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Project 305
Premiere and Celebration

In January 2017 Miami residents were invited to share their impressions of and emotions for Miami by submitting audio and video clips to the New World Symphony, America’s Orchestral Academy (NWS), as part of Project 305. Those submissions were used to compose an orchestral work and partner film reflective of the city as seen through the eyes of its people.


The collaborative project—a partnership between the New World Symphony, MIT Media Lab, Miami-Dade County and the John S. and James L. Knight Foundation—invited all of Miami’s communities and cultures to work alongside composer Ted Hearne and filmmaker Jonathan David Kane through community events, workshops and gatherings from January 31 to May 12, 2017. Mr. Hearne and Mr. Kane worked with NWS artistic director and co-founder Michael Tilson Thomas, who helped guide the overall artistic direction of the work.


The resulting work of music and film, Miami in Movements, is being premiered tonight at the New World Center, with subsequent presentations in communities and neighborhoods planned throughout Miami. Tonight’s performance is simultaneously being viewed outside as a WALLCAST® concert in SoundScape Park, and online by audiences around the world via Facebook Live.


In addition, premiering tonight are immersive 360-degree videos that will transport the viewer to eight distinct Miami neighborhoods, which will contribute to the viewer’s understanding of our various communities and enhance the viewer’s appreciation of Miami in Movements. These videos will be experienced firsthand by audiences attending the premiere, but may also be viewed on the project website at


The media release and call for submissions for Project 305 were originally released in three languages—English, Spanish and Haitian Creole—the three most commonly spoken languages in Miami. These notes and other program materials from this evening’s event can be found in all three languages online at


President and Chief Executive Officer

welcome to project 305!

In pursuit of our mission, NWS is moving the classical music legacy into the digital future. Knight Foundation is a strong partner in this work. Project 305 is possible through its direct funding and is built on the digital program platform supported by the Knight New Media Endowment. We are proud to share the risk with the Foundation’s forward-thinking leaders.


Digital access and dialogue are redefining community and artistic engagement. Project 305 began with NWS staff and Fellows in Miami neighborhoods, inviting individuals to identify and share Miami’s unique sights and sounds. To be successful we had to meet citizens where they live, and they had to be intrigued by the premise of Project 305.


From these conversations they became interactive participants, submitting sound and video clips of their Miami. That material became the foundation for Miami in Movements.


Tonight’s premiere is the second point of interaction. All of you—in the performance hall, in SoundScape Park and online—will have the chance to comment on the performance. Tag @nwsymphony and use #Project305 on Facebook, Twitter and Instagram.


A third aspect of Project 305 takes the piece back to the neighborhoods. Over the coming year the Fellows and staff will engage with the neighborhoods we have come to know in a variety of ways. Through performance, education and digital connections we will capitalize on the energy that flows between musicians and our newfound Miami friends.


Watch for Project 305 events in the coming months. Most of all, enjoy this new media moment.





Technology has changed the way we experience our lives and our community. Tonight we are seeing how it can be fundamental to the artistic process. Project 305 invited Miamians to participate in a creative experience with the tools they carry with them every day—their phones and mobile devices. We are excited to see and hear how those micro-moments of sound and video that people recorded were used to create a symphonic picture of Miami.

-Victoria Rogers, VP/Arts at Knight Foundation




Héctor Agüero, director/keyboard; Sol Ruiz, voice/ukulele
Rey Rodríguez, voice/electric guitar
Alejandro Sierra, trumpet; Manuel Orza, bass
Alexis Arce, drums




Dr. Brian Potts, director
Adriano Borba, *Derrick Brown, *Luis Fontes, *Joseph Greenfield
Richard Hargett, Carlos Jimenes, *Paola Montenegro
*Leonardo Scimonelli, *Aminatta Sillah, *Esdras Tatoute,
* denotes Barry University student




Dr. Nelson Hall, director
Vocalists from Miami Temple Seventh-day Adventist Church,
Florida Memorial University and Church of the Open Door






Michael Tilson Thomas, conductor


George Gershwin (1898-1937)
Cuban Overture (1932)


Ted Hearne (b. 1982) and Jonathan David Kane (b. 1984)
Miami in Movements (2017; world premiere of NWS commission)
Out of the swamp….
The Neighborhood Game
Pocket here, pocket there
Closer than family
Ode to that Miami bass
A canary in the coal mine


Miami in Movements was commissioned by the New World Symphony with support from Knight Foundation.


This concert is sponsored in part by


Program Notes


Cuban Overture (1932)

Approximate duration: 6 minutes


George Gershwin was 11 when his family first brought a piano into their apartment. Four years later, after some lessons in classical repertoire including Chopin and Debussy, Gershwin dropped out of high school and found work as a “song plugger” on Tin Pan Alley, New York’s row of music publishing firms. His breakthrough came in 1919, when the influential performer Al Jolson added the song “Swanee” to a revue; Jolson’s recording sold millions of copies and put Gershwin on the map as a top songwriter.


While Broadway (and, eventually, Hollywood) made Gershwin rich and famous, he still aspired to create serious concert music. Gershwin’s earliest efforts could hardly have been more successful—they included Rhapsody in Blue (1924), the Piano Concerto in F (1925) and An American in Paris (1928)—but he decided to seek guidance anyway from a Russian composer and teacher in New York, Joseph Schillinger.


The first score Gershwin prepared under Schillinger’s supervision was a concert overture inspired by a recent vacation to Cuba. The work debuted under the title Rumba on August 16, 1932, in front of a stadium audience of more than 17,000 New Yorkers. Gershwin later changed the title to Cuban Overture, which he thought offered “a more just idea of the character and intent of the music.” He brought home an arsenal of Cuban percussion from his trip, including claves, bongos and maracas, which all figure prominently in the raucous outer sections. The five-note pattern played by what Gershwin called “Cuban sticks” is an authentic clave rhythm, one which he would have heard many times in his nights out in Havana.

— Copyright © 2017 Aaron Grad


Aaron Grad is a composer, guitarist and writer based in Seattle. Besides providing program notes for the New World Symphony, he has been the Orpheus Chamber Orchestra’s program annotator since 2005 and also contributes notes to the Saint Paul Chamber Orchestra and Seattle Symphony.


Miami in Movements (2017; world premiere of NWS commission)

Approximate duration: 30 minutes


Composer Ted Hearne and filmmaker Jonathan David Kane created Miami in Movements for the New World Symphony’s Project 305 initiative. They wrote the following about this new work:


Miami in Movements is a reflection on, and a love song to, contemporary Miami. The symphonic and cinematic work integrates footage from a series of personal interviews we conducted with Miami residents and visitors, as well as recorded audio and video content captured by hundreds of Miamians throughout Miami-Dade County, submitted through an app developed by the MIT Media Lab and composer Tod Machover. The work seeks to honor and capture the rich and complex tapestry of the city and its people.


As Miami exists in “pockets,” each its own mini-organism, each a confluence of cultural identities and ever-shifting boundaries, Miami in Movements reflects this geography with discrete movements, each acting in some way as a snapshot of a landscape that can only be grasped in its adjacencies and overlays. The relationship of the orchestra to the community, and specifically of the New World Symphony to the city of Miami at large, is similarly always in flux, and so this piece also aims to reflect the shifting boundaries (musical, political, cultural) that connect, separate and define these entities and the people in them.


— Ted Hearne and Jonathan David Kane

We are one Miami

Michael Tilson Thomas

Michael Tilson Thomas is Co-Founder and Artistic Director of the New World Symphony, America’s Orchestral Academy, where he continues his role as educator in mentoring the next generation of musicians. He is also Music Director of the San Francisco Symphony, Conductor Laureate of the London Symphony Orchestra, and maintains an active presence guest conducting with the major orchestras of Europe and the United States.


Mr. Tilson Thomas began his formal studies at the University of Southern California where he studied piano with John Crown and conducting and composition with Ingolf Dahl. At age 19 he was named Music Director of the Young Musicians Foundation Debut Orchestra. He worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles’ Monday Evening Concerts. During this same period he was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz.


In 1969 Mr. Tilson Thomas won the Koussevitzky Prize and was appointed Assistant Conductor of the Boston Symphony. He went on to become the BSO’s Associate Conductor, then Principal Guest Conductor where he remained until 1974.


Mr. Tilson Thomas’ extensive television work includes a series with the London Symphony Orchestra for BBC Television, the television broadcasts of the New York Philharmonic Young People’s Concerts from 1971 to 1977 and numerous productions on PBS Great Performances. In 2004 Mr. Tilson Thomas and the San Francisco Symphony embarked on a multi-tiered media project—Keeping Score—which includes television, web sites, radio programs and programs in the schools, all designed to make classical music more accessible to a new audience.


Among his many honors and awards, Mr. Tilson Thomas is a Chevalier dans l’ordre des Arts et des Lettres of France, was Musical America’s Musician of the Year and Conductor of the Year, Gramophone Magazine’s Artist of the Year and has been profiled on CBS’s 60 Minutes and ABC’s Nightline. He has won 11 Grammy Awards for his recordings. In 2008 he received the Peabody Award for his radio series for SFS Media, The MTT Files. In 2010 he was awarded the National Medal of Arts in a ceremony in the White House.


Picadillo is a Latin alternative music group that fuses vintage Cuban music, guaracha and son with rock, blues and elements of New Orleans jazz. The band was formed in Madrid by Cuban musicians Héctor Agüero Lauten, Rey Rodríguez, José González and Sol Ruiz. Its first album, Las Cosas de la Vida, led the band to sign with Warner Chappell Publishing and to performing internationally in Cuba, the U.S., Canada and Europe.


The band’s two lead singers, Ms. Ruiz and Mr. Rodriguez, mention Dr. John, Benny Moré and Billie Holiday as their influences. Mr. Rodriguez was born in Cuba, while Ms. Ruiz—born in Miami to Cuban parents—lived in New Orleans for several years.

The band’s name (pronounced peeka-deeyo) was inspired by a Latin-American dish that mixes many flavorful ingredients, reflecting the way in which the band blends different styles of music.


Picadillo’s sophomore album, released in 2016, is entitled El Manicomio and features rare traditional instruments such as the tres, the marimbula and the órgano oriental.

Barry Bucaneiros

The Barry Bucaneiros are an explosive, carioca-style, student-based bloco modeled after those found in Rio de Janeiro. Founded at Barry University in 2013, the group uses the traditional instrumentation of an escola de samba, but in a more compact format. Blocos, like the Bucaneiros, can vary in size from five to 50 drummers, but unlike their larger escola de samba counterparts (which may have upwards of 350 drummers per group) a bloco is not obligated to stick to the escola’s thematic anthem, or enredo, and as such is a fertile setting for musical experimentation.


The group’s director, Brian Potts, is both a Miami resident and an active member of the Rio de Janeiro musical community. The inspiration for the Bucaneiros is a result of his close collaboration with Gabriel Policarpo, with whom he founded PRD Mais, a supergroup of up-and-coming percussionists living in Rio de Janeiro. Their new album Rittenhouse will soon be released on Snarky Puppy’s label, GroundUP Music. In addition to this work, Mr. Policarpo also runs a student-based bloco called Batuquebato, in which he uses the traditional samba school instrumentation to play not only samba, but a wide variety of grooves from both the Afro-Brazilian lexicon and various styles from around the world.


Like Batuquebato, the Bucaneiros’ performances are unscripted and guided by the director’s musical taste and command of a vocabulary of drum calls and hand signals developed and refined in rehearsals. There is no sheet music—all of the music you hear was developed and arranged by the group. The students reflect Barry University’s diverse population and bring with them influences and styles that become fodder for the group’s act, so while the ensemble’s roots are based in samba, they also play forró, maracatu, calypso, hip-hop, North Mississippi drum and fife—and whatever else makes people dance!

Gospel Choir

Tonight’s choir consists of members of Miami Temple Seventh-day Adventist Church, Church of the Open Door and students from Florida Memorial University, whose vocal program specializes in the oral musical traditions of the African Diaspora. Leading the choir is Dr. Nelson Hall, a Cuban native and University of Miami graduate, who serves as Assistant Professor of Music and Director of the Church Music Program at Florida Memorial University, and Music Minister of Church of the Open Door.


Dr. Hall’s continuing commitment to the music of the African Diaspora is a distinguishing point in his career. He has established a deep connection with African-American and Latin composers, and counts among his profound musical inspirations musicians such as conductor and composer Maestro Alfredo Munar and internationally acclaimed choral conductors Dr. Lee Kjelson and Dr. André Thomas.

Ted Hearne

Ted Hearne is a composer, singer and bandleader noted for his “pan-stylistic freedom” (Pitchfork), “wildness of spirit” and “fresh and muscular” music (The New York Times), who “writes with such technical assurance and imaginative scope” (San Francisco Chronicle).


The New York Times included Mr. Hearne’s oratorio The Source on its list of the best classical vocal performances of 2014 and (along with The New Yorker and The Nation) the best albums of 2015. Alex Ross wrote in The New Yorker that “Hearne’s piece holds up as a complex mirror image of an information-saturated, mass-surveillance


world and remains staggering in its impact.” Pitchfork called The Source “some of the most expressive socially engaged music in recent memory—from any genre.” Law of Mosaics, Mr. Hearne’s 30-minute piece for string orchestra, was recently performed by the Chicago Symphony and San Francisco Symphony, and the recording of it was named by The New Yorker’s Alex Ross as one of the most notable albums of 2014. His newest album, Sound from the Bench, featuring Philadelphia’s acclaimed choir The Crossing and released this year on Cantaloupe Music, was praised in The New Yorker: “Hearne has forged a fierce and timely grace.”


Mr. Hearne performs with Philip White as the vocal-electronics duo R WE WHO R WE and belongs to the composer collective Sleeping Giant. His recent collaborations have paired him with legendary musician Erykah Badu. He is an active recording artist and his albums Katrina Ballads, The Source and Outlanders are available on New Amsterdam Records.


Mr. Hearne is the recipient of the Gaudeamus Prize and the New Voices Residency from Boosey & Hawkes. He recently joined the composition faculty at the University of Southern California. Recent and upcoming works include commissions from the San Francisco Symphony, eighth blackbird, A Far Cry, Ensemble Dal Niente, Roomful of Teeth and an evening-length work written in collaboration with poet/performer Saul Williams for the Los Angeles Philharmonic. For more information, visit

Jonathan David Kane

Jonathan David Kane is an artist and filmmaker from Miami. His work as a film director, producer, editor and cinematographer has screened at festivals and museums worldwide, including Toronto International, Sundance, SXSW, Rotterdam, Sheffield Doc Fest, the Centre for Contemporary Arts in Glasgow, Contemporary Arts Center New Orleans, the Brooklyn Museum, the Museum of Modern Art in New York and CERN in Geneva.


Mr. Kane’s most recent work is a collaboration with visual artist Michele Oka Doner entitled Mysterium Alive. The four-channel video installation is currently on display through January 14, 2018, as part of Oka Doner’s Into the Mysterium exhibition at the University of Miami’s Lowe Art Museum. Earlier this year Mr. Kane premiered La Medea at PS122’s COIL 2017 Festival in Brooklyn, which he produced for artist and choreographer Yara Travieso. La Medea was directed, performed, filmed, edited and streamed in real time. The resulting experimental film went on to screen with live musical accompaniment at the Dance on Camera Festival at Lincoln Center and the 34th annual Miami International Film Festival.


Mr. Kane has previously collaborated with the New World Symphony and Michael Tilson Thomas on the creation of several experimental performance films documenting Making the Right Choices: A John Cage Centennial Celebration. He is a 2015 Knight Arts Challenge grant recipient, a 2016 Berlinale Talents program alumni and a co-founder of Miami’s Borscht Corporation.

We are one Miami

New World Symphony

The New World Symphony, America’s Orchestral Academy (NWS), prepares graduates of distinguished music programs for leadership roles in professional orchestras and ensembles. In the 30 years since its cofounding by Artistic Director Michael Tilson Thomas, and Lin and Ted Arison, NWS has helped launch the careers of more than 1,150 alumni worldwide.


A laboratory for the way music is taught, presented, and experienced, the New World Symphony consists of 87 young musicians who are granted fellowships lasting up to three years. The fellowship program offers in-depth exposure to traditional and modern repertoire, professional development training, and personalized experiences working with leading guest conductors, soloists, and visiting faculty. Relationships with these artists are extended through NWS’s extensive distance learning via the internet.


NWS Fellows take advantage of the innovative performance facilities and state-of-the art practice and rehearsal rooms of the Frank Gehry-designed New World Center, the campus of the New World Symphony.


In the hope of joining NWS, more than 1,500 recent music school and conservatory graduates compete for about 35 available fellowships each year. The Fellows are selected for this highly competitive, prestigious opportunity based on their ability and their passion for the future of classical music.

Knight Foundation

Knight Foundation is a national foundation with strong local roots. It invests in journalism, in the arts and in the success of cities where brothers John S. and James L. Knight once published newspapers. Its goal is to foster informed and engaged communities, which they believe are essential for a healthy democracy.


Through previous partnerships with the New World Symphony, Knight Foundation has been instrumental in the development of innovative programming such as WALLCAST® concerts, Pulse: Late Night at the New World Symphony, the annual Network Performing Arts Production Workshops and video commissions and presentations at the New World Center.

MIT Media Lab and Tod Machover

Actively promoting a unique, interdisciplinary culture, the MIT Media Lab goes beyond known boundaries and disciplines, encouraging the most unconventional mixing and matching of seemingly disparate research areas. It creates disruptive technologies that happen at the edges, pioneering such areas as wearable computing, tangible interfaces and affective computing. Today, faculty members, research staff and students at the Lab work in 25 research groups on more


than 350 projects that aim to radically improve the way people live, learn, express themselves, work and play. In this spirit, future-obsessed roboticists, nanotechnologists, biologists, neuroscientists, data-visualization experts, industry researchers, pioneers of computer interfaces and artist-designer activists work side by side to tirelessly invent—and reinvent—how humans experience, and can be aided by, technology, and to make sure that developments are deployed throughout the world for maximum benefit to individuals and societies.


Tod Machover is Muriel R. Cooper Professor of Music and Media and director of the Media Lab’s Opera of the Future group. Called a “musical visionary” by The New York Times and “America’s most wired composer” by The Los Angeles Times, Mr. Machover is an influential composer and inventor, praised for creating music that breaks traditional artistic and cultural boundaries and for developing technologies that expand music’s potential for everyone, from celebrated virtuosi to musicians of all abilities. Mr. Machover studied with Elliott Carter and Roger Sessions at The Juilliard School and was the first Director of Musical Research at Pierre Boulez’s IRCAM in Paris. Since 2006 he has been Visiting Professor of Composition at the Royal Academy of Music in London.


Mr. Machover is widely recognized for designing new technologies for music performance and creation, such as Hyperinstruments, “smart” performance systems that extend expression for virtuosi, from Yo-Yo Ma to Prince, as well as for the general public. The popular videogames Guitar Hero and Rock Band grew out of Mr. Machover’s group at the Media Lab. His Hyperscore software—which allows anyone to compose original music using lines and colors—has enabled children around the world to have their music performed by major orchestras, chamber music ensembles and rock bands. Mr. Machover is also deeply involved in developing musical technologies and concepts for medical and wellbeing contexts, helping to diagnose conditions, such as Alzheimer’s disease, or allowing people with cerebral palsy to communicate through music.

Joy Lampkin Foster

Joy Lampkin Foster is a strategist for the philanthropic and community engagement initiatives of companies and organizations looking to lead bold cultural shifts and social change within their communities. She served as project manager of the Project 305 initiative.


Ms. Lampkin Foster has contributed skills in social impact strategy, project planning and management, and community outreach to a range of organizations, including Children’s Harbor Family Center, the Georgia Justice Project, Turning the Page and The Miami Foundation. She has conducted research for and provided policy recommendations to governmental and organizational leaders, including County Commissioner of Durham, North Carolina; Director of Washington, D.C. Public Schools’ special education outreach program; Director of Harvard Institute for Race and Justice. In 2016 she launched Delchrys Sun, a consulting firm dedicated to assisting companies looking to play a greater role in improving their communities and making a difference to pressing human rights issues.


Ms. Lampkin Foster is a graduate of Duke University, where she received a bachelor of arts degree in public policy in 2011.

We are one Miami

Project305 Reaches Miami’s Young Voices

Over 100 students from Phillis Wheatley Elementary and the Liberty City Chapter of the Miami Music Project submitted to Project 305 via Hyperscore. Invented by the musicians, designers and software engineers at the MIT Media Lab, Hyperscore is a software that sets free musical creativity and empowers anyone to compose music. Joining students was Tod Machover, director of the Media Lab’s Opera of the Future group and an influential composer and inventor.

We thank our Project 305 community Partners


Hussein Abdala

Adrienne Arsht Center for the Performing Arts

Ameyal Mexican

Cultural Organization

Andrew Yeomanson

Arthur and Polly Mays

Conservatory of the Arts

Asylum Studios

Barry Bucaneiros

Daniella Bertoldi

Big Brothers Big Sisters of Miami

Breakthrough Miami

Buffalo Brown

Bull Production Studios

Buskerfest Miami

Celebrate Diversity Miami

Church of the Open Door

CIC Miami

City of Hialeah

Creative Mornings

Cutler Manor Apartments

Chantil Dukart

Diarios Las Americas

Emerge Miami

Emerging Arts Leaders of Miami

Fantasy Theater Factory

Florida Film Institute

Florida Grand Opera

Florida Memorial University
Fresh Art International
Friends of WLRN
Guitars Over Guns
Nelson Hall
Holy Temple Missionary
Baptist Church
Tom Hudson
Jackson Memorial Hospital
Cleveland Jones
Jefferson Joseph
Nicole Kidd
Koubek Center at Miami-Dade College
Little Havana Tours
Lotus House

Miami Book Fair International
Miami Children’s Initiative
Miami Children’s Museum
Miami Film Festival
Miami Jewish Heath Systems
Miami Lakes Educational Center
Miami Music Project
Miami Temple Seventh-day Adventist Church
Miami Urban Contemporary Experience
Miami-Dade County Department of Cultural Affairs
Miami-Dade County Department of Transportation and Public Works
Miami-Dade Public Library System

MIT Alumni Club of South Florida
National Parks Conservation Association
National YoungArts Foundation
Network for Teaching Entrepreneurship
Eric Nunez
Opa-Locka Community Development Corporation
Overtown Youth Center

Palm Glades Preparatory Academy
Pioneer Winter Collective
Brian Potts
RaRa Rock Roots Rasin
Rhythm Foundation
Sandrell Rivers Theater
South Florida CARES
South Miami-Dade Cultural Arts Center
St. Philips Episcopal Day School
Stef Silva
Sweat Records
The Irie Foundation
The Miami Foundation
The New Tropic
Venture Café
Keba Williams
WLRN-Miami Herald News
Yellow Wood Media
Young Musicians Unite
Zoo Miami

2017-18 New World Symphony Fellows


Cynthia Burton
Gregory Cardi
Kevin Chen
Jonathan Chern
Autumn Chodorowski
Alex Gonzalez
Christen Greer
Hye Jin Koh
Alexander Lee
Yada Lee
Kenneth Liao
Sodam Lim
Peiming Lin
Margeaux Maloney
Emerson Millar
George Millsap
Sarah Peters
Christopher Robinson
Jessica Ryou
Rachel Sandman
Chelsea Sharpe
Ju Hyung Shin
Dillon Welch
Teddy Wiggins
Ludek Wojkowski
Roman Yearian


Daniel Fellows
Andrew François
Erica Gailing
Helen Hess
Elizabeth Oka
Jessica Pasternak
Kip Riecken
Jarrett Threadgill
Kurt Tseng
Jesse Yukimura


Meredith Bates
Jennifer Choi
Alexa Ciciretti
Drew Comstock
Michael Frigo
Ian Greenberg
Jacob Hanegan
Alan Ohkubo


Douglas Aliano
Andrea Beyer
Andrew Chilcote
Michael Fuller
Kevin Gobetz
Jonathan Reed
Mary Reed


Johanna Gruskin
Elizabeth Lu
Masha Popova


Adèle-Marie Buis
Kristin Kall
James Riggs


Zach Manzi
Jesse McCandless
Daniel Parrette


Brenton Foster
Darren Hicks
Francisco Joubert


Dominic Brancazio
Nick Castellano
Roy Femenella
David Raschella
Priscilla Rinehart


Mark Grisez
Aaron Norlund
Ansel Norris


Kelton Koch
Joseph Peterson


Lisa Stoneham


Jarrett McCourt


Erich Rieppel


Michael Daley
Andrew Johnson
Stephen Kehner
Joseph Kelly


Chloe Tula


John Wilson
Dean Zhang


Dean Whiteside


Matthew Searing


Cody Engstrom