Finding an Interim Flute

Ever since I ordered a boxwood Irish flute from Peter Noy (as described in my May 9, 2008 post entitled Flute Dilemma Resolved), I've been eager to start transitioning my technique from silver flute to Irish flute. By the time my Peter Noy flute arrives in late 2009, I want to be ready for it. That means I need some sort of Irish flute now! And so began the quest for an interim flute. I watched the Chiff and Fipple Flute Forum as well as eBay, and I started asking all my friends with wooden flutes if I could play a tune or two on their flutes. Little by little, I learned what was available in the various price ranges and started to form some opinions.

In May, an interesting flute appeared on the Chiff & Fipple Flute Forum, a Terry McGee blackwood flute, the Grey Larson Preferred model with the Minimum Disruption Tenon. The owner was willing to lend it to me for a trial period. After a week or so I felt like I was starting to get the hang of it. However, I wasn't sure I would ever get much resonance from it, so I finally decided it wasn't the flute for me. I am very grateful to its owner for trusting me with it for a while. That was incredibly helpful. I took its picture before sending it back.


I started reading more and more about the Casey Burns Folk Flute. One of my friends has a Burns flute that I had borrowed a few times, so I had some first-hand experience with Burns flutes. Priced at $375, the Folk Flute seemed a reasonable interim flute.  However, the predicted delivery date would have been too late for me to use it during Catskills Irish Arts Week. I decided to keep looking.

About this time a Casey Burns Folk Flute appeared on eBay for $275. Bingo! It was made of mopane, a beautiful dark wood. It was the small-handed version which I thought might be a good as a transitional flute. Buying a flute without playing it -- or even seeing it -- seemed risky, but the Burns flutes have a good reputation and at $275, how could I pass it up? I had never before bought anything on eBay, so it took me until the last few hours of the auction to muster my courage and click the "Buy It Now" button.

On June 10, 2008 my eBay flute was delivered to me at work. I was so excited that I declared it lunchtime and headed for the park to try it out. I was very pleased. It played easily, had a nice sound, and the hole placement was really comfortable. At home that night I oiled it per the maker's instructions (which had thoughtfully been included) and started breaking it in.

A few days later I learned that it was virtually a new flute. The seller was a whistle player who thought he'd like to play the flute as well, but changed his mind after only a few attempts.  I felt like I had landed a real bargain - a new flute from the maker I had decided upon with no waiting period!  Here it is - isn't it pretty?  


I've been surprised at how much progress I've made over the last two months. I'm now able to predictably cover the holes and to play many tunes at a decent tempo. As I work on tone, my sound gets stronger and more resonant. Yes indeed, this Casey Burns Folk Flute will be a good interim flute for me.

© 2008, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

Sea Turtles Nesting in Palm Coast, Florida

My husband, Dan, is standing beside a nest of sea turtle eggs at Cinnamon Beach, a condominium resort in the town of Palm Coast which is halfway between Daytona Beach and St. Augustine on Florida's Atlantic Coast. We attended a family gathering there during the last week in June. I had no idea that sea turtles nest in Florida, so finding these nests was a delightful surprise. Little did I know that the East Coast of Florida is the world's second largest nesting site for loggerhead turtles.

Although loggerheads are the most common, leatherbacks and green sea turtles are also known to nest in the area. All are classified as either threatened or endangered and are protected by state and federal laws. Here's a closeup of the sign posted on all the nest sites:


According to the Volusia and Flagler Turtle Patrol, turtles have been nesting on beaches there for 100 million years. The Atlantic coast nesting season extends from March through October. Each nest contains up to 100 eggs. The eggs incubate in the sand for 50-70 days before the little turtles break out of their shells and scramble down the beach towards the water. Click here to see a Turtle Patrol video of a hatchling crawl across the beach and dive into the surf! (Be patient while the video loads. It's worth the wait!)

In our condo I found a copy of the Turtle Patrol's brochure (page 1 and page 2). It warns against behaviors which might prevent hatchlings from finding their way to the water. For example, light can disorient the hatchlings who generally make their run from the beach to the water at night. Apparently they head towards the glow of the horizon. Flashlights or lights from nearby houses can cause them to be confused and to head away from the water. The brochure also advises filling in any holes children might leave in the sand as well as holes made by beach umbrellas and cabanas, since deep indentations in the sand represent deadly hazards for hatchlings. Recreational vehicles should not be driven in soft sand, and all litter should be removed from the beach to ensure hatchlings reach the sea safely.

Even when all these precautions are observed, hatchling survival rate is pretty low. Only about one hatchling in 1,000-10,000 become mature adults. Some succomb to pitfalls on the beach, others become food for sharks, large fish, or sea birds. Storms are a problem too, since hatchlings emerge in hurricane season and are sometimes washed ashore by storms and stranded. They get sick from polluted waters and generally suffer from loss of habitat as beachfront development often means sand gets pumped in from the sea to improve the beaches and sea wall construction is undertaken to protect adjacent real estate. In fact, beach building projects during nesting seasion can result in burying of sea turtle nests. Life is truly hard...

If all goes well, the hatchlings remain in the coastal waters of the Indian River Lagoon which runs between the mainland and the barrier islands along most of Florida's Atlantic coast. They eat sea grass beds and are protected by the reefs near the shore. Eventually, they swim out to sea. Fifteen to twenty-fived years later, females will return to the same beaches where they were born to lay their eggs. While they do not nest every year, females will lay between three to eight clutches of eggs in a nesting season.

I was fascinated to think that only five minutes from the condo we rented, 200-350 pound turtles had hauled themselves out of the sea to lay eggs in the sand. One night I actually went down to the beach at midnight, hoping to see a big turtle. No luck. But after returning home, I decided to contribute to the work of the Volusia and Flagler Turtle Patrol by adopting one of the nests they protect. They will earmark a nest on Cinnamon Beach as "my" nest and will update me when the eggs hatch. Won't that be exciting? I may not have seen a turtle, but perhaps I'll get news about the hatchlings that emerge from the mound of sand above.


© 2008, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

Turtle Sighting in Lower Manhattan

Photograph by Michael Natale, used with permission.

Earlier this month Michael Natale photographed this turtle outside the Battery Maritime Building located between Battery Park and the Battery Park City apartment complex in Lower Manhattan. (see his 6/4/08 blog post) Based on the color around the edges of the shell, both top and bottom, it might be a very dirty slider or cooter, or even a western painted turtle.** All are fresh water turtles, so what was this guy doing in the brackish waters of New York Harbor?

Theory #1: He could be a pet that got dumped. Because of their plentiful numbers, red-eared sliders are the most commonly sold turtle. You can buy them in NYC’s Chinatown novelty stores and in every pet store that carries turtles. Sometimes they are given away as prizes at events like state and county fairs. Regardless of where you get them, it’s unlikely that you would receive any information about their care or about the habitat they require. If kept in a tank, you need a strong filtering system and lighting that gives off UVB rays. Acquiring a baby turtle may cost only a few dollars, but a proper habitat will cost at least $200. The cost will continue as the turtle grows and needs a bigger tank. Red-eared sliders can live 40 years and grow to 12 inches in diameter. Adult sliders need plentiful swimming space. Installing a pond in your yard is a good idea, as a 200+ gallon tank is impractical for most people. You can see why red-eared sliders get dumped when they get too big. People often don't know what else to do. But releasing them into a natural setting isn't good either. Being voracious eaters, they can upset the ecosystem, causing other species to suffer or die.

Theory #2: He could be a escapee from Chinatown markets. New York's Chinatown markets, like San Francisco and other Chinese settlements around the world, sell live turtles for food. Turtles are considered a delicacy. Chinese believe that eating turtle meat will bring wisdom, health, and long life. In an article entitled “Turtle Tragedy: Demand in Asia May Be Wiping Out Turtle Populations Worldwide(1),” Wendy Williams speculates that as China’s economic status rises, more and more Chinese people are able to afford turtle, which fuels the import trade. While some of the imported turtles are bred for export in the southern United States, large numbers of exported turtles are wild caught. Turtles are collected from all over the world, without regard for the impact on the species. Despite agreements at the Convention on International Trade in Endangered Species, Williams’ article reports the sale of endangered species from all over the world. Even non-endangered turtles like red-eared sliders suffer because of lack of shipping regulations. Shipping conditions are far from humane, and enforcement is next to impossible because of the massive numbers being exported. Domestic Chinese turtles are commercially extinct, so the need to import turtles is great. One US shipper has a standing order for a ton of turtles per week for shipment to China. In his article entitled “Declared Turtle Trade From the United States(2),” Darrell Senneke reports 31,783,380 turtles were declared for export in over a 3-year period.

Theory #3: More likely this guy was purchased by a Buddhist in Chinatown and released in the East River. On August 7, 2007, The New York Sun reported on this ancient practice called fangsheng, or release of life. Practitioners believe that "setting turtles or other animals free increases a Buddhist's merit, which is believed to translate into a better rebirth." The New York Sun article told of a couple who rescue as many as turtles as possible (mainly red-eared sliders) from the East River and place them in the Central Park Turtle Pond. This practice is discouraged by Central Park gardening staff, however, because there are already too many non-native turtles in the pond. If you are inclined to rescue a red eared slider, Turtle Homes provides advice: http://www.turtlehomes.org/usa/red_ear_slider_adoptions.shtml

Speculating on how the turtle pictured above ended up on a Battery Park shore introduced me to a whole host of turtle issues. All pretty depressing stuff. As I learn more about the laws regarding turtle exports from the US, shipping conditions, I'll post that information here. Perhaps there are ways we can have a positive impact and improve the sad plight of turtles. I surely hope so. For now, I can take comfort in the safe, privileged life that I provide my two red-eared sliders. They bring beauty and joy into my living room, and they have much to teach me about the world in which I live.


(1) Wendy Williams, “Turtle Tragedy: Demand in Asia May Be Wiping Out Turtle Populations Worldwide,” Originally printed in Scientific American, June 1999. Reprinted by permission (New York Turtle and Tortoise Society, nytts.org/asianturtlecrisis.html). As viewed online at online at http://nytts.org/asia/wwilliams.htm on June 10, 2008.

(2) Darrell Senneke, "Declared Turtle Trade From the United States," World Chelonia Trust, http://www.chelonia.org/, 2006. As viewed online (at starting with the introductory page) at http://www.chelonia.org/articles/us/USmarketintropage.htm, June 10, 2008.


** After this post was published, Tony Simmons from the Red-Eared Slider Yahoo group and Yvonne from the World Chelonian Trust Yahoo group agreed that this turtle is a melanistic male red-eared slider. Tony says he sees them all the time in Houston where he lives. Here's another photo of a melanistic slider for comparison purposes.


© 2008, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

World Turtle Day

Did you know today - May 23 - is World Turtle Day? Don't feel too badly if you didn't know. It's a relatively recent thing. It was initiated in 2000 by the American Tortoise Rescue, a California group involved with rescue as well as issues of conservation and protection. Given the plight of turtles, I think such a day is very appropriate so I'm doing my part to publicize it.

Since two red-eared sliders came into my life in October of 2003, I have learned many things about domestic aquatic turtles and their care. I've also become interested in turtles in the wild and the issues facing the large sea turtles that swim the oceans. People send me links and newspaper clippings about turtles around the country and around the world. It seems as though the turtles that swim in a tank in my living room have connected me to the wider realm turtle concerns.

An article entitled Celebrate World Turtle Day on the website of The Humane Society of the United States explains why turtles should receive this honor and why a date in May was chosen. Please take a moment to read it.

Here are seven ways you can celebrate World Turtle Day:

1. Read the article above to learn of the plight of sea turtles and some of the solutions being employed and proposed. The article also contains information on the risks to domestic turtles posed by pollution and development as well as export for food in other countries.
2. Know what to do If You See a Turtle in the Road. (not likely in Manhattan, but friends in Connecticut and New Jersey often see turtles trying to cross the road)
3. Know what to do If You Find A Sea Turtle. (hey, people from around the world read my turtle posts!)
4. Observe the 12 Things You Can Do For Turtles.
5. If someone you know has a birthday coming up, buy a gift from HerpArts.com. During their special sale May 23-25, 10% of all proceeds will go to The Center for Biological Diversity's project to stop the commercial collection of turtles taking place in the southern United States.
6. And speaking of the Center for Biological Diversity, please sign their petition to protect wild freshwater turtles in the southern United States. The Center has organized a coalition of conservation and health groups seeking to end the commercial harvest of freshwater turtles in four southern states and to stop the sale of contaminated turtles to domestic and international food markets. Click here to take action.
7. Donate to an organization that helps turtles. Here's a few organizations that could use your help. And if your company matches charitable gifts, don't forget to send along the appropriate form.

Terrapin Conservation of the Wetlands Institute (donate online)

Sea Turtle, Inc. (donate online)

Center for Biological Diversity (donate online)

Turtle Conservation Fund (send checks c/o Chelonian Research Foundation -- an IRS-designated 501(c)(3) nonprofit organization. Address: 168 Goodrich St., Lunenburg, MA, 01462 USA)

Humane Society of the United States (in addition to their education regarding turtles, they do wonderful work to stop cruelty to pets & farm animals)

If you know of other organizations, please leave that info in a comment.

Happy Turtle Day!

© 2008, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

Flute Dilemma Resolved

If you're a regular reader, you know that I've been perplexed by the Silver Flute vs. Irish Flute question (first expressed in my 2/2/07 post). Every time I think I've decided which flute I want to use for playing Irish music, something makes me reconsider the question from a different angle. Finally, this spring I decided the answer was a Sandalwood Headjoint for My Silver Flute (see my 3/29/08 post). But that solution became complicated when I realized the sandalwood headjoint wouldn't actually fit my own flute. In my 4/20/08 post I detailed various options. Here's what has transpired regarding each option since that post:

1. The Sedona flute and sandalwood headjoint combo had a really nice sound, no question about that. In the end, though, I couldn't accept the idea of switching to what is essentially a good quality student flute. My own flute, albeit 30 years old, is a professional, handmade, solid silver flute from the Wm. S. Haynes Company in Boston. If you've ever played a professional flute, you'll know it's hard to step down from there.

2. Vintage flutes come with a whole different set of difficulties and complications. I decided it's probably not practical to adopt a vintage flute as my everyday flute.

3. After a number of inquiries, I realized that I would never find a used headjoint that would actually fit my thin-walled Haynes. Flute construction has changed too much over the last 30 years.

4. Peter Noy said he would indeed make a headjoint to fit my Haynes, and he sent me a boxwood as well as a grenadilla headjoint for evaluation. To expand my comparisons, I borrowed a Gemeinhardt flute so I could mix and match. Here's all the headjoints, lined up side by side.


The only headjoint that fit my flute was the one made for it. However, I was able to do a number of comparisons by alternating all the headjoints on the two borrowed silver flutes. Surprisingly, the body of the flute has much more effect on the sound than I expected. Here's the pile of flutes I tested in various combinations.


In case you're wondering about the white stuff on the tenons of some of the headjoints, that's teflon tape (also known as plumber's tape) which helps achieve a tighter fit when the headjoint is smaller than the body of the flute.

5. Reconsidering the silver flute vs. Irish flute question, a friend asked me what I was really trying to achieve. "A more woody sound," I answered. To which my friend replied, "then why not get an Irish flute?" In other words, rather than try to imitate the sound of an Irish flute, why not just get the instrument that makes that sound? My objection has always been my fear that changing to the Irish flute will set me back a year or more in terms of my playing. I'll have to learn a new hand position, relearn most of my tunes, and change my embouchure. In response to my moaning about all that, someone else pointed out to me that I seem to love the challenge of new musical ventures. After all, look at what I've accomplished in the past five years: I've taken up a new instrument, the whistle, and immersed myself in a whole new musical genre. I'm now proficient at learning tunes by ear in the traditional way, have even come to prefer it! I've gained a decent grasp of phrasing and ornamentation, and have translated whistle ornamentation to the silver flute (which entailed learning new fingerings and inventing some fingering shortcuts). I also learned a bit about piano accompaniment of Irish instrumental music. And in the last year I've started singing Irish songs, first in English and now working myself up to learning some Irish. Have I not realized that I love the challenge of something new?

So, having fallen in love with the Peter Noy boxwood headjoint, I called him and ordered an entire flute -- conical, simple system Irish flute! Yup, I really did. Put down a deposit to seal the deal. I chose a boxwood flute with bone rings just like the headjoint below.


The unthinned boxwood headjoint has such a sweet sound. The Cooper embouchure cut is easier to play, for me anyway, than the round embouchure of most Irish flutes, and I really like the effect produced by the bone inset along the top of the blow edge.

The flute he will make for me won't be ready til late 2009, but it will be beautiful and it's what I want. Could it be that my ongoing dilemma is finally resolved? Perhaps. I feel very comfortable with my decision. No second thoughts have surfaced. And now, to wait...


© 2008, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

Irish Emigrant Article & New Myspace Tunes!

The Washington Square Harp and Shamrock Orchestra (WSHSO) received some good publicity this week in The Irish Emigrant, one of the Irish weekly papers available here in NYC. The article began with mention of our upcoming performance at the Glucksman Ireland House (see below for details) and included a picture taken on at our March 14th performance at the St. Patrick's Old Cathedral. Click here to view a pdf of the newspaper clipping.

Today three new tunes went up on the WSHSO Myspace site! The new tunes - Dan O'Hara, New York Ceili Band Jigs, and Far From Home/Mayor Harrison's Fedora - are professional-quality recordings made by a student in the Clive Davis Department of Recorded Music at New York University. I realize I'm hardly an impartial judge, but I think they sound REALLY GOOD. Have a listen and see if you agree!

Since my March 16th post, the WSHSO played a few pub gigs:

• April 9 - Murphy y Gonzalez Pub


• April 21 - Landmark Tavern Monday night session run by Don Meade


• April 23 - Murphy y Gonzalez Pub

This week's upcoming performances include:

• May 1 at Ireland House's annual Airneál na Bealtaine - an evening of traditional music and song presented by NYU students and others from the NYU community.


• May 4 - annual live radio performance on Ceol na nGael, a program broadcast every Sunday, Noon to 4 pm Easternon Fordham University's WFUV public radio station. WFUV broadcasts over the internet, so you can hear this one without leaving home. All you have to do is figure out the time difference. Here's a handy Timezone Converter that will make it easy. Select Eastern Daylight Timezone - New York, NY, USA - and convert to your location. On May 4th at the appropriate time, click here to listen via the internet. If you miss the live broadcast, the show will be archived for 14 days. Click the link I gave for internet listening, but go to the Listen tab and select Audio Archives to access the Ceol na nGael show. Ain't technology wonderful - sometimes? (This was rescheduled for July 27)

© 2008, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

Flute Dilemma Again (or rather, still)

I have a confession to make. The sandalwood headjoint I was so excited about in my March 29th post is not a "done deal."

In the midst of my St. Patrick's Day gigs, my own Haynes silver flute developed a couple of leaks, so I took it to Jeff Weissman for repair. He kept my flute and lent me a Sedona flute and the lovely little Sedona sandalwood headjoint. I had every intention of purchasing both the headjoint and the flute when I returned to pick up my repaired Haynes. The total price of $1850 included $850 for the Sedona sandalwood headjoint, $850 for the Sedona flute (complete with its own silver headjoint), plus tax. Included in the deal was a full-sized flute case plus outer carrying case for the Sedona flute and a separate little headjoint case for the sandalwood headjoint.

You see, the sandalwood headjoint doesn't actually fit my Haynes, as was implied in my 3/29 post. Having fallen in love with its sweet, woody sound, I rationalized the purchase of a second flute. It would be good to have a my own backup flute, and it would be good to avoid taking my very valuable Haynes into places where beer could be spilled on it, etc. Now you have ALL the facts. That level of detail didn't seem necessary for the 3/29 post, but you won't understand my present dilemma without full disclosure. So there you have it. Continuing on...

I played the Sedona flute for about a month before my Haynes was ready for pickup. During that time I realized that while the Sedona is a very good student flute, it is still a student flute. It handles very differently from my lovely handmade Haynes. I began to miss the responsiveness of the Haynes key mechanisms, the feel of the sound vibrating under my fingers, in short, the experience of a quality instrument.

Additionally, I began to convince myself that the sandalwood headjoint might just fit my 30-year old Haynes flute with it's smaller bore and thinner walls. After all, the Sedona sandalwood headjoint was small even for the Sedona flute's body. I discovered just how significant the size difference was after I cleaned off the teflon tape that Jeff had used on the tenon to make the headjoint fit.

I tried not to notice that the sandalwood headjoint's pitch seemed a bit flat. I convinced myself that I would be able to push the tenon ALL the way in, once the final prepping before purchase had been done.

Yesterday - when I went to the Weissman shop intending to pick up my Haynes, have the Sedona prepped and pay for it - my fantasies came crashing down on me. Discussing the final fitting and adjustment of the sandalwood headjoint, I realized that:

• It will NOT be coaxed into fitting my Haynes.
• It can NOT be expanded to fit the Sedona flute either, so it will always require teflon tape.
• Whether due to its construction or to the everpresent teflon tape scraps, the sandalwood's tenon cannot be inserted any farther into the body of the flute, so there will never be any flexibility in making the flute sharper.

Now I have to answer this question: Do I really want to spend $1850 on a student flute and a headjoint that will always require teflon tape, will not play an A higher than 440 at best, and will have little-to-no resale value?

Resale didn't start out to be a concern. Owning multiple flutes and conceding the possibility of selling them at a later date wasn't part of my mindset as a classical player. I have come to realize, however, that Irish flute players buy a number of flutes and then sell them if they don't work out or if they don't get played much. That started me thinking about resale and realizing that the Sedona brand could be a problem. While Weissman makes a very respectable wooden piccolo, nobody's heard of his Sedona brand yet. His Sedona flutes -- made to his own design and manufactured solely for his shop -- are presently not advertised at all, not even on his own website! How would I ever sell an inexpensive student flute nobody's heard of? Plus, the market for wooden headjoints on silver flutes is not very big to begin with, so without some brandname "buzz" it would be very hard to sell this particular sandalwood headjoint. A Sedona wooden headjoint would take years to gain the reputation of the premiere wooden headjoints made by Abel, Eppler, Noy, and Howard Roberts - all of which, by the way, cost a good deal more than the Sedona sandalwood.

In the few days I have left to decide, I'm doing some serious thinking and investigations. You'll remember that I bought the Vista PC without doing my homework and what a mess occurred as a result. (See my Technology posts.) Taking a lesson from that situation, I want to carefully rethink this flute dilemma before swiping my credit card. Here's what I see as my present options:

1. The "spare flute" scenario above is valid. I could get the Sedona flute and Sedona sandalwood headjoint. I could use it for years and feel it was worth the price, regardless of resale value. The pitch is not too flat, and the sound is very pleasing. I wouldn't have to play the Sedona exclusively; I could still play my Haynes.
2. There are 2 vintage Boehm system wooden flutes on eBay right now, very tempting in the $1300 range. They wouldn't play like my Haynes, but then neither does the Sedona. At least the headjoint would fit the body of the flute. And a 1920's flute would be very cool. Kept in good condition, it would only appreciate in value.
3. I could buy a used headjoint made by a premiere maker whose work is well known. I have emailed several people who are selling wooden headjoints. (Chiff & Fipple Flute Forum and UsedFlutes.com are good resources for second-hand purchases.) If I could get one small enough for my flute, it might be easier to sell it later. It could be fitted to larger diameter flutes with a little teflon tape. Based on the ads I read yesterday, it seems like people accept teflon tape as a reasonable solution for a headjoint that gets occasional use when a woody sound is desired.
4. I could see if Peter Noy or another of the premiere headjoint makers would build a wooden headjoint to fit my Haynes.
5. While playing both the Sedona combo and my Haynes over the next few days, I will once again revisit the notion of sticking with the Boehm system flute for Irish music. Maybe that idea is just flawed to begin with! (apologies, Joanie. After all, there are exceptions to every rule.)

So that's it. Sometimes I wonder why everything in my life becomes a huge project. That's a rhetorical question, so please don't comment! If, however, you have any words of wisdom to offer before Tuesday on the flute dilemma, send them my way. And stay tuned for the next exciting chapter in this blog's continuing flute saga.

© 2008, Linda Mason Hood
Truffles, Turtles & Tunes Copyright Statement

Truffles, Turtles & Tunes Copyright Statement

Copyright laws may be complicated, but the basic underlying concept is pretty simple: original material created in some tangible form is protected and can’t be copied by others who would claim credit for it. This is an international concept dating back to the Berne Convention for the Protection of Literary and Artistic Works in 1886. The United States and most other nations subscribe to this treaty. The US also maintains its own copyright laws which reiterate the fact that all material is protected automatically, whether it's registered with the US Copyright Office or not. Material is protected upon creation, whether or not a copyright notation containing the familiar © is displayed. Generally speaking, copyright protection is in effect for 50 years beyond the life of the author.

As I explored the area of copyright as it relates to the internet, I noticed that many sites make specific statements about copyright. In trying to think through these issues, I've jotted down my own intentions, principles of use, and terms and conditions for redistribution of material from my blog. Please contact me via the instructions below if you have any questions.

Statement of Intent

• My blog is a means of creative expression.
• The goal of my blog is to publish material that's informational, educational, hopefully somewhat entertaining.
• My blog is definitely a not-for-profit endeavor. I don't gain any monetary benefit from any of my posts. Even when I'm writing about my own musical activities, I am reporting, interpreting, or reflecting upon my performances, not advertising them. (And in most cases, I wouldn't gain any profit even if I were advertising!)

Principles of Use

1. Posts that were derived in any way from the writing of others have been footnoted or referenced with links in the body of the post. 
2. I do not use direct links or commit bandwidth theft.
3. Any photographs without a credit are my photos. Please do not use them without my permission.
4. Photographs or graphic images created by others and used with permission are identified.
5. In cases where I have attempted to get permission but the owner could not be located or did not respond, I have given appropriate credit. (If I have used your image without obtaining permission, please contact me.)
6. In informational or educational posts where I've used a copyrighted image belonging to an educational institution or organization, I have displayed their copyright information.
7. On posts about books, I have used low-resolution images of book covers. I believe this constitutes "fair use" under US copyright laws for the following reasons:

• The book cover is used to identify the book, a function for which no free-use image is available or can be substituted.
• The cover of the media is not the actual content specifically being sold by the publisher of the media, and therefore the commercial impact of this distribution is minimal or nonexistent.
• The cover image is uploaded at a low enough resolution that it cannot be effectively used to create counterfeit printed copies, nor does it compete with other official printed materials (if any) by the publisher that use this same image.

Terms and Conditions of Redistribution

1. You may use original material including pictures from this site for non-commercial and/or educational purposes if you obtain permission and give me the appropriate credit. I consider “appropriate credit” to consist of the following:
   
   Internet use – provide my full name and insert a link to the individual blog post you’re referencing or which incorporated the picture you are using. For example, beneath a picture that you are using, include this text: Photo courtesy of Linda Mason Hood, used with permission. Then, please insert a hyperlink to the post on my blog where the picture appears.
   
   Written material – provide a footnote which contains my full name, the post title and post date, as well as the URL of the post you’re referencing. Please note: The correct way to link to a single blog post is to click on the title of the post, then copy the resulting URL.


2. You may not use material of others that I have incorporated into my posts. I have their permission, but it does not extend second-hand to you. Feel free to contact me if you would like to ask their permission.
3. You may not use material from this site for commercial use unless you contact me by email and get my permission first.

To Contact Me...
Please email me at linhood46 AT gmail.com (replace the word AT with @).

Helpful Links
If you'd like to read more about copyright principles and use of graphics on the internet, here are some websites that offer straightforward and understandable information.
Law/copyright/FAQ section of Internet FAQ Archives
What is Copyright?
R.I.G.H.T.S.
Copyright Basics section of the US Copyright Office


© 2008, Linda Mason Hood
updated December 18, 2011