Potentials for 2015

Having finished “My Year ‘In C'”, I will continue the unfolding of my adventures in sound in 2015 and beyooond! The new blog will be “Jude’s Soundlings (did you hear that?)”, and will be hosted here on WordPress. In the new blog I will continue my very basic and simple exploration of sounding the world/sounding my being/sounding health and healing through creative action. I aspire to stay freshly curious and naive in this exploration. I am no expert in anything, I have nothing to teach, but I love to play! If anything I say or do sparks some naive curiosity in you, please share it with me through comments and/ or emails and, of course, your own creative actions.

Here is a sampling of some potential actions for the coming year:

Jody Cassell and I will continue our work with movement and sound. I appreciate the support and encouragement we have received from ADF, Durham Arts Council CAPS program and all the participants in our classes. We will be finishing up our school residencies and adult studio classes through the BCBS/ADF grant in the Spring. We are also excited about a new affiliation with Leah Rutchick and her Durham-centric Activities meet-up group.

Trudie Kiliru and I are (finally) getting serious about collaborating on creative projects. Christmas Eve we began brainstorming for questions we want to explore in our art. We are interested in the evolution of consciousness, the healing of the childhood pain profile, and how to create stories in our art that are not locked into linear narrative nor defined by dramatic arc. Oh, yes, and also physics and sacred geometry. The spiral and the wave. Alrighty then, we got some stuff to work with- more on this adventure later. (The wait is over- we are exploring the idea of “home” and all the actions that go with that idea – “leaving, going, coming, longing for, where is it? ” We are so excited with such fertile ground.)

Two projects in the planning stages are more soundscapes for art exhibit openings and creating a long form free dance piece for a NIA class Patti Reiser is planning. I am working on a Halloween soundscape for Allie Mullin’s photography show next October.(Scary!!) I have indicated interest in creating soundscapes for NC artist’s Juditta Musette and Debra Wulliger in the coming year. I hope to work with Libby Lynn again. If you are a visual artist planning a show and interested in having an original soundscape inspired by your art, please contact me. Examples of soundscapes can be found at https://soundcloud.com/dejacusse/tracks. I am setting up a Bandcamp site where folks can download my work for a small fee. (Thank you for your support!)

I would dearly love the opportunity to diffuse a soundpainting through multiple speakers. I would like to be able to actually mix and move the parts in acoustic space. This is possible and I have most of the equipment to do it. This is coming, I know. After playing the Bass and Percussion version of “In C” I would love to play that piece in a club as part of an evening.

I am working on a soundscape dedicated to my brother, Paul, who died last month under very tragic circumstances. I am using sound and music to express all the confusion, sadness, regret, loss and hope that I am feeling and as a way for me to mourn his loss.

I am a loving, caring womanhuman (whuman?) and I want to act that way more frequently than I do. I can get quite righteous with people who (I feel) dismiss me, although I have done the same to others. So I will continue to be as open and willing as I can be in each moment. I really want to learn what in the world is my business- meaning that in the broadest terms, such as what is my concern, what talents do I have to offer this concern, etc. The mediated world distracts me with making all concerns my own. To feel so is to drown in despair and ineffectuality. Away from that world there is a field where we learn what we can really do, and it is usually less than we think. That has been my experience, many would call me part of the problem, apathetic, frightened (that one bares looking into), but I can see too much to continue participating in more than a cursory way. This is because I want to focus my energy on the future and creating a higher vibration on and within this planet, this Universe and beyond.

Thanks for reading! Please join me at “Jude’s Soundlings (did you hear that?“) next year.
Don’t be discouraged; be love!

Mixing it up

With all of our ADF classes completed for the Fall, attention can be focused in the studio. There are always abundant projects to be developed and finished. Finishing is getting a recording of a tune or soundscape that represents the piece as a “hard copy.” Since most of my Ableton Projects are works in progress with space available for others to chime in, it is possible that there will be multiple and very different versions over the lifetime of a piece. As with “In C”, the parts (clips and some animation) will be the same with each hearing, but how they weave together to create a whole and the fullness of that whole is subject to the Now and who else is in it. It is my hope that many of the soundings of my compostitions will be only in that moment in time, never to be heard again, while the core of the piece will always remain.

In order to get a hard copy, I put the voices together in my favorite room to play – my head. I am playing in that space like I never have before. Paying attention to which voice is where, how much space the voice takes up, and how it fits in or stands apart from the other voices. All of these considerations are to further the storyline of the piece of music. And listening through headphones is one experience of it, while listening through monitors is another. As I create the mix for headphones, the position and movement of the voices is a big priority. For example, there is a processed shaker sound during Phrygia: Hera’s Saga that feels as if it moves right through my head thanks to the panning effect on it. When this sound is played through monitors, there is a feeling of it moving up and out through the room, so the direction and distance the sound travels comes across quite different to me in each of these diffusion settings. I want to experiment with different ways of mixing with different priorities for these two modes of experiencing.

The mix for Phrygia: Hera’s Saga has gone through numerous transformations. I have a mix of the first two movements Waken and Move that I am very happy with. The voices blend when I want them to blend and stand apart when I want them to stand apart. The sound is full and the voices dance around in the mix, taking turns being up front. The last three movements The Chase, Catch the Shadow and Kundalini Joy have been more difficult to mold. I have a good recording and have spent hours sculpting the mix. While engaged in this process, I am consulting Bob Katz Mastering Audio and Mixerman’s Zen and the Art of Mixing. Both these guys have alot of mixing experience and they have very different approaches with lots of good info.

One of the techniques I was working with in The Chase was an abundance of reverb tail on two instruments, which I liked playing around with to obscure the attack on the fundamental tone. This type of sound is often refered to as “muddy” in the mixing world. I find it rather magical to have the entire soundscape awash in reverberant harmonic tones. As with most magical things, this needs to be used wisely and not excessively. I am bordering on excessive in this piece partly because I am using the reverb tails as a background wash for the main themes, AND the lead instruments are providing both the main theme and the harmonic wash. A plucked samisen and vibes are the lead instruments and they mirror at times and interact at times. This morning I used some EQ techniques suggested by Bob Katz. I used an EQ 8 on the strings because they are providing most of the background wash. I ended up using a spectrum to identify the main fundamental tones in my high end material (bells, tamborine, shaker) and then dipped these tones out of the plucked samisen. This seems to have worked in that I still have plenty of reverb wash, but it isn’t constantly overwhelming the spectrum. The high end parts were accelerating some harmonics in the main instruments, now they have there own space and the harmonics are backgrounded more.

I accidently discovered a commonly used mixing technique that mixes two different Ableton renderings of the same track, with slightly different animation, together in Audacity. What had sounded weak and tepid now has presence mixed this way. This is called “double tracking” and is a common practice when mixing tracks of vocals or guitar on band mixes. Part of the fun of my work is that I have alot of resources about mixing and mastering audio, and I have to figure out how to apply these concepts within the virtual realm in which I work.

Mixing Phrygia:Hera’s Saga down to a thirty minute hard copy took many weeks and required many breaks to rest my ears. This piece has a bright sound especially initially and, while I like this sound, I am aware that it can wear ears out especially through headphones. When I listened to the entire 29 minute piece, I hear a frequency movement that begins low mid range, then moves high and then ends with a growling, rumbling bass taking a main theme at the end. While I have a full recording that mixes the whole thing as one piece, I ended up putting the piece into two tracks on my Bandcamp site. I have this as an album, and I may add some other tracks I have been working on over the course of this year. The main thing is that this is for Sarah Sage and all that she gave to me. I am so thrilled that she has emerged from her medical trial by fire with so much strength. I am not surprised as I know very intimately the healing capacity of the great love she carries. My constant prayer is that she will allow herself that healing and not just look to her tribe and their experts for how to proceed on her path. This prayer is sent forth in the music that comes from remembrance.

Finishing Touches

So I am coming down to the home stretch of “My Year ‘In C'” and I want to end as I began with posting at least every week. I have no plans to play “In C” anywhere, but I will continue to play with the slices and songsets. Using the patterns of “In C” as little Lego blocks of sound and putting them together in different combinations has grown my compositional ear and my personal sound aesthetic. There are so many possibilities in the sonic world that is laid out in this piece of music. “In C” questions all the assumptions we have about being in tune and being in time when making music. When we loosen our grip on what we think things should sound like and pay attention instead to what we are hearing and what is emerging from our attempts to articulate that hearing, whole other worlds open up. Those are the worlds I want to continue exploring. I have so much appreciation for Terry Riley and “In C” for opening so many doors.

Opening and closing doors is THE metaphor for the year 2014. The Full Shanti played our last kirtan together on New Year’s Eve at the Raleigh Dances of Universal Peace. Sotar and I continued to play together until he left for Yogaville in September. So the door closes on our sweet kirtan band experience. The door opened for more soundscapes and composing through my work with Jody Cassell and ADF. Beginning with creating a dance piece for Rodger Belman’s summer ADF class to Moving Meditations and Embracing Health Through Movement to residencies in several local elementary schools, the twin vortexes of productivity and inspiration, coupled with the amazing networking skills of Jody Cassell, blew this door wide open. Two years after my official retirement I am no longer administering vocational evaluations for Person Industries. Door closed. Opportunities to perform soundscapes continued in 2014 with “Phrygia: Hera’s Saga” at The Makery for Allie Mullins photography exhibit in August and “Won Gone” performed at The Won Buddhist Temple bazaar in October. Several other artists have indicated interest in soundscapes, so this door is opening wider into that future.

Then a very large portal into the past, the year 1984 specifically, opened up. The Universe urged me to reconnect with people with whom I have shared great love and great creativity. And there are so many wonderful people, and two of them were predominant in my 2014 heart-breaking open. In the Spring, a woman I deeply love became ill and she was using Caring Bridge to communicate with her friends and family. Reading the journey she and her wife were taking through this heavy lesson opened my heart again to the memories of our time of loving, which was very powerful for me. I am so overjoyed that we have even the slightest of connection now. (Door open!) I am so grateful for the tremendous gift of love she gave me. She has come out the other side of her illness, and will be using her innate healing skills to deal with any future problems (that is my deepest desire for her.) Then a door closed in early November when my youngest brother, Paul, died. I am simply stunned and not believing that this has happened. I am looking for the lessons, questioning what it means to love, to be a family, what we come to believe about ourselves based on what we think other people feel about us. And once again I am reminded that I can help people, but I can’t save them. As much as I wanted to save him, as much as I think I should have been able to save him, I could not do so. I am paying attention to secrets and lies and how they can really damage self and others. And I am channeling grief into sound and music. This is a rough draft of a soundpainting called Keening.

I allow a stridency and hysteria that is looked down upon amongst my people. Listening brings discomfort and distance, laugh or cry wherever that discomfort takes you. The laugh means “I am not ready for this”. The cry means “i am letting this (come and) go”.

All finishings touch me.

Music as Medicine

It has been very exciting to create several new pieces of music for the classes that Jody Cassell and I presented under the auspices of the American Dance Festival this Fall. The classes focused on health and wellness through movement and sound. I am studying Kay Gardner’s Music As Medicine audio workshop, and used what I am learning there in creating the sound sketches for these events. The healing potential of sound is studied and used by many people from ancient indigenous cultures to contemporary healing communities- including some HOSPITALS!

Embracing Health Through Movement met for four Tuesdays in a row at the ADF Studios in Durham. Our focus was on using dance movement patterns and sound to promote the growth of neural pathways and shift cellular vibrations on a subtle level. Here are some of the techniques we used:

Laban’s Dance Scales – these are groups of movements that bisect planes and cross mid-lines, thus shaking up habitual movement patterns and creating new neural pathways. These scales work with sequencing and memory, as well. Learning the dimensional scale and parts of the A Scale, challenge and invigorate the central nervous system and the brain of the mover. Both scales are sonically supported by accelerated harmonics, a concept I will explain later. Much deeper and more meditative than aerobics, the dance scales encourage the relaxed and grounded place from which to receive the full benefit of a later aerobics class.

Sounding the Organs and Glands – using the research of Kay Gardner, Barbara Hero, and Hans Cousto- I developed soundscapes for toning at frequencies of health for particular organs. During the first round of classes, we toned the D as an overall cellular entrainment, then the F# for the “high” heart or thymus. (Tarzan beating his chest is the visual metaphor for “thumping the thymus”, an energetic practice that is simple and boosts immunity.) The final week we pinged our pineal glands to open up all the new energy information coming to us each…minute, second…

Peripheral Massage – each week, Jody lead the group in either foot, hand or facial massage to stimulate those places in our bodies where all the nerves end up.

Jin Shin Jyutsu- an energy and meditation technique that involves holding the fingers of each hand for a certain number of breaths and with different intentions. This technique had a profound effect on several participants, who spoke of using it outside of class to help them focus and ground themselves.

Developing the soundscapes was exciting and challenging as Jody and I became clearer in our focus on really deep level healing. As the sound artist, it is important to me that people in the class feel the vibrations of the music as well as hear them. As the movement leader, it is important to Jody that her instructions be heard by the class members. By paying close attention to each other, I could ride the fader, placing the sound underneath Jody’s voice or out into the room when everyone was moving. This worked well and will be refined and developed along with the rest of the program.

The idea for accelerated harmonics comes from listening closely to the timbres of various electronic voices overlayering tones within acoustic spaces. By combining two voices that share some of the same sonic spectrum and manipulating the mix of those voices, certain frequencies can be given a bump at moments during the playing of the soundscape. This manifests like a singing bowl or a beat wave with a kind of throbbing and swelling of the sound as it moves toward decay. The difference between the accelerated harmonics and a beat wave is in the regularity of the swell. Beat waves have a steady back and forth feel, while accelerated harmonics are more like a bump. I envision it working like a balloon being bumped up in a crowd of people in slow motion. The music that I love – jazz and classical – both use this approach to create swells of sound and unusual timbres in the music.

I got a chance to play with this acoustically when one of the dancers brought a singing bowl to class. We were toning the F# for the thymus. As the woodwinds and strings of the soundscape pulsed a slow F# swell, I pulled sound out of the bowl with greater and lesser amplitude. To my ear, it was as if the bowl sound was caught in a sonic net of frequencies from the soundscape. The bowl sound became like the wind in a sail pushing the soundscape frequencies out into the room a bit longer, then letting them drop off. For me, it was a deep sonic ride akin to surfing or skiing. In addition to the primary F# tone, I provided an improvised addition of the fifth above F#, which is recommended by Kay Gardner to provide balance.

So accelerated harmonics is an area I want to explore with my ears using electronic midi instruments in conjunction with acoustic phenomenon in reverberent spaces. Some ways to explore this are to design more sound experiments in the Sun(Ra) Room, record soundscapes in the rooms where I play them (I can’ t believe I have not done this yet, but I haven’t), study and work with harmonics and overtones, study mixing and mastering techniques, use my voice as an accelerator, learn to read a spectrum analyzer, and many more to be discovered.

Here are two examples of the half a dozen music sketches used in the Embracing Health through Movement class in the Fall of 2014. The first one is Eeeeeepineal which can be used for toning the pineal gland on the syllable “eeeee.” The other is called Displacement and was used for the “brain dance” sequence that Jody lead each week as a warm up. This piece has a displaced downbeat due to the phrase being 3.3 measure long. Even with the foreshortened phrase, the repeating loop creates a regular, if unusual, pattern. The dancers feel the piece as “a little off” at first, but the regularity of the repeating loop invites entrainment. That feeling of getting in sync, that click, that ” oh, yeah!”, can be an indicator of new nueral activity. Pretty cool!

We plan to offer the class again in the Spring 2015. I hope to see you there!

Something About Waking Up

Going through the Jude’s Tunes file, I came upon a piece called “Awaken”. Hmmmmmm, I had just titled the first part of another piece that same thing. So I listened to it and heard immediately why it was called “Awaken” – this piece tells a story of waking up to the heart-opening joy that lies in the midst of chaos. The place of the true anarchist! So I renamed the piece, “Into Great Lightness”.

This piece exemplifies a sound painting to me. The theme is one of emergence and unfolding. The point of view is first person, which means that headphones give the full experience of the piece. The movement is out and through. The ending is not right- as is so often the case! I invite you to listen to it again with these ideas in mind. As with most painters, I am curious if others hear the story, or a variation on the theme. It amazes me that so much can be said with just 12 tones in shifting relation to each other.

I want to wake up and I want to sleep. Daily I feel less of the world, and yet more in the world than I have ever been. While oppression and injustice abound, none of it seems to hold a candle to the self-inflicted variety that most of us suffer from. I think the institutionalized oppression is the mirror for our own focus on suffering. One of the ways to shift the oppression is to focus on the day-to-day joys within this gift of lived experience. Most everything else is none of my business.

Phrygia (Hera’s Saga): A new soundscape by the idiosyncratic beats of dejacusse

My dream is to co-create musical soundscapes for dance, theatre, yoga classes and art galleries. I am living this dream as I speak it. Since retiring, I have had the opportunity to create soundscapes for dance and art galleries. My next art gallery soundscape will be performed on August 15th at The Makery in conjunction with photographer Allie Mullin’s show Svadhyaya: Discovering Self Through Asana. I feel very connected to this idea as I have experienced shifts in my physical/emotional/spiritual body from doing yoga asanas.

I began the soundscape as I usually do by ear searching through the Ableton library for some basic sounds for the current project. Percussion and plucked strings came to the forefront, and I began laying down ideas. Several ambient synths made their way in to fill out the opening sonic pallette. Then tempo became a powerful consideration. I began with a languid, trance-like rhythm, perfect for the grounded still place from which asanas are approached. Now there was a need to energetically engage. The beginning tempo was 120 bpm, so I played around with increasing tempos and layering in more parts. For the grooves, I focused on a broad drum kit that contained pretty much every percussion hit one could ask for from samba whistles to four different floor toms to cymbals of various diameters and tonal qualities. Then I added a drum rack that was as small as the first one was large, containing maracas, cymbals, tamborines and agogo bells. These two racks allowed me to work out some lovely groove varieties that can be pulled in at whatever tempo at any given moment.

I got stuck mid-week- caught up in melodic figures feeling too facile, not enough depth for my ear. I am working in E Phrygian mode which makes E the tonic of the primary scale for the piece. In terms of chakra tones the E is related to the heart chakra, which feels very fitting given the theme of Allie’s exhibit. While E Phrygian is a natural minor mode, it can be shifted to a dominant mode by raising the third degree of the scale. So I played around with that for a while. Ableton allows me to play parts into a clip using a midi keyboard or I can insert a clip and draw in the notes where I want them. I can move notes around, change the grid to accommodate note lengths up to 1/32nd. I can adjust rhythmic relationships and even build in a “live” feel by adjusting quantize settings to less than 100%. I once told a friend that Ableton allows me to manipulate the molecules of music!

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Here is a screenshot of my Ableton template so far. The columns on the left are tracks that contain clips. Each track houses a particular instrument voice. Each clip is a phrase that can loop or play once or repeat two, three, however many times I choose. I can set the loop to play for a certain number of measures and then trigger a new behavior. The column on the right is the Master fader and trigger for each scene. The lines across are referred to as “scenes” which are full of melodic/rhythmic statements. The entire piece is divided into 5 sections that get increasingly faster with more complex layers. Sorry the picture isn’t clearer, but it gives you an idea of what I am talking about with using Ableton.

“In C” is influencing my approach to the work as I develop patterns that can be played in unison, or overlapped in counterpoint and still have sonic integrity. This is where things get fun. The melodic instruments I am using are a plucked samisen (a three-stringed Japanese musical instrument), a bass, something called New Age Strings, and, of course, vibes. I LOVE the sound of vibes and I doubt I will ever create a piece without them. I frequently end up crafting a long, conversational melodic line with them; no hook, just a stream of conciousness flow of intervals. I will someday challenge myself to solo for as many measures as I can. For now, the final scene, at 300 bpm, will be the space for the vibe conversation. It will be my Pattern 35.

I am spending this second week of work finding the organizational flow for performing the soundscape. How will I move from one scene to the next? How do the clips overlap rhythmically and sonically as the tempo rises? Today I color coded clips by scene and instrument type. I named some of the rhythmic clips so I would have an idea of the feel of each one. Some of the big drum kit grooves may need some tweaking. I am thinking about moving forward and then backward through the scenes. I want to add in some acoustic sounds like vocalized Sanskrit words and some rattles and bells.

This afternoon I played the piece forward through four tempo changes and then back three. I am really happy with the way the clips all hang together through all the tempo changes. I have some momentary off the beat grooves on high bells that really give a kick at the right moments. The piece ran 37 minutes- I was laughing with Trudie that my soundscapes always seem to come in at about a half hour- the length of my attention span! (Not bad) Anyway, I listened to the whole thing again and got this idea to take a half a dozen hand percussion instruments and invite the folks at the party to “talk” to the soundscape. Anyone who wants can carry one around and just talk back when they notice something in the sound as it unfolds. I think this would be cool.

Here is a sampling of the opening as it is at the moment:

So now I have a satisfactory backup recording to load onto the Ipad- I always like to be ready in case my main computer malfunctions. (Jody Cassell has ingrained in me the need for having backups. It is a smart practice.) And I am feeling very good about this piece being able to extend over a long period of time. The first section ran 8 minutes and it could easily go 20 maybe 30 minutes. The fastest section is short and then I start moving backward through the piece bringing the tempo down. I discovered (for myself; you probably knew this already) that raising the tempo abruptly works most of the time, but lowering it abruptly, not so much. So I will map the tempo adjustment to a knob on my interface so that I can turn it down slowly. This will also allow for a lengthening of the piece.

The name came to me as I sat drinking a spicy tea which warmed me into a lucid dream state. “Hera’s Saga” is an anagram of a special name for someone with whom I have a deep heart connection. Plus Hera was the Goddess of Marriage (particularly fitting in this case) and the reigning female deity of Mount Olympus, the home of the Greek Gods and Goddesses. Sagas are, of course, stories. “Phrygia” refers to the E Phrygian modality the piece is rooted in. I was looking for a Sanskrit name, but this one seems right and good to me. Reminds me of younger days when I thought I had finally found my religion in Wiccan/Goddess Spirituality. So powerful to move from a lifetime of God as old white guy to the vast, suppressed history of female deities.

Isis, Astarte, Diane, Hecate, Demeter, Kali, Inanna. One of my first chants.

I digress. If you live anywhere near Durham, NC and are up for seeing some wonderful photos and hearing some awesome grooves, please do come!

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My Secret Identity

I adopted Rob Brezsny as one of my long term gurus after reading Free Will Astrology/Leo horoscopes in The Independent for a year. Week after week, Rob would speak to some important aspect of my life or get me asking questions through the lens of his oracular perspective. Then there were the occasional weeks when I scratched my head and forgot about it. But he was with me enough to get me interested.

Now me and thousands of others throughout the world are friends with Rob on Facebook. Rob sends us beautiful pictures, essays, poems to start your heart, ideas for mayhem and assorted baubles of joy every day, often multiple times a day. Rob’s book “Pronoia is the The Antidote to Paranoia” is my Bible. A lot of what he shares comes from there.

On July 28, 2014, Rob’s newsletter contained this homework assignment:

Make up a secret identity for yourself. What is it? How do you use it? Testify at Truthrooster@gmail.com.

My Testimonial:

I have never known what to do with my power to go unnoticed, to fly under the radar. Then I realized this is the space to cultivate my secret identity-The Love Sniper.

When I am in a public place, I love watching people. While I watch, my mind makes random and usually unhelpful comments (“bad haircut”,”nice jacket”,”love those shoes.”) But then, all of a sudden, I will REALLY see one particular person. I zero in on that person, I breathe into my heart and shoot love energy out through my eyes. I pull the trigger of my mind which shouts “I love you!” loudly, fiercely, with a steely compassion. The person is struck, then moves on.

Heart open, mind quiet, I await my next victim.

Day 2:

Today I discovered that I am not the only Love Sniper around. I was in line at Costco; the clerk was a tall, muscular guy with short brown hair in small spikes down over his forehead. His face was full of tension, like a permanent scowl. He appeared to be in a great deal of emotional pain. I was preparing my heart with breaths, ready to shoot nametag “Tim” with a love shot, when I noticed the man in front of me. He was shorter, rounder and slightly older than the clerk. He wore droopy red basketball shorts, a baggy t-shirt and a ball cap. As he waited for his change, he looked deeply at Tim’s face. I watched his eyes move tenderly over his scowling countenance. He never dropped his gaze as he gently said, “Thank you, Tim” and took his change from Tim’s hand. When I moved up, Tim did not make eye contact, but I noticed a slight ease in his demeanor. Nice job, Brother Love Sniper, nice job!

Day 3:

I got sniped today by a tall man waiting for the bus. I was walking in downtown Durham, and as I approached him, he got a big smile on his face. Our eyes met as I got nearer and he said, “Good morning!” and I gave him the same love back. I felt lighter and full of joy.

Day 4:

As I walked up the steps from the Durham Farmer’s Market, I was behind a young woman carrying her toddler son. He was bouncing his face off her shoulder and saying “I love you” over and over, then she kissed his head and said, “I love you, too.” Just then he and I made eye contact. He smiled, then hid behind his Mom – a Love Sniper-In-Training.

It appears there is an army of Love Snipers out here. Feel free to join us.