T HE P RACTICE OF P RACTICE This is an early draft of the first few pages of the book. Thanks for taking the time to chek it out. If you have any suggestions or would like to receive a 30% discount when the book is published, send an e-mail to:
[email protected] cheers, Jon Harnum
ALSO BY
Jonathan Harnum Basic Music Theory: How to Read, Write, and Understand Written Music Sound the Trumpet: How to Blow Your Own Horn All About Trumpet Basic Jazz Theory: Parts 1, 2, & 3
T HE P RACTICE OF P RACTICE GET BETTER FASTER
JONATHAN HARNUM
Sol Ut Press sol-ut.com
Prol o gu e
THE ROAD TO HOPE AND BEYOND
To travel hopefully is a better thing than to arrive. ~ Robert Louis Stevenson, author (1850-1894)
I
WAS DRIVING TO HOPE, ALASKA IN A VOLKSWAGON camper to play unfamiliar music with strangers when this book first seemed necessary, over ten years ago. My guts churned with a nervousness that was six parts excitement, four parts fear, or maybe it was the other way around. I looked to the back of the van for the umpteenth time to be sure I had my trumpet, mutes, small percussion instruments, and the allimportant microphone Alan Bent—who I had yet to meet in person—had requested. I was nervous for three reasons: I’d never met Alan or any of the other players in Jazz Farm, a Gypsy jazz combo; I feared my improvisational ability was not up to the level needed to play this challenging music and that attempting to do so would be an unpleasant public embarrassment (I was right on both counts); and I was running late. The information in this book would have helped me embrace the trepidation I felt then in the van and on stage later, and allowed me to recognize it for what it was, an important aspect of learning: failing better. THE PRACTICE OF PRACTICE | 1
As most everyone knows, VW campers are built for comfort, not for speed, so going faster wasn’t an option, even if the road would have allowed it, which it didn’t. This particular camper was a wedding present from my wife’s wonderful grandparents, and we had just returned from a two-year honeymoon road trip. It was because of that trip that I was on my way to Hope to flail around musically in public. During the über road trip I had vowed to overcome my fear of improvising and performing by playing with anyone and everyone who was interested and willing to let me play with them. While camped at Los Cerritos, a surf beach just south of Todos Santos, in Baja, Mexico, I met some friends who knew Alan and Amanda Bent, the two guitarists in Jazz Farm who I was about to meet for the gig in Hope at the Seaview Cafe. Nervous as I was, I tried to console myself that the audience would undoubtedly be very small. Twos of people, most likely. The band would probably outnumber the audience, a handy thing if a fight broke out. Hope, Alaska, population 165, sits southeast of Anchorage on the Kenai Peninsula, twenty miles as the raven flies but an hour and a half by road. It’s a gorgeous drive even though my anxiety wouldn’t allow me to appreciate it at the time. The skinny two-lane road hugs the silty shore of Turnagain Arm. Except for the brief flat spot of road, the southernmost peaks of the Chugach mountain range rise up directly from the narrow inlet, a narrowness which causes one of the largest bore tides in the world. Surfers love bore tides because, if you’re good enough to catch the incoming wave, you can ride it for a long way. Bone-white beluga whales rose from the gray water like fat ghosts as they fed on squid and small fish. Surfers bobbed on their boards in the frigid silty water as they waited for the four-foot wave of the bore tide to take them on a ride that might last up to a mile if they could stay on the board. Goat families on the cliffs above the road stared 2 | THE ROAD TO HOPE AND BEYOND
placidly down at shutter-snapping tourist families below. Much as I wanted to stop to watch the spectacle that is summer in Alaska, I couldn’t. I was late and too nervous to appreciate it anyway. During the long road trip honeymoon—as happy as I was penniless—I’d rediscovered the joy of playing music, improvising, and most of all, the peculiar frustrating joy of practice. While in Mexico, I practiced for two or three hours each morning a few hundred yards down the coast in a beach chair with a mute in my horn. Even though I’d been playing trumpet for over twenty years at that point, and had six or seven years in on guitar, I was still trying to figure out how to practice in the way most of us learn to practice: through trialand-error, alone, with little to no information. In the ten years since that trip, I’ve continued to learn more about practice, and a lot more about music learning in general. My journey to better understand practice led me to Chicago where I’ve been incredibly lucky to hear some of the best musicians on the planet, and talk to some of them about practice, too; you’ll meet some of them in this book. While in Chicago I earned both a master’s and PhD degree in music education from Northwestern University, a top-tier music school. I’m incredibly grateful to all the wonderful professors and colleagues I met and learned from during my studies. In the course (and courses) of my quest to understand practice I’ve read hundreds of research studies and have conducted formal research of my own into practice. I’ve talked about practice with some of the best musicians anywhere in many different traditions: jazz, classical, and pop, as well as other genres like West African djembe, Australian didgeridoo, and Brazilian samba, just to name a few. But all learning is nearly meaningless unless it’s used, and so I’ve been applying and experimenting with my own practice in order to discover what strategies, techniques, and JONATHAN HARNUM | 3
patterns of thought help me get better. Most work, some I’ve had to tweak for my own purposes, and some just don’t make sense to me yet; and may never make sense, at least for a trumpet player. This is the best way to aproach the information in this book yourself: don’t take my word for it. Try these things out, change them, adapt them to your particular needs, and above all, experiment. Buddhist monk Thich Nhat Hanh said, “Our own life is the instrument with which we experiment with truth.” Sage advice. Over the last ten years of study, I’ve learned a lot about practice and as with my previous books, it’s my goal to share what I’ve discovered in a way that I hope you, dear reader, find both useful and engaging. These discoveries are attitudes, strategies and philosophies that musicians of every caliber apply to our pursuit of playing music better, and they work. They can work for you, too.
Music-making Should Not Be Left to the Professoinals At this very moment across the globe, cases are being opened, bows are being rosined, mouthpieces inserted, reeds wetted, strings tightened, and drums are being tuned as millions of people of all ages from every walk of life sit down to make sound with their instruments or with their voice. Millions of households in the U.S. alone have at least one musical instrument in them, and Many who start playing an instrument will give up on making their own music, and though the reasons for this are myriad, one main cause is what I call the disease of professionalism. We tend to believe that what one does should be done well enough that otheres will pay us to do it as a professional. While this might be a good thing in business, it’s a disasterous philosophy when applied to the arts. 4 | THE ROAD TO HOPE AND BEYOND
We’ve all heard the lame excuse for why people stopped playing music, or painting, or dancing: “I just wasn’t good enough at doing it.” The benefits of artistic pursuits run much deeper than doing them well, let alone getting a paycheck for doing it. Both of those things are nice, of course, but not the purpose and sometimes are in opposition to the pursuit itself. But this isn’t the only reason people stop playing music. Another reason people get frustrated with learning to play music is that they don’t get better, or at least don’t perceive any improvement. This is most definitely not because they don’t have some natural “talent” or “gift.” Both of these notions—according to a lot of research I’ll introduce you to later—appear to be utter bullshit when it comes to being good at anything. It takes practice to achieve even the most basic level of competence, but not just any kind of practice; it’s got to be the right kind of practice. People aren’t getting better because they don’t know enough about practice. This can mean many, many things, and you’ll discover many of them in this book. Even though the principles in this book can be (and are!) pathways toward becoming a professional musician, that is not my goal in writing it. My goal is to give practical knowledge to the tens of millions of happy amateurs out there who want to take their music to the next level. This book is for beginners, comeback players, parents of budding musicians, as well as teachers and professionals, too. But this doesn’t exclude those with a burning desire to make music for a living, whether you dream and work towards being an indie rocker, singer-songwriter, jazz hipster, classical soloist, or the best nose-flautist the world has ever heard. This book is for those of us who love to play music and who want to improve as much and as quickly as possible. If your goal is to be a professional musician, that’s great! But I like to keep in mind what Michelle Shocked said: “Musicmaking should not be left to the professionals.” JONATHAN HARNUM | 5
Nobody is so good they can’t get better., and nobody has such utter lack of ability that it can’t be improved. I’ve talked to world-class musicians, people who have been playing phenomenal music for decades in some cases, and nearly all of them are still working diligently to get better every time they pick up their instrument. They’re still trying to figure it out, too. You’ll meet some of them in this book, people like Rex Martin, tuba player in the Chicago Symphony Orchestra and veteran of thousands of commercial recordings. You’ll meet Nicholas Barron, singer-songwriter extrordinaire who has an interesting philosophy about practice, and a not-sounique challenge to getting better that many share with him. Bobby Broom is a renowned jazz guiatarist who has played with jazz greats like Sonny Rollins, Art Blakey, and Miles Davis. He’s one of my favorite Chicago musicians and you’ll hear from him, too. You’ll also hear from my own experience as a practicing musicain, mostly some of the foolish things I’ve done during my ongoing quest for musical understanding. Foolish, but necessary, I should add. And speaking of which....
Hope Revisited At the Seaview Inn that night, when Amanda started in with her solid rhythm guitar, chunking away on 2 and 4 with Luke on upright bass, and when Alan began to play fluid melodic lines, I knew I was in way over my head, but it was too late to back out, even if that had been an option. With ears wide open, I launched into the experience. I’m thankful that attempt is lost to time. At one point an audience member (one of four) felt inclined to tell me, “You’re not as good as these other three.” Ouch.
6 | THE ROAD TO HOPE AND BEYOND
Despite the heckling, that experience was fun, nervewracking, and occasionally embarrassing for all the reasons you might imagine. I played many times with Jazz Farm over the next year, including a tour of Southeast Alaska that was a highlight of my summer. Later in the book I’ll introduce you to the Zone of Proximal Development, a zone I was in every time I played with Jazz Farm. One of the goals of this book is to show you effective ways to think about practice, introducing you to strategies that work (and why they work). I hope this book helps to provide you illumination on a piece of the map while you navigate your journey.
JONATHAN HARNUM | 7
HOPE IS THE THING WITH FEATHERS THAT PERCHES IN THE SOUL, AND SINGS THE TUNE— WITHOUT THE WORDS, AND NEVER STOPS AT ALL. ~ EMILY DICKINSON, POET (1830-1886)
| 7
THE CAPACITY TO BLUNDER SLIGHTLY IS THE TRUE MARVEL OF DNA. W ITHOUT THIS SPECIAL ATTRIBUTE, WE WOULD STILL BE ANAEROBIC BACTERIA AND THERE WOULD BE NO MUSIC. ~ L EWIS THOMAS, BIOLOGY WATCHER (1913-1993)
8|
Int ro du ct io n
O VER VIEW or
THE CHAPTER EVER YONE SKIPS
Maps encourage boldness. They’re like cryptic love letters. They make anything seem possible. ~ Mark Jenkins, adventurer, author
M
USIC PRACTICE IS A BIT OF A BLACK BOX, even for those of us who do it regularly. Inside the box are the secrets of good practice, but the box is tightly sealed. Not only that, but the box differs from genre to genre and even from person to person. Most of us have to figure out what we should put in this black box on our own. In the many conversations I’ve had with musicians of world-class caliber, nearly all of them said they had to figure out how to practice on their own, especially early on. As accomplished adults, few talk to their colleagues about practice, and those who do don’t talk much: a suggestion here, a strategy there. either. There are lots of reasons that practice remains something of a mystery, not least being the fact that practice is a personal, vaguely intimate endeavor. It’s a time during which we face our shortcomings (if we’re doing it right); it’s a time when we THE PRACTICE OF PRACTICE | 9
try to fail, and that is necessarily private, for most of us. It is for me, anyway. In fact, this is one of the memes I—and many others—hold about practice, a stereotype that I had to overcome in the course of learning more about what practice is and can be. One of my favorite musicians, Nicholas Barron, has a comnpletely different philosophy of practice, which I’ll tell you about in Chapter X. Mysterious though practice can be, there are some great teachers out there who talk at length with their students about practice and help them become more efficient at doing it. A great example of this kind of teacher is Hans Jensen, a master cello teacher who helped one of his students master a tough cello etude with just two minutes of practice a day! You’ll meet Hans later, too, as well as many other master practicers in these pages. There is more information that will be helpful to gain a high-resolution picture of what’s in the black box of practice. Part of getting a clearer picture is to look at what researchers have discovered about music practice, and human learning in general. There are six or eight fine books available on practice (see the bibliography in this book’s index for a list), but none of these books take a look at published research on music practice The purpose of scientific investigation is to see the world with greater resolution, and there are a lot of excellent research studies that help us understand effective practice more fully. It’s my goal to share this research in a way that translates the often dense academic research language into something that’s more enjoyable to read. So that’s the “why” part of this book. I wrote it primarily to clarify my own experience with practice and to synthesize the hundreds of resarch studies I’ve read, as well as a way to make sense of my own research into music practice. It is my goal that this book be used to help one think deeply abouut practice, and not just about the obvious “how to do it” stuff. This book also explores other issues 10 | THE CHAPTER EVERYONE SKIPS
surrounding music practice, or any endeavor. Many of these principles hold true for getting better at anything, whether it’s sport, art, games, or relationships. Let me take you through how I’ve organized the book and then we’ll get to how to use it.
Imagine you’re stannding in a stiff summer breeze that blows off Lake Michigan just north of Chicago. You hold a brightly colored pinwheel in your hand, each of the six blades a different color. You hold the pinwheel up into the breeze and the blades spin until the six hues become a blurry rainbow disc. Colors blend and blur as boundaries dissolve until it’s impossible to tell where one blade of the pinwheel begins and another ends. Trying to see those boundaries while the pinwheel spins is like trying to understand everything about practice: it’s impossible to see anything clearly. Good practice is also in motion and just like the pinwheel, we can winnow out a few things by looking at it in motion, but not in a lot of detail. You have to stop the pinwheel in order to see the distinct colors, the shape of the blades, and how they’re attached to the central hub of the toy. It’s the same with practice. You have to “stop” it in order to perceive how it works. Freezing practice to examine it is a lot like dissection: practice has to be “killed” in order to take it apart and understand it more fully. Living, breathing practice is more complex and interesting and magical, just as a moving pinwheel or a happily hopping frog is more interesting and beautiful and magical than the one sitting there lifelessly, not
JONATHAN HARNUM | 11
moving, not performing its function. Without the breeze, a pinwheel is just cheap colored plastic. But here’s where the analogy breaks down: a pinwheel is an amusing toy and there is no need to understand how it works, really. You can’t get better at using the pinwheel, you just hold it up to the wind and watch it spin. Practice is different. Practice isn’t a toy to be used for amusement, it’s a tool for improving your musical ability, a complex set of behaviors, philosophies, and practices (please forgive the pun) that are designed to help you get better as quickly and efficiently as possible. But you have to know about them in order to use them. And that, dear reader, is why you picked up this book. In speaking with professional musicians from diverse genres of music, nearly all of them told me that they had to figure out for themselves how to practice. This strikes me as both odd and sad. After all, if practicing the right way is so crucial to making good, steady progress, why is it neglected? For the coming practice dissection, no concepts were mortally injured and all were released back into the wild, unharmed.
Organizing Principle The simple principle behind the structure of The Practice of Practice has been learned by cub reporters and neophyte philosophers at least since ancient Greece, but I have a suspicion someone in China or Persia invented this strategy first. The simple principle is whimsically conveyed by Rudyard Kipling toward the end of the original version of The Elephant’s Child (1902):
12 | THE CHAPTER EVERYONE SKIPS
I keep six honest serving men: (they taught me all I knew) Their names are What and Where and When And How and Why and Who. My goal is to present this information in a friendly, simple, and engaging way. But beware! Just because the information is relatively simple and engaging doesn’t mean it’s all easy. Some of the simplest ideas will still kick your ass. And that’s a good thing. I agree with Charles Bukowski, who said, “An intellectual says a simple thing in a hard way. An artist says a hard thing in a simple way."
Part 1: What’s Goin’ On? What is practice, anyway? This section will answer in a general sense, how practice has been defined by others, what practice it is, why practice matters, why we do it, and how the essential techniques of practice are the same whether your goal is to become a world-class Master, or your goal is to simply improve your ability a notch or three. This section also takes a look at the effects of practice and what it can do for you mentally and physically, including the astounding ways it can change the very structure and size of your brain.
Part 2: Why ? Getting Pumped to Practice How do people stay motivated to practice? More importantly, how can you stay motivated to practice? You might be wondering how to keep your kids motivated to practice. JONATHAN HARNUM | 13
This part will introduce you to how motivation works, and how your secretly held beliefs about talent, intelligence and who is to blame for everything that goes wrong will have a profound impact on your motivation to practice.
Part 3: Who? You and Them In this section, first we’ll tackle you. Turns out that the beliefs and philosophies we hold about ourselves and the ways we think the world works have a profound impact on our practice and how we approach learning in general. In the motivation section, you learned about how your beliefs about talent and intelligence influences your motivation. In this section, you’ll learn who is to blame for the mistakes you make. The selected others who influence your practice include: teachers, idols, peers, role-models and parents. Some important others for many of the people I spoke to about their music practice are people they’ve never even met. In this section you’ll learn about people you’re stuck with and many that you can seek out to help you improve.
Part 4: Time, Time, Time, Is On Your Side (Yes, It Is) What time of day’s best to practice? How long? How much is too much? What’s the minimum I can get away with? How little is too little? Several sessions, or one long one? All of these questions are addressed in this section. But wait, there’s more. Another when to cogitate on is a developmental when. When is it too early to start and how does practice look for very young children? When are you too old to start and what is good practice for an adult, or an elder? How long does it take to get good and what are the stages of practice expertise? Find some answers in this section. 14 | THE CHAPTER EVERYONE SKIPS
Part 5: Where the Streets Have no Name: Practice Space and Place John Cheever, the suburban Checkov, would wake in the morning, shower and shave, put on his suit and tie and ride the elevator down to the lobby with the other working stiffs headed off to the office. When the elevator reached the lobby, Cheever didn’t get off with everyone else. He continued down to a small room in the basement where he would take off his suit, put it on a hangar and proceed to write in his underwear. This change of place helped Cheever get his mind in the right place. There’s another important “where” that we have limited control over, especially those of us who haven’t moved out of the house yet or those of us who can’t change our location because of other obligations. What I’m talking about is context. The fact that I live in Chicago and have access to a huge diversity of great musicians and teachers and performances is a helpful (to say the least) context for any musician of any level or any aspiration. Learn more about other aspects of context and what you can do to improve your own in this section.
Part 6: How Do You Do the Things You Do? This is the part everyone talks about. There’s so much information about how to practice that this topic gets its own section, but it’s also threaded throughout the book. In here you’ll learn the difference between skill-based practice and strategy-based practiced, as well as lots of examples and suggestions of simple things you can do to improve your own music (or anything really) quickly and efficiently.
JONATHAN HARNUM | 15
So, there you have it. There is something of a narrative in this book, so reading it front to back will work, of course, but it’s also fun to just skip around, open and read at random, or go straight to the topics you’re most interested in learning.
16 | THE CHAPTER EVERYONE SKIPS
IF A THING IS WORTH DOING AT ALL, IT IS WORTH DOING BADLY. ~ GUSTAV HOLST, COMPOSER (1874-1934)
| 15
PART ONE W HAT ’S GOIN’ ON? What is Practice and Why Does it Matter?
Learning without thought is labor lost; thought without learning is perilous. CONFUCIUS (551-479 BC)
T H E T A L E N T TR A P
No, it [excellence] doesn’t start with talent, it starts with love. ~ Malcolm Gladwell, author (1963 - )
L
OVE IS BLIND, TRUTH IS STRANGER THAN fiction, lol cats, and the notion of talent are all memes. A meme is a persistent idera that’s been around for a while, sometimes thousands of years, and it’s not necessary for a meme to have roots in truth. Like the idea of talent, for instance. Talent permeates our culture. Take Harry Potter and Hermione Granger, for instance. Who usually works harder and smarter; who studies the most and knows the most? Hermione does. Who comes by his notoriety and ability because of accident and serendipity and from a gift from the parents? Who’s the more powerful wizard? Harry, of course. And who is the hero and saves the day? The gifted one. Sorry. The Chosen One. In a way, Harry and Hermione can also represent what’s known as declarative and procedural memory, a topic that is crucuial in fully understanding this book and benefitting from
THE PRACTICE OF PRACTICE | 19
it. It’s crucial to the book, but I’ll only mention it briefly now before getting back to the idea of talent. If you declare something, you’re showing you can talk about it. If you’re completing a procedure, you’re demonstrating you know how to do it, even if you can’t talk about it or describe how you do it at all. This is the trap of writing about practice, or doing anything for that matter. It’s a form of declarative knowledge. It’s passive. It doesn’t work or manifest itself fully unless you actually do it, or strive to understand the doing of it to the best of your ability. Your discoveries may be different than those offered up here. That’s a good thing.. Talent is a meme for some genetically gifted ability that allows a person to perform above normal ability. But here’s the thing: the ability to perform above normal ability has little to do with genetic giftedness and a lot to do with practice. The role of “talent” in expertise has been either entirely dismissed or severely downgraded in its importance in the last decade or two. Researchers have shown that some “natural” ability is simply not a factor in expert performance whether we’re talking about musicians, chess masters or x-ray analysis. The flag-bearer of this charge against the idea of giftedness is K. Anders Ericsson, a researcher who, with many others, has studied expertise and its acquisition very closely. Many of these researchers are convinced that genetics have nothing to do with excellnce. It’s all about practice, and more specifically, a certain kind of practice that Ericsson and his colleagues named deliberate practice. We’ll get deeper into that in a bit. It’s hard to believe that talent doesn’t really exist naturally becaue when we hear an amazing musician, it’s impossible to perceive the thousands of hours of work and circumstance that underpins that person’s ability. When all that work and circumstance are combined over long periods, the human animal is capable of astounding feats,
20 | THE TALENT TRAP
so incredible and moving that it must be a gift. Right? Wrong. Talent is accumulated expertise. If there is any gift given to those who do what they do well, it is the gift of the natural curiosity that we all possess, combined with lots of work, and most likely some circumstantial serendipity, as Malcolm Gladwell reminds us in Outliers. Other excellent books that drive this point home are Dan Coyle’s The Talent Code, Geoff Colvin’s Talent is Overrated, and David Shenk’s The Genius in All of Us. For more reading than you need (or want) on the topic, check out the reference list in this book’s appendix. If talent is anything, it’s curiosity and a willingnes to explore, a willingness to not know what you’re doing. To wallow in that not knowing, like Picasso, who said, “I am always trying to do that which I cannot do in order that I may learn how to do it.” It is in the wallowing of uknknowing that we learn. That is the true gift. The good news is that we all have it, and we have it throughout our lives. Over time, if our natural curiosity for a subject persists, we begin to show evidence of what so many people call talent; when that natural curiosity turns to love, we begin to see and hear truly magical things. Talent is a myth. This can be a hard truth to swallow. It’s easier to feel better about ourselves and our missed opportunities if we believe that talent exists as a gift. It’s easier to think that we just weren’t lucky enough to “get” a talent for music instead of thinking that we just haven’t gotten down to doing the work required to show this thing called talent. Believing in talent as a gift bestowed on a lucky few puts the blame on an external source instead of squarely where it belongs: with the individual. With our self. With you. More on this issue later, in the Who section of the book. What talent is, if it is anything, is accumulated experiences, countless numbers of them. One of these experiences, the one that incerases our ability in concert with lots of other activities, is practice. But what exactly is practice? In my research into practice, I’ve talked with professional JONATHAN HARNUM | 21
musicians: world-class jazz cats, djembe masters, superb singer-songwriters, and members of major symphony orchestras like the New York Philharmonic and the Chicago Symphony. I’ve also talked with master music teachers. You’ll meet some of these people later. Despite making music in distinctly different genres, all of the musicians I talked to, including myself, see just about every type of musical experience as practice: performing, listening to recorings, watching others play, playing with others for fun, teaching, and of course, the big daddy: deliberate practice, the topic of this book. So let’s figure out just what that is.
Defining Practice The boundaries of practice reach well beyond the walls of the practice room in which the solitary individual hammers away at technique whether it’s the bass, tone, slap and rhythmic patterns of djembe music, or the alternate fingering for fifth-line F on trumpet (it’s 1-3), or how to do a smear on clarinet (hold your fingers partway down on the keys). That kind of focused and intentional behavior is certainly practice—let’s call it intentional practice—but there are a whole raft of other activities and behaviors that also contribute to getting better as a musician, and those range from personality, to your theories about intelligence and ability, to what you listen to, who you hang out with, and even where you grow up. Some of these aspects you have near-total control over, like what you listen to and how often you listen; other things you have partial control over, things like attitudes and habits: they can be difficult to change, but it’s possible. Then there are things you have no control over whatsoever, like who your parents are. Althought I’ll touch on some of the things you have no control over, like parentage, most of 22 | THE TALENT TRAP
this book deals with things you can do to get better playing music.
JONATHAN HARNUM | 23
WE CANNOT ALL DO GREAT THINGS, BUT WE CAN ALL DO SMALL THINGS WITH GREAT LOVE. ~ BLESSED MOTHER TERESA OF CALCUTTA, NOBEL PEACE PRIZE WINNER (1910-1997)
NUN,
16 |
