers Irish whiskey range is the Powers John’s Lane release, so easy drinking and just a proper drop of whiskey that probably does not get as much attention as it deserves. But was that the case when I went through them all as a family? Read on GreatDrammers, read on.

Powers is a different kind of whiskey for Midleton to produce, it is much more earthy and spicy with less orchard fruits, it is definitely more honey sweetness than fruit sweetness. The style of whiskey that gets matured for Powers takes on a lot of the wood character; vanilla, spice, char notes all present in abundance.

The original Powers Irish whiskey owners and producers were really keen on the development of Ireland as a whole, and especially the agricultural side of it, not just for his product but to bring the whole country along with him as a prosperous nation and to empower workers to be better, to know their trade well and to survive the harsh economic and social landscape at the time.

John Power, the founder of Powers Irish whiskey, who owned a pub and built his distilling business after a period of home distilling. Even years after, once the business was built and the profit had made him rich and well known within the aristocratic circles, would drink in the pub with his distillery workers.

Powers would even promote education and provide tutorials on crop rotation, drainage and fertilisation to those who were interested so they could farm with the most up to date knowledge available at the time. Each year he would take local farmers to the biggest agricultural show in the country in Dublin, and put on special trains for them to travel on without any expectation of payment or personal reward, a truly humble and selfless man who used what he had made for good, as well as enjoyment and a legacy. He was proud of his Irishness, and wanted to raise the quality of family life for all.

And the big players at the time were pioneers of marketing techniques as well as pioneering of whiskey creation.

He, and the whole Powers business, was quite a rarity back in the day as they truly appear to have cared about their workers, from the MD taking grapes in to hospital when one of them fell ill or was injured, to a primitive HR department being set up to look after the needs and challenges of the workers' daily lives and even photographic records being taken of the team, their long service celebrations and informal pictures of them hard at work - something that we all do and Instagram to the hills now, but back then informal photographs of people working as a record for the distillery's history was unheard of.

It was said of Powers that "you were not going to be guaranteed the best wage in the industry, but you were guaranteed a boss that knew your name". This sounds like something we as 21st Century beings would be appalled to hear, but, again, this was a time of extreme poverty and social divide and people were struggling so when you received some dignity, a bit of recognition and an ounce of care from your employer that went a hell of a long way. A sort of Employer Brand 1.0, if you will; treating everyone as part of a family, which is how all the glossy design agencies and startups like to describe themselves today in 2018, don't they?! Curious how these things come around in cycles.

Powers Irish whiskey was also very innovative with their labelling and brand marque, they invested heavily in design, wanting to do it right from the offset with a view not to redo their brand, logo and bottle over and over.

Their Gold Label product is the greatest example of this, the gold colour actually comes from ground up copper and is the most expensive colour you can use, and the reason for this was that owing to high illiteracy rates in Ireland at the time, they wanted their product to stand out on shelf and be easy to ask for so not only called it Gold Label, but gave it a gold label as consumers could easily describe what they wanted. There are similar tales around Green Spot and Yellow Spot too. Way ahead of their time, and a symbol of quality, reassurance on flavour consistency and a marker that this was top draw whiskey that you will recognise from the last time you drank it, which was not always the case at the time.

[gallery type="rectangular" link="none" ids="32836,32835,32834"]

And naming whisky brands and products is such a challenge. It is no secret that I consult within the whisky and spirits industry with all things brand, marketing, packaging, design and new product development. Naturally I cannot, and will not tell you who I work with, but one of the hardest part of any brief is naming. It just is.

All the good names are gone, many brands try to find convoluted Gaelic names to hang their latest non-age statement release on, and others seem to pick something totally random. But one overriding theme I’m noting is the cycle of naming whisky brands and products.

As a brand and a set of products, Powers Irish whiskey is well loved by older generations in the domestic market, and as such has seen its relevance and former market prowess shrivel over the years since Jameson overtook Powers’ sales volume in and around the year 2000, where prior to that it had been number one in the domestic market. In many ways, Powers is to Irish newly-legal alcohol drinkers what the Scotch category is to English newly-legal alcohol drinkers; something considered for old people to drink, a hard-nosed drinker’s whiskey, but they try, might be a bit afraid of it at first, probably because of the spice (or heat as they might articulate it) and maybe it takes years to try again but when they are ready, and crucially their palates are ready, they can appreciate and enjoy the brilliance behind this traditional Irish whiskey.

Hopefully, with so many people flocking back and starting to consider Irish whiskey, the brand will grow and grow again as it is so approachable to drink that it makes sense as a starter Irish whiskey, but the range has enough complexity in character and depth of flavour to carry this traditional whiskey’s long heritage forward with gusto. In hipster locations in the States, I’m reliably informed, younger whiskey drinkers are getting in to Powers Irish whiskey as they have been over to Ireland and seen the older folk drinking it so believe it to be cool, traditional and steeped in authenticity, as well as being somewhat of an anomaly when it comes to availability and understanding levels.

Now onto the Powers Irish whiskey range tasting

[gallery type="rectangular" link="none" ids="32841,32840,32839,32838,32837"]

Powers Gold Label - 40% ABV

The nose was full of pot still spices, cinnamon, a lovely grain note too, some vanilla, lots of caramel and delightfully fresh apples. The palate again brought the spice, the vanilla but had a creamy buttercream texture to it, unctuous, smooth, lovely warming spices develop with a very long sweet spicy finish.

I was really impressed with this whiskey, it was packed with flavour; big bold and beautiful. A quality drop that deserves a lot more attention in my view, especially for the price.

Powers Three Swallows - 40% ABV

Now this whiskey was one that I have tried a few times before, notably with my father in law, and I love its sherry character, as well as the distillate character that shines through. This whiskey is 100% pot still and is seen as a 'modern interpretation of a classic' with a nose that is soft and sweet with an abundance of citrus notes all wrapped in a reassuring vanilla oak note. The palate gets fruitier with apples and pears coming to the fore. The pot still spicy note comes alive a bit more too with a snort finish that comes back to live a few seconds later to linger a bit more with those spicy notes. Really impressive.

Powers Signature - 46% ABV

For me this was thick with spicy notes on the nose, spirity, toffee notes but very light despite the thickness. The palate again was thick and creamy, lots of spice, some sweetness then POW, you get a proper spicy slap with a lemon citrus stinger for good measure. Creamy, crushed black pepper notes prevail. All spice, but wrapped in sweetness. 

Powers John's Lane - 12 Year Old, 46% ABV

In the Powers John's Lane release, IDL uses a lot of refill barrels, along with a few first fill barrels and a small amount of ex-sherry barrels to age the whiskey. There are whiskeys in the blend that are quite aged, between twelve and sixteen years old depending on the availability and the release. For me this drop has a very spicy nose and lots of leather, like walking into a tannery shop, not the tannery - that stinks and is pretty rough to look at. There are sweet oak notes, and in the mouth it is extremely spicy, so spicy, followed up with a nice honey-sweet finish with a hint of white pepper. Cheeky.

Powers 1817 - released for the Vintners of Dublin at cask strength

Matured in second and third fill ex-Bourbon casks, this whiskey was created to show off the distillate more than others in the range so allowed it to mature very slowly with not too much oak influence. The nose is all about sweeties, synthetic fruits, berries and apples with just a bit of spice but the palate is so clean, with sweetness and spice in equal measure. It is simple, but with tonnes of flavour, those notes that make my mind reminisce about foam sweets from penny stores take are unexpected, there is vanilla here too but not much. The finish lasts ages with its lingering spice notes. Very nice.

What. A. Range. I strongly urge you to go out and try them all side by side as it really does open up the mind to what this range, brand and category is all about. Seriously good stuff.

The post A review of the Powers Irish whiskey range; one of the most underrated in whiskey appeared first on GreatDrams.

from GreatDrams https://ift.tt/2KKzmKW Greg

#whisky #GreatDrams