2010 Vigil for Immigration Justice at Manhattan Mennonite Fellowship

Here's a post that I almost forgot about!  It describes an event two years ago, but the information is still relevant.

On May 1, 2010, Manhattan Mennonite Fellowship joined many churches across the country in a prayer vigil for immigrant justice. I was one of three presenters. I focused on Irish immigration of the nineteenth century while the other two speakers dealt with more recent events.  Jean Montrevil talked about the New Sanctuary Movement, and Confesor Linares, pastor of First Mennonite Church in Brooklyn, described his experience as an immigrant from the Dominican Republic.

My presentation appears in green text below.  I concluded my talk by singing Mick Moloney's arrangement of McNally's Row of Flats.

Performing at the 2011 Catskills Irish Arts Week

2011 was a big year for the my Irish band, the Washington Square Harp and Shamrock Orchestra. The release of our first CD in March 2011 (see the sidebar on the right) brought us lots of performance opportunities. In this video you will see highlights of our performance at Catskills Irish Arts Week last summer. We were thrilled to perform at this prestigious US Irish music festival which has "the largest faculty (65 instructors) teaching the largest number of classes (120) of any summer school devoted to Irish traditional music and dance in the U.S." (Earle Hitchner, The Green Hills of the Catskills, The Wall Street Journal, July 6, 2011)




This 5-minute video contains snippets of three songs from our CD. You'll see me on your left up there...  Close-ups (at 2.53 and 4:11) reveal I'm having lots of fun!

Many thanks to Albany photographer Timothy Raab for tirelessly documenting the music at Catskills Irish Arts Week year after year. Tim's entire collection of 2011 CIAW videos can be viewed HERE.



© 2012, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

An Irish Christmas, A Musical Solstice Celebration

They say good things come in threes...  and here is the third CD this year on which the Washington Square Harp and Shamrock Orchestra appears.  Amazing!

An Irish Christmas, A Musical Solstice Celebration was recorded last year during the Irish Christmas shows at the Irish Arts Center.  The Washington Square Harp and Shamrock Orchestra has been part of these shows since their inception four years ago, so it was only natural that we should appear on the CD.  Our track is a song called The Rebel Jesus written by Jackson Browne.  Louise Sullivan is the lead vocalist.

In Partnership with the Poor

Artwork by the children of the Mercy Centre

NEWS FLASH!!!

"Waltz Me Around Again, Willie" -- my song with the Washington Square Harp and Shamrock Orchestra -- has been released on the CD entitled In Partnership with the Poor:  Irish musicians for the Mercy Centre, pictured above.

To order, click HERE.

Your purchase will help fund a music program for the children of the Mercy Centre, a highly successful charitable organization in Bangkok, Thailand.

Tributes to Mike Rafferty

Mike Rafferty died on September 13, 2011. If you're a regular or even an occasional reader of this blog, you know that Mike was very important to me.  To officially mark his passing, I have noted below the many remembrances he received.  I have compiled this list mainly for myself, but others may find such a reference meaningful or useful.

TRIBUTE FROM THE STATE OF NEW JERSEY

Fatherly Connections

Ralph Mason (left) and Mike Rafferty (right)

Ralph Mason and Mike Rafferty were two very different men.  Ralph was my father, Mike was my flute teacher.  I began lessons with Mike in 2004, six years after my father died.  Over time, I found myself making comparisons between them.  A few similarities existed despite the fact that other things about them seemed to be reversed, just like their initials.

Rafferty

Updated July 4, 2012 

This post honors my Irish flute teacher and mentor, Mike Rafferty, who died on September 13, 2011.  At the time of his passing, so many people posted touching tributes on Mike's Facebook page (which was and still is maintained by his family).  The most moving of those remembrances, for me anyway, was the piece written by another one of his students, Brian Holleran. Although my association with Mike was not as long or as intimate as Brian's, the essence of my relationship with Mike --- indeed, of Mike's relationship to all his students -- has much in common with what Brian describes below.  Thanks, Brian, for giving words to what many have experienced and for allowing me to share it on my blog. 
  

Rafferty
by Brian Holleran

Photo by Tom Madden, used with permission.

Padraig O'Keeffe's Slide

On April 27-30, 2011, I attended Cruinniú na bhFliúit (The Flute Gathering) in the village of Ballyvourney in West Cork, Ireland. Modeled after pipers' gatherings, this workshop is completely focused on traditional Irish flute playing with lots of good discussion of flutes, flute technique, flute problems, flute tunes, and various flute playing styles. Organizers Hammy Hamilton and Conal O'Grada keep the attendance intentionally small to allow people to become acquainted personally as well as musically. The intimacy that's achieved promotes learning and sharing.

Instruction is a core element of the Cruinniú. The 40 or so flute players in attendance were divided into four groups. Each group received three hours of instruction from each of the four teachers: Hammy Hamilton, Conal O'Grada, John Wynne, and Aoife Granville. Additionally, each person enjoyed 20 minutes of one-on-one advice from Tara Bingham whose flute clinic ran concurrent with the classes.

In this post I want to focus on one of the tunes we learned from Aoife (pronounced EE-fah) Granville, a Padraig O'Keeffe slide(1). O'Keeffe, a noted performer, teacher, and composer, came from the Sliabh Luchra area of Ireland near the borders of Counties Cork, Kerry, and Limerick where slides and polkas(1) are very popular. This slide was the first tune I learned at the Cruinniú. I had never heard it before (or so I thought), and I really liked it. In fact, I was quite taken with Aoife's playing and enjoyed all the tunes she taught us.

Aoife Granville

Waltz Me Around Again, Willie

Updated November 28, 2011

 

That's my song!

I sang it at Symphony Space on March 10th, backed by Vince Giordano and the Nighthawks, the Washington Square Harp and Shamrock Orchestra, and three harmony singers ...

I sang it again on March 18th at the Blarney Star concert at Glucksman Ireland House to launch the WSHSO's new CD ...

I recorded it with the WSHSO in May ...

I sang it at the launch of the Mercy Centre fundraiser CD, In Partnership With The Poor, on November 14 at the Irish Repertory Theatre ...

And it's now it's available for purchase!!

To order, click HERE.

Since Maggie Dooley Learned the Hooley Hooley

The Washington Square Harp and Shamrock Orchestra's FIRST CD is finished and released and available NOW on CDBaby and iTunes.  Entitled Since Maggie Dooley Learned the Hooley Hooley, it features a great selection of traditional tunes and songs, many from the Golden Age of Irish-American music-making in the 1920s and ’30s.

WSHSO on Facebook!

Here's the link to the Facebook fan page for my Irish music group, the Washington Square Harp and Shamrock Orchestra.  If you're a "Facebook person," please click on the image below and LIKE us.  Things are really popping these days, and we're posting frequent updates and lots of pictures!

© 2011, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

St. Patrick's Day Performances, 2011

(updated on March 20th with pictures and videos links!)

The season of St. Patrick actually began for me before I turned the calendar into March. The Washington Square Harp and Shamrock Orchestra started rehearsing quite some time ago for our upcoming concerts. Here's a list of all our gigs, including the March 18th launch of our new CD Since Maggie Dooley Learned the Hooley Hooley.

Catskills Bound

The title of this post is a throwback to a similar one written last year as I prepared to go to Ireland. As a matter of fact, at this time last year I was already in Miltown Malbay, having the time of my life at Willie Clancy Week. I've been reliving many fond memories and wishing I had gone back this year. Life (and finances) dictated otherwise, so this year I'm returning to the humble hamlet of East Durham, NY, for the Catskills Irish Arts Week (CIAW) - which is, after all, the best the US has to offer when it comes to traditional Irish music festivals. I leave on July 11th and, truth be told, I'm getting pretty excited about it!

Congratulating Mike Rafferty

I want to add my congratulations to Mike Rafferty for being named a 2010 recipient of the National Endowment for the Arts' National Heritage Fellowship. This award is the highest honor the United States awards to traditional musicians. I'm very pleased to see Mike recognized in this way. He surely does deserve it - for the students he's taught, the recordings he's made, and for being such a presence in the Irish music scene in both North America and in Ireland.

My Flute Journey Continues

Since the December 25th arrival of my Peter Noy flute, I've been happily adapting to it. Both my embouchure and my hands are undergoing many changes. As I practice every day, I see rapid progress. If nothing else, switching from flute to flute over the past few years has taught me how to quickly adjust to a new instrument, a skill I hope I will no longer need!

Playing a different flute involves work in several areas.

• EMBOUCHURE: One must learn how best to direct air across the flute's blow hole so that a variety of timbres can be produced and proper pitch can be maintained. This area of work involves strengthening and retraining the muscles of the face and lips.
• HANDS: One must train the fingers to cover the holes. The fourth finger (the ring finger) on each hand is usually the most problematic, as it is the weakest and hardest to control. The finger span of my hands is average, but even so, I need to develop more strength to consistently cover the holes when playing at top speeds.

To strengthen my embouchure and hands, I am doing two types of work:

• TECHNICAL: Long tones develop embouchure strength and accurate pitch. Finger exercises allow me to work on various patterns that will develop my coordination while I gain strength in the wider hand stretch required of my right hand. I'm working on my left hand position, rolling the headjoint inwards to give more freedom to my left wrist and to better balance the flute against my index finger. I'm also paying attention to throat articulation and the position of my right thumb.
• TUNES: To keep from being bored out of my mind, I declared January to be Polka Month. Polkas are easy to learn and fun to play in sessions. Conal O'Grada, my teacher at Willie Clancy Week last summer, taught us some polkas so I reviewed those. I'm also learning a few from Fliuit, a flute instructional tutor by June McCormack as well as from The Irish Flute Player's Handbook by flutemaker Hammy Hamilton. I've worked on 15 polkas in January and I'm having a pretty good time, so maybe I'll keep going for another few weeks.

Thinking about how I came to develop these transitioning skills, I started to recall my journey through Irish traditional music. Being an inveterate list maker, my recollections took the form of a timeline which begins before I started blogging. Once the blog was established, I had a place to reflect on my frustrations and record my progress. Note the links and corresponding labels used for grouping similar topics.

• July 2003 Purchase of a Cillian Ó Briain Improved Feadog D whistle at the The Living Tradition shop (now closed) in Cork City, Ireland.
• 2003-2004 Whistle lessons with Bill Ochs
• Spring 2004 Took Mick Moloney's History of Celtic Music at New York University
• Spring 2004 Joined the NYU-based Washington Square Harp and Shamrock Orchestra (WSHSO)
• 2004-2005 Took whistle lessons with Mike Rafferty (Rafferty)
• 2004-2008 Attended Catskills Irish Arts Week (Catskills Irish Arts Week)
• Fall 2005 Switch my primary instrument from tin whistle to flute
• 2005-2006 Weekly Flute Lessons with Mike Rafferty (Rafferty)
• July 10, 2006 Inspired by Joanie (Flute Journey)
• 2006-2010 Occasional flute lessons with Mike Rafferty (Rafferty)
• Jan 28, 2007 Starting to Play in Sessions (Flute Journey)
• Feb 02, 2007 Silver Flute vs. Irish Flute (Flute Journey)
• June 13, 2007 Alternate Fingering for C# (Flute Journey)
• Oct 21, 2007 Playing in Sessions, an update (Flute Journey)
• 2007-2008 Played with Lorcan Otway in Sorcha Dorcha (Sorcha Dorcha)
• March 29, 2008 Sandalwood Headjoint for my Silver Flute (Flute Journey)
• April 20, 2008 Flute Dilemma Again (or rather, still) - re-evaluating the silver flute solution (Flute Journey)
• May 09, 2008 Flute Dilemma Resolved - decision to get a Peter Noy keyless wooden flute (Flute Journey)
• Aug 17, 2008 Finding an Interim Flute - purchase of the Casey Burns mopane Folk Flute (Flute Journey)
• Dec 17, 2008 Flute Choice Refined - decision to add keys (Flute Journey)
• April 30, 2009 Ireland Bound - switch to a borrowed Burns boxwood flute (Flute Journey)
• July 2009 Attended Willie Clancy School of Traditional Music, Miltown Malbay, Ireland (Willie Week)
• Jan 16, 2010 My New Flute - arrival of the Peter Noy flute (Flute Journey)

The collage below makes the point in a more concise way, showing the variety of instruments I've played since 2003.

Top left - borrowed Casey Burns keyless boxwood flute

Top middle - my Cillian Ó Briain tin whistle (2004 photo, lesson with Mary Bergin)

Top right - Peter Noy head joint, on loan, for my silver flute

Bottom left - borrowed Terry McGee keyless African blackwood flute

Bottom middle - my Casey Burns mopane folk flute

Bottom right - my Wm. S. Haynes handmade solid silver flute

Center - my Peter Noy 6-keyed boxwood flute

Yes, the years since that momentous visit to Ireland in 2003 have been full of growth and adventure. During that time I've become acculturated in the world of traditional Irish music and have learned many tunes. I've experimented with Irish piano accompaniment and have discovered I can sing a bit when I'm of a mind to do so. I've even tried set dancing. Flute is my primary interest though, and now that I have a good instrument I'm ready to do some serious work on my playing abilities. If only there were more hours in the day!

© 2010, Linda Mason HoodTruffles, Turtles & Tunes Copyright Statement

Music in the Mountains and on the Subway

On January 16, 2010, the Washington Square Harp and Shamrock Orchestra performed in Queens at the New York Irish Center. Our pianist, Brendan Dolan, was giving a lecture called Music in the Mountains. This fascinating talk focused on a region of the Catskills where Irish Americans have vacationed for generations. Brendan researched this topic for his master's degree in Irish and Irish-American Studies at New York University. The event was well attended and the food was great. Click here to see the New York Irish Center's report which includes a few pictures.

I traveled to our gig by subway. Nothing unusual about that. I was plugged into my iPod listening to a recent CD by Green Fields of America. The WSHSO plays many of the tunes on particular CD, so I was tappin' my foot and gettin' in the groove for the evening's performance when a young woman named Lisa interrupted me. Lisa explained that she was interviewing people for her blog called What Are They Listening To On The Subway. We chatted, she made careful note of my music and snapped my picture. In just a few minutes my routine subway ride was turned into a real New York adventure. Click here to see the post. Thanks, Lisa, and good luck with your project!

© 2010, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

My New Flute!

It arrived on Christmas day. A post office deliveryman rang my doorbell at 10:56 AM and handed me the package I've been waiting for since May 8, 2008. My new flute is finally here!

My Merry Christmas!
A new coat (with tags still dangling from the sleeve), a new watch, and a flute!

The flute Peter Noy made for me is a six-keyed boxwood flute. The head joint is unlined and unthinned, with a Cooper cut embouchure which includes a blow edge insert made of horn. The rings which reinforce all the joints are made of horn as well. Modeled after the Rudall & Rose 19th century flutes, it has rather large Nicholson-style finger holes. The middle joint is divided. With six keys, it is a fully chromatic instrument. The traditional Irish repertoire doesn't use the flute's third octave, but this flute does in fact have a viable and pleasant sounding third octave.

The flute, cleaning rod, and humidifier rest in modified art supply case.

The head crown of my flute was made by Catherine Crowe of Toronto, an enamel artist and traditional Irish singer I met in the Catskills. Unbeknownst to me, Peter and Catherine have been friends for years, which is how Peter came to have the enamel crown Catherine made. Reading my blog posts, Peter recently discovered that I knew Catherine as well and suggested I might like her crown on my flute.

Catherine's art uses patterns and objects that draw their significance from the folklore of ancient Celtic, Scythian and Etruscan cultures. The pattern she used for the flute's crown is the Celtic triple spiral. According to Catherine, The triple spiral is one of the oldest Celtic designs. It was in use from the 7th century BC right up to the present. This particular one is based on an enamelled escutcheon from around the 7th century AD. (Click here for more information)


Interestingly, Catherine's triple spiral is very similar to Peter's logo which incorporates a stylized representation of the three-pronged trillium, the emblem and official flower of Ontario. The trillium holds special significance for Peter because he grew up in Ontario and lived in Toronto for many years.


Like the flute makers of old, Peter engraves his logo on each section of the flute. The main stamp, to the right of the right-most ring in the picture below, has the letters NOY arranged in a semi-circle under the trillium shape. From this photo's prespective the stamp is on its side, with the N at the bottom. The main stamp is located on the flute's third joint. The stamp Peter uses on all the other joints is simply a very tiny trillium, as seen on either side of the left-most ring. You can see these a little better, especially the one on the lighter piece of boxwood. Double-click on the picture below to enlarge it.


At first I thought Catherine's design was a fancier form of Peter's logo. However, in email conversation with both Catherine and Peter, I realized that each design was distinct, with its own meaning and story. It's a rather an uncanny coincidence that the two are so similar!

In the end, I came to appreciate the synchronicity of my flute's two symbols. It reminds me of the ribbons in a Celtic knot, twisting through both personal and historical circumstances. All of the Canadian provinces, including Ontario, took in many immigrants from Ireland, particularly during 1800's as a result of the Great Famine. As a result, Ontario has a rich and lively Irish community, with an Irish Canadian population of approximately two million people according to the 2006 census. Living in Ontario and participating in the Irish community, both Catherine and Peter would have been exposed to many Celtic patterns over the years. Likewise, I'm sure they both would have seen the trillium represented in many forms for various reasons. In an email exchange with Peter about the relationship of his trillium logo to the triple spiral, he concluded it was what Joyce called " the ineluctable modality of the visible." (and if you need help with that statement, as I did, click here)

In closing, here are a few more pictures. Actually, taking good flute pictures is quite difficult. One needs a much better camera than mine and proper lighting to prevent the the flash or the sun from reflecting off the finish and distorting the rich hues of the wood. Nevertheless, I hope these photos will give you some idea of the marvelous workmanship that goes into a Peter Noy flute. I'm just thrilled with it. Bet you never would have guessed!!

© 2010, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

Sing We All Noel

This Christmas season has been full of Irish music activities. For me, the Christmas season began in early December when I attended a Cherish The Ladies concert, a rousing, energetic performance of many of the songs and tunes on their new Christmas CD, A Star in the East. As a member of the Washington Square Harp and Shamrock Orchestra I was part of Mick Moloney's Irish Christmas concert series at the Irish Arts Center. The WSHSO also played in the Airneal na Nollag, an annual holiday celebration at New York University's Glucksman Ireland House. Additionally, we provided music for the Christmas party of the Irish American Bar Association of New York. I attended a session at the Landmark Tavern when Jimmy Crowley was in town. I've been to several sessions at Lillie's this month, and last night I went to the massive Christmas session at Dempsey's. All the bars are beautifully decorated for Christmas, making the sessions seem very festive.

Christmas music is everywhere. My husband has many CDs containing both secular and sacred Christmas music. We listen to them at home and in the car, and I have loaded my favorites onto my iPod. On the piano I practiced both Advent and Christmas hymns in preparation for accompanying two worship services this month at Manhattan Mennonite Fellowship. On the silver concert flute I'm working on Danse des Mirlitons from Tchaikovsky's Nutcracker Ballet, to be played at MMF on January 3, 2010. On the wooden Irish flute I re-learned the Christmas Eve reel, a standard of the season. During the Irish Arts Center gig I enjoyed the repeated performances of Mary's Boy Child as sung by Donie Carroll, Louise Sullivan's poignant rendition of Jackson Browne's The Rebel Jesus, and Mick Moloney's driving version of Down Among the Bushes of Jerusalem. Liz Hanley's singing of Christmas in the Trenches brought home the painful reminder that war (still) prevails instead of "Peace on Earth" about which the angels sang. Liz also sang The Cherry Tree carol which I sang at MMF last year. My own new Christmas song this year is an Appalachian song called In the Valley. I learned it from a Little Windows Christmas CD called Snowman's Waltz. Hopefully I'll get to sing it somewhere before the season is over.

Music is an integral part of the Christmas holiday season. It speaks to us, moves us, in a way that nothing else can. Christmas music washes over us everywhere we go. It permeates the air. It comforts us and helps us rejoice. I think perhaps it's one way that God comes to earth and makes His presence felt. That's my experience anyway. Perhaps it's yours as well. So...

May your Christmas be merry, and May there be music!
Sing We All Noel

© 2009, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

Remembering Frank McCourt

Left to right: Liz Kennedy, Jimmy Crowley, me, Mick Moloney, Daniel Neely,
Malachy McCourt, David Amram, Tony Horswill, Kate Bowerman.

Last night I participated in a very special event called Remembering Frank McCourt, a memorial gathering at Symphony Space for the Pulitzer Prize winning author of Angela's Ashes who died on July 19, 2009. Attending this event caused me to reflect on the many ways I was connected to Frank McCourt.

Willie Week - Saturday

Today is the last day of Willie Week. Gail and Dan, who had come from Dublin for just one night (see Friday's post), left immediately after breakfast. I headed off in the opposite direction to attend the final flute class. It has been a good week. I have 30 new tunes to work on and some new techniques to incorporate into my playing. In the final class, Conal and Tara played through most of the tunes we learned for the benefit of someone whose recorder broke, but it was a good way to review all the tunes. There was ample time for Q&A about all sorts of things -- how to practice more efficiently, how to get a stronger sound, the most important elements of traditional Irish flute playing, etc. Overall, this class is probably the single most helpful set of lessons I've ever had in Irish traditional flute playing. Here is a picture to commemorate a terrific flute class.

Conal O'Grada, me, Tara Bingham Diamond

After purchasing a few gifts for my family at a local antique store, I went to the ad hoc Willie Week store which had been set up in the Community Center. All the teachers brought CDs to sell; there was also a good collection of CDs and books as well as Willie Week T-shirts and book bags. I bought 4 CDs and 2 books. One of the books deserves special mention: The Irish Flute Player's Handbook, a Comprehensive Guide to the Traditional Flute in Ireland by S.C. "Hammy" Hamilton. This book is THE definitive reference book for the Irish flute. At the time I bought this heavy hard cover edition, I considered it a "must have" despite its weight. Writing this blog post, I discovered the book is currently out of print, as it was part of a limited edition. And mine is a signed copy too! Apparently another printing is planned, so if you're interested, contact Hammy Hamilton using the instructions on his website. (see the link above)

After dropping off my purchases at the B&B, I set out to find Willie Clancy's grave. Last Sunday the festival opened with a memorial at the grave site. Since I wasn't able to attend, I wanted to make my own pilgrimage to visit the man whose playing inspired this festival. The Ballard graveyard was about one mile out of town, on the same road as the library. It was a nice uphill walk with views of the countryside sloping down to the Atlantic Ocean that just got better and better as I got farther out of town.

Just before reaching the cemetery, I met an elderly man carrying a small plastic bag. He was very old - in his 80's perhaps - and very poor. His back was hunched under his threadbare coat spotted with dust. He was wearing a tweed cap. I asked him if I was going the right direction. I could barely understand his answer -- he had a very thick accent and no teeth. Yes, he said, I would see the graveyard soon, just at the top of the hill and to the right. With pride beaming from watery old eyes that peered out from under the peculiar clumps of wiry gray eyebrow hair, he asked -- word for word -- the same question that all the townspeople had been asking me all week: "Are ye enjoyin' the festival?" Everyone took such pride in the fact that people came from far and wide to Miltown Malbay to celebrate the musical tradition that produced Willie Clancy. Coming from this fellow, however, the earnestness of his question made it more poignant. Aware of the difference in our accents as well as our economic status, I graciously assured him that indeed I was enjoying the festival and that I had had a marvelous week. Proud and satisfied, he repeated the directions to the cemetery. I thanked him again. As we parted ways, he turned down a footpath and headed across a field, presumably to his home although there were no buildings were anywhere to be seen. Despite his pronounced poverty, here was a man who knew how rich was the region's musical heritage. Though our conversation had been brief, we had made a strong connection based on mutual appreciation of the music.

The cemetery was a mixture of old graves and new, with the majority of markers erected in the twentieth century. The tombs from the nineteenth century were especially fascinating. Willie Clancy was buried in a family plot, but there was a special memorial plaque adjacent to the family plot. I took lots of pictures of the panoramic views as well as the graves.

(To make the pictures larger, double click the first one.
Then, on the Picasa Web site, click on Slideshow.)

My evening's activity was the 3-hour recital in the Community Center. The hall was packed, and there were many wonderful performances by instructors and others from the region. The audience seemed to consist of townspeople as well as festival visitors. The final musical offering was led by the local choirmaster; the singers were adults as well as children from the town - another illustration of the fact that music is an integral part of the life of the town.

After the recital I picked up fish and curry chips one last time from the chipper (see Thursday's post), and headed back to the B&B to pack. Tomorrow starts a new adventure!

© 2009, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement