Good morning. Can you hear me okay? Great. We're experimenting with a new miking approach, which I think should help. So we have recently completed our practice period, which is our time of the most concentrated effort, the most concentrated zazen, sesheen, complex ceremonies and rituals. And I wanted to talk about that complexity, the ritual complexity. And it's wonderful that I was amused. I started out by making a big mistake. I walked in here and I stood at the bowing mat and realized that I had forgotten one of the priest's essential objects of clothing, my bowing mat.

[01:02]

So I fortunately borrowed one from Judy. It just demonstrates how much more work I need to do. But I wanted to talk – and also I brought these books which I'm not going to get into. So there are – let's see here. This is – this book – these two volumes are called The Standard Observances of the Soto Zen School. total about 1,100 pages in pretty small print. And they detail how the standard, or they describe, document every ceremony, almost every ceremony and ritual that we do, and in the Soto school.

[02:12]

So that's kind of the basis. But I wanted to begin by talking about what inspires me. And so I'll start a couple months back. The purpose of ritual, let me just say, I was looking, I want to be clear about this because I had my own resistance. I thought I I hated ritual when I came here 35 years ago. I was firmly convinced of that. And when I walked into the Zendo and sat Zazen, did service, chanting, offering, I discovered that I had a love for it. And what is it? So it just in sort of, academic terms, a ritual is a stereotyped sequence of activities involving gestures, words, and objects performed in a sequestered place designed to influence preternatural entities or forces on behalf of the actor's goals and interests.

[03:36]

Got that? It was written by Catherine Bell in Ritual Perspectives and Dimensions from Oxford University Press. Rituals may be described by the traditions of a community. Rituals are characterized by formalism, traditionalism, invariance, rule governance, sacral symbolism, and performance. The root of the word ritual In Latin is ritualis, that which pertains to right, R-I-T-E. And in Roman religious and legal usage, it was the proven way of doing something or the correct way, the correct order or performance, correct custom. And there's, if you go back in the etymology, the word may be related to a Sanskrit word spelled RTA.

[04:45]

I don't know. Is Linda here? She's not here. She wouldn't know this. Which means the visible order in the Vedic tradition. So, the lawful and regular order of the normal, therefore the proper, natural, and true structure of cosmic, worldly, human events. Okay? Whether you like that or not, that's a definition. So, how does this work? A couple months ago, Sojin was giving a lecture, and Sojin Oshi talked about his own encounter with Zen practice, early days, if I'm remembering correctly, of coming to Sokoji, to the original Soto Zen Temple, which then became San Francisco Zen Center, near Japantown, and seeing everyday Suzuki Roshi come in,

[05:56]

offer incense, do his vows, and do zazen. And that he would do this in an unvarying way. And somehow you found that inspiring, right? And I think you shaped, I mean, I'll ask you later, I think you, well, I can ask you now. You kind of shaped a vow around that probably. Or an intention. I'd like to do this ritual every day, twice a day, and I'd be very settled, joyous and happy. Right. That inspired you. Right, and I think that I had some of the same instinct. I just thought, no, the best way is not to repeat anything.

[07:00]

you know, and that had to do with music that I loved, and poetry, and art, you know, it was about the spontaneous side of Zen, and that was an aesthetic, and I don't just throw that out, but that when he said that, that inspired me, and actually the fact that, I would say the fact that Sotoroshi had that experience, If he hadn't had the experience, this place would not exist and none of us would be sitting here today, right? So this is the way that ritual works to create a sense of order and harmony and groundedness, joy in our world. So that was really inspiring to me when I heard that, even though I think in that same lecture, Sojiroji said, well, I've kind of incorporated and embodied Suzuki Roshi.

[08:09]

And I would say to some extent, I have incorporated and embodied my teacher, but I'm always aware of what a long distance I still have to go, still a work in progress. So the second inspiring thing also involves Sochin Roshi. Friday, that was yesterday, Friday, I was sitting in my visibacial seat there, sitting out facing the door. And the surgeon came in to open the zendo and do exactly what he saw Suzuki Roshi doing. Offer, do your bows, do a jundo. And then he had some people to see for dokuzan. So he was going out the door. And when he got to the place towards the back of the room,

[09:11]

near where I was, he noticed that the chairs were a little out of line there. They weren't up to that white mark that we have on the floor and they weren't even with each other. And he stopped and he aligned them. And then he went out. No big deal. But it's the activity of setting the world in order. the activity of alignment, the activity of mindfulness of what you see, even though you may have some other, he had another destination. But along the route, he was paying attention to what there was. And the third thing that's deeply inspiring to me is the ritual of zazen. And I see it as a ritual.

[10:16]

And this is, in a certain way, this is like turning my internal value system. It's been turned upside down. Because I used to see ritual as something lifeless. And not only lifeless, but life draining. The repetition of something. What could be less lively than that? And yet, what I've learned in the general sense is that participating in the ritual of Zazen and various other rituals that we have here, within those rituals, there's freedom. That I do feel As I have said a number of times recently, in Fukan Zazengi by Dogen Zenji, he says, the zazen I speak of is not learning meditation.

[11:27]

It is simply the dharma gate of repose and bliss. Now, some of you may be waiting for the repose and bliss. But I can tell you from my own experience, I waited a long time and I kept practicing and kept doing that ritual because I had some faith. I had faith in the people that I saw around us who've been doing it for a long time. And I think I surmised that it helped them be the way I was seeing them to be, which is to be, to live with a modicum of freedom. And after a time, at the present moment, when I sit down like this in half lotus, it's never the same, but it is easeful.

[12:38]

the concerns, my anxieties, which which have a great hold on me. In that moment, they drop away. I don't worry about it because they'll come back, you know, but to notice that they drop away means to see that they're actually impermanent. They are not a seamless, all encompassing reality. So those are three kind of inspirational aspects that I just wanted to touch on before I go into sort of the complexity of it. You know, we chant, we have the 16 Bodhisattva precepts, which are the the three refuges, refuge in Buddha, Dharma, Sangha, the three pure precepts, which we translate as to avoid all evil, do all good, save the many beings, in short.

[13:58]

And then the ten pure mind precepts, which are very particular about activities. But the first pure precept In these books, the first pure precept is really interesting because it's not avoid all evil. This is Soto Zen. The first pure precept is embrace and sustain forms and ceremonies. When I first heard that, I had I just had an aversive response to that. It's still, it's not what I would say to people in general. And it's one version, it's not the universal version of that precept in, even in Soto Zen. But The second line, the commentary on that is, it is the abode, the source and the law of all Buddhas.

[15:10]

So the forms and rituals and ceremonies that we have are the manifestation or a manifestation of the Dharma. And in his book, Being Upright, Denshin Roshi comments, by wholeheartedly embracing and sustaining the forms and ceremonies of Zen practice, you abandon the self-centered way of living, which is the source of all evil. So I've been looking through the standard observances. And. Not long ago, I also went to a couple weeks ago, I went to a we have annual meetings of the Soto Zen priests. There's about a hundred in this country who have actually authorization from Soto Shu, the Soto headquarters in Japan.

[16:21]

And Sojin Roshi is one, I'm another, and Mary Mosin is one. Not all priests are. We had to do some training to do this. So we have an annual meeting of these priests. And we always have a scholar practitioner give a lecture. So the lecturer was interesting, very clear this year. And he was speaking about the okesa and the rock suit, the robe, the sort of short, small robe that we wear. And for about two hours, he lectured for two afternoons. For about two hours, he talked about a 38-year conflict between, within Soto Zen in Japan, between the Eiheiji Temples, one of the headquarters, and the Soji-ji Temple,

[17:33]

a 38-year conflict about whether there was a ring on your Okesa and Rokusu or not. So if you look at Charlie, Charlie has an official Soto Zen Rokusu. That's right. I see. Blessings, my son. But when we go to the Soto Zen meetings, most of us here have a certain style of robe that has been done in a certain sewing tradition. And that's the style that we do, that we inherited via Suzuki Roshi and his teachers. We are not allowed to wear those rakusus. we have to show up with a rakasu with a ring. And it turns out that there's great controversy about what Dogen actually wore.

[18:41]

Did he have a ring or not a ring? And it turns out that in the 1870s, the original of this painting If you look closely, his okesa has a ring as a closure. Other than this painting, all of the paintings at Eheji were retouched. If they had rings, they painted them out. This is before Photoshop. So now I'm getting to the critical side. In the 1970s or 1960s, or maybe it was the year 1970 when Tatsugami Roshi was here.

[19:45]

1970, Suzuki Roshi, Tassajara had begun and they had a very, I think, a simple practice, simple liturgy and forms. And Tatsugami Roshi, who had been the Ino at Eheji, was invited over to establish the monastic forms at Sahara. And it happened to be the time when Sojin Roshi was a shuso, so he was his hodoshi, I think is the term, shuso teacher. And he set up the Eheji forms. And those are the forms. If you go to Tassara, many of you have, it's a complex form, but it's fully digested and we know how to do it. And it, you know, when you digest these forms, they're just natural. And that's the monastic form. In the middle 1980s, Katagiri Roshi, who had moved to Minnesota,

[20:45]

And he had established Minnesota Zen Meditation Center and then had begun a monastic training place. Sort of on the Iowa Minnesota border called Okioji. And. At one point in 1985-86, he brought over. the Narasaki brothers, two Zen masters in the Soto tradition, Iko Narasaki and Sugen Narasaki. And I believe that Lori participated in one of those, in one of these sessions, and Meili Scott did also. They had what was called Bindo-e, which was maybe bend a whole, which was giving people a taste of the formal practice as they understood it and embodied it of Dogen Zen.

[21:55]

And it was very, people freaked out because they thought it was going to be like this from now on. And it's very formal. There's prescriptions about how you go to the bathroom. There are pages about how you tie up the washcloth that goes around your head, how you lie down to go to sleep. Everything in Soto life is ritualized. And that is monastic life. There's a description in a book by Sugen Narasaki Roshi about, well, actually, it's a quote from his teacher, who was also Katagiri Roshi's teacher, Eko Hashimoto Roshi, and talked about the practice of monastery is like farmers treading on wheat.

[22:58]

They tread on the stalks of wheat and they bend them down and bend them down to the ground so that they strengthen, have more strength when they emerge. And he said, you are like shafts of wheat when you're in the monastery. And there's also a verse Dogen wrote in 1234 from wonderful, wonderful piece that he wrote, which is, it's called Gakudo Yojinshu Guidelines for Studying the Way. And I'd like to take this up sometime. I think it'd be fun to study because it's real instructions for, you know, your attitude towards practice. But in that, there's this line, you should engage yourself in zazen as though saving your head from fire.

[24:05]

So this, when I first heard this, and when I first encountered in the mid 80s, which was relatively early in my practice, I was both excited and scared about these ritual practices. They gave me a form to enter. And I understood that and wanted to do it. And also it was very hard. There were places where I had already discovered why I love this aspect of ritual. And there was a point where It was like a switch was thrown and it's like, okay, this is too much. Let's stop here. Um, but that wasn't, if you go to the monastery, that is not your choice. You go to the monastery, whether you like it or not, you do what you're expected to do.

[25:08]

And so I did that and I learned it and settled into it. And I continued that off and on for the following decades. In 2003, I had an opportunity to train at Tsugun Narasaki Roshi's monastery in Japan. Now I'm blocking the way. the name of the place, Tsuyoji, Tsuyoji, on the island of Shikoku. And we were given a sort of intensive training. It was really hard because even though this was supposed to be training for teachers, their idea of training for teachers was, okay, you start as a monk, and you learn the monk's practices.

[26:11]

And the monks are like 23-year-old boys. It's not so easy. But what I noticed that was deeply inspiring was that all of the practices that we were doing at Tsuyoji, at root, I recognized them as perhaps in some cases the elaboration of practices that we do here in Berkeley Zen Center. And what I also appreciated, but there were many more of them, but what I also appreciated was I couldn't see anything that we were doing at Berkeley Zen Center that had added anything, if you understand what I mean. It's like sometimes you go places, I've been to other centers where they have other ways of doing things, and you wonder, well, where does that come from?

[27:15]

But there was nothing that I could see that we were doing at Berkeley Zen Center that didn't make sense with, that didn't correspond to what we were doing at Tsuyo-ji. And I found the same thing true at Ehe-ji. Soji-ji is a little different because they have a different style of forms. They have slightly different rituals. But this is, What we have here, which is really inspiring to me, is to me the ritual is just enough. That I think what Sogen Roshi and over the years the community has evolved is a relative simplification of complex monastic forms that fit our space and fit our practice.

[28:22]

Little things in space, you know, uh, when the, uh, when the Doshi, uh, is ending service in a usual monastery, there would be a lot of space between the bowing mat. Actually, it'd be a fair amount of space between the bowing mat and the altar, and a fair amount of space between the bowing mat and whatever was next. We have a compressed space. So we've figured out how to move in that compressed space so that we can maintain our composure, and respect, and not leave anything out. So it's just enough. This is the meaning, for those of you who have eaten oreoki, the meaning of the word oreoki is it's a vessel that contains just enough, just enough food

[29:33]

to sustain us in our practice, in our life. So this is a tension that I experience sort of in the Zen world to some degree, because there, even among Americans, there are people who, it goes both ways. There are people who have, to me, lost the spirit of the forms. who have not been, and I see people who are even teachers who have not been trained in them to the point where they can pass on something that is really important to me. I could be wrong. It's important though, I think. And I see other people who are, clinging to a very, very complex form that does not seem to me to be appropriate to the nature of our practice.

[30:43]

So what is the basis of that practice? How do you, I, you know, I, I found a wonderful lecture and I can get a few. It was published in the BCC Newsletter in 2002. It might be good to publish it again. So, Jim Roshi wrote it in 1987 for Minnesota Zen Monasteries, Zen Mountain Centers, no, Minnesota Zen... Yeah, Udumbara Magazine, scratch that. Minnesota Zen Center's magazine. And it's about practicing with form. So I'm going to read you a little about that, a little from this. He says, when I first came to the zendo, the practice forms were foreign to me. But at the same time, I respected them and wished to do them properly. It wasn't long before I realized that the teaching was right there within the forms.

[31:47]

More properly, the forms took on meaning according to my willingness to enter them wholeheartedly. It seemed to me that the meaning of the Heart Sutra was directly connected to the wholeheartedness with which I chanted. But even though I enjoyed the forms, I realized that there is another side, daily life in the world, which is not formal. in the zendo sense, but nevertheless has its own forms which are very strict. Suzuki Roshi taught us that we should be able to freely enter the forms of either side with the same spirit. This is the flexibility. This is the middle way that we have that is really unique. of all the places I've been in a certain way, we have one of the most formal practices here of any Zen center, of any lay Zen center.

[32:55]

That's not a monastery. And we have to remember, we're not a monastery. And yet we, the form sustains us because we are doing this form. There are people in this room who have been practicing here I see people who've been practicing here more than 30 years. Because the form of our practice sustains us. And that includes the form of Zazen. My friend Tygan Leighton calls our posture in Zazen, he calls it Buddha Mudra. So it's like putting your body into the position of being a Buddha, which is no difference then, no different from being a Buddha. Buddha mudra, it's a really cool expression.

[33:56]

The question is, what is Buddha mudra in the world? The Dharma name that Sojourn Roshi gave me about 30 years ago, I use the name Hozan, which is Dharma Mountain, but the actual, technically my Dharma name is Kushiki, which means formless form. So he presented me with this koan that represents, for me, it represents attention in both directions for my life. The part that can get stuck on forms, and on ideas of the way to do things right. And the part that maybe doesn't pay enough attention to forms and is a little lazy. But the thing in our life is to is to make it authentic.

[35:10]

And in this essay, Satya Rishi writes something about music that is completely consonant with my own experience. He says, the great trumpeter, jazz trumpeter, trumpet player Dizzy Gillespie absorbed and played Roy Eldridge, another great trumpet player, note for note, and then went on to develop his own unique style. This is to internalize the teaching and the teacher on that foundation to find your own way, your own voice. This is what I actually had sort of worked out for myself as a musician before I even came to this practice. The music that I play is traditional, traditional forms of American music of southern music, a blues-based music, but also Appalachian string band-based music, and they're very clear forms for how you play this.

[36:22]

And I had, you know, I listened to everything I could, and then when I got a certain degree of competence, me and a bunch of friends over the years went down south, and we would learn from the old musicians. Or when they came up north, we would get together with them, we would learn. And we would learn that music in as close to an authentic way as we could. And that was the apprenticeship. That was training. Ultimately, with Zen, with jazz, with traditional music, In order to make it your own, you have to express it through your own body, and you have to express it through every aspect of your life. So to go back to this question of just enough, Sojourn Roshi writes here, Suzuki Roshi's own practice was always very simple and seemingly informal in the midst of formality.

[37:37]

The formal practice we got from him was just the bare bones. I met a Tendai abbot who said that he felt Suzuki Roshi had given us the most simplified forms so that everyone could do it. He said that in Japan, the Soto school has the most elaborate and ornate kind of chanting of all schools, and that Suzuki Roshi only gave us the Heart Sutra to chant in a monotone. And then he says that Tatsagami Roshi was the one who set up all the other forms. So we have this simple form and we have built on it over the years and deepened our attention to it. But we have to develop forms We have to develop and we've been, I don't think this is a problem. I think we have developed forms in a practice that fit our life that exists in the world.

[38:44]

Our life with jobs and families and bad backs and getting older. We practice sometimes, I was thinking about this last night, this prescription to practice as if saving your head from fire. This is really good. But maybe after 20 or 30 years, you can't quite do it that way. Maybe you have to realize you have to practice as if your head was a high risk fire area. you know, uh, because, because we can, our head can always burst into flames, you know, it's not always burning, you know, sometimes it's nice and cool, but we have to be prepared. This is what, to me, this is what Zazen does and what Soto Zen practice does is it, it prepares us to move in fluidity either way.

[39:53]

And this is just our style of practice. It's not necessarily the best style. I've decided it's the best style for me. but I respect other approaches. I gave talks last weekend, I think, at Tahoma Zen Monastery on Whidbey Island, which is a Rinzai monastery run by someone who's also been a teacher for me for many years, Shotoharada Roshi. And it's really interesting to hear them chant, to hear them do service, because they whang the bells. They really hit them as hard as they can. And when they do the clappers, it's smash them together. And when they chant, they shout. And it's full out. And it's what I see them doing is just what Sojiro actually talks about in this article. They're retaining their teacher. You know, when you hear Hirata Roshi chant, it's like, there is nothing held back.

[40:59]

You know, it's just full out. And that's inspiring also. And then you see, you know, the students chanting the same way and it feels like, well, somewhat imitative, but they're trying, you know, they are trying to embody the form of their teacher, which is fine. For us, We don't ring the bells. We want a good open sound on the bells, an open voice resonant. We want that to be the sound of our chanting so we can get quieter. And I'm not going to do this, but we can, in an appropriate moment, give a huge Zen shout that shatters the world. I did something like that. a couple of months ago someplace, and I think it scared people. So I'm not going to do it.

[42:00]

But we should have the capacity to move in whatever way is appropriate. But as a normal process, we just take the middle way that is properly aligned. So I'm going to stop there. And, you know, I hope I haven't thrown too much stuff at you, but we have a little time for questions, five minutes, six minutes. Jed? Okay, so I'm going to go back to the scholar and the whole deal about… Yeah, the rings. I didn't say what that was about. I can. But how they decided to write out or whatever it was. when that change happened? Because Goetting was around 1300.

[43:02]

Yeah. So there's many, many centuries. Right. So let me just very briefly, because I don't fully know this history, and also it's complex. Not surprisingly, it's about money, power, and respect. The AHEG system and the SOGIGI system, SOGIGI system was huge and AHEG was making a kind of power move. And SOGIGI system was wedded to the ring and the AHEG system was not. And finally, they went at this for 38 years and the Meiji government finally intervened and said, stop it, you guys, go and shake hands. And the compromise that they made was there is no ring on the Okesa. In official Soto, no ring on the Okesa.

[44:05]

There is a ring on the Rakasu. And that, the attempt there was even handedly to honor Dogen and Keizan as the founding sources of Soto Zen. That's my understanding of it. But anyway, we shouldn't get caught in that. Yes? If what? Where are you going that you need it? Oh Ross, because Ross belongs to another... Ross was... sold his raksu in a Soji-ji tradition, right? Yeah, in New York it was a Soji-ji tradition. So the raksu I was ordained in matches the great raksus that Charlie and Stan and others wear.

[45:07]

But I was given this raksu so I could blend in more vegetables. Okay, now we've opened this can of worm soju. Well, the ring is simply a tie. Yeah. It's simply to tie the string to hold your acacia controlling off. It's a clasp. It's just a ring. Yeah. It's just an implement to tie a rope. So, if you look at Chinese pictures of Chinese masters in a chair, you know, they always have a ring on their acacia. So, back in the 20th century, Some Zen teachers researched all of this and they reintroduced some old patterns. So Katagiri Roshi suggested to Suzuki Roshi, when we started sewing back in 1971, we should sew our own robe in that style.

[46:37]

And that's what we've done. So we don't have a ring, and either one. I remember all this because I was there, you know. And helping him decide all this. So Suzuki Yoshi went along with it. Not that Suzuki Yoshi introduced us to it. He never introduced anything. He just liked us. He wanted us to practice. He didn't ask us. He just kept it to himself. So that's what we got. Nobody in Japan sows their own row, except as an extra practice. But we do that. Well, there's a few monasteries where they do, but very few. And you can't, so Jed, if you're going to an official Soto event, you better get a ring. That was explained to me. Why do we, because I was upset.

[47:39]

I thought, why can't we go to a meeting where our own, you know, But I will say we had, like last year at our meeting, we had orioke instruction. And that was very amusing because at every step in the meal, they had to have a fevered discussion about what to do because every one of them had a slightly different form. No matter how standardized you want things to be, it doesn't ever turn out that way. Right. Every temple has its own variations. I have always thought it's a very great deprivation for the young men of our society that we do not have a coming-of-age ceremony that's really important.

[48:58]

My grandsons are Jewish, and I believe that their bar mitzvah was hugely beneficial. You could see they felt like men when they were finished. And the only thing most people have is to get a driver's license, which is pretty pathetic. But I really believe that the rituals and ceremonies of life, marriage and childbirth, ought to be marked. I agree. I agree. I wish my bar mitzvah had... I wish I came out of it feeling like a man, but that's another issue. That's a whole other talk. Sue? And I want to add one, what? Five pounds. And at the same time, the fact that we do.

[50:26]

I think that the ritual, I was speaking last weekend, there's a book that I love by Lewis Hyde called The Gift, which many of you know. And one of the central points of that book is that the gift is only alive when it's in motion. And I think the same thing is true of ritual. The ritual is only alive as you're doing it. And in the embodiment of that, you know, sometimes you might see things that need to be changed. We changed something speaking, you know, about our founder's ceremony, a small point in the ritual that when Sochin pointed it out, he said, oh yeah, that feels right. So rituals are alive and breathing. The problem with having a book like this is it makes it seem like it's gotta be this way and it's always this way and then it's not alive.

[51:49]

So one more question, Peter. This is a follow on to what you just said actually. I wondered if you could talk a little bit about the other side of this koan which is that nothing ever repeats even though we do the rituals. Nothing ever repeats, yes. Every bow that I do It's a ritual activity. It may look similar. Every bow that I do is different. Every period of Zazen is different. Quite literally, every bow that I do, as I go down and as I get up, the elements, the embodied elements of ritual is really thinking about your hand, your leg, your weight, you know, it's not automatic. And that's where, it's not automatic in the same sense that when Sogyal was going out, he aligned the chairs, you know.

[52:51]

It's not like just getting it done. It's actually entering into it, which means having an awareness or a mindfulness of it. And I think that really everything that we do is that. And for me, I think the thrust of Soto Zen and the thrust of monastic life in Soto Zen is to ritualize everything. For me, that's too much. But I can understand the point of that. And there's a way of thinking of one's life that way, which really draws your attention to each activity. The book has all the regulations, all the ways that you do things, except that it includes everything you can think of. But the actual activity, you draw what you need from the book. Well, how should I, do I have to do all of this?

[54:03]

This is set up for the editor, the A.G. or the editor or something. You don't have to do all that. You pick out the elements that work, and then you create your own scenario from that. So it's actually a creative thing. It's not like you have to follow, although some people do. Who is dead? What do you want to do? How many people are going to be there? What's the situation? And then you use those elements to create a ceremony. Yeah. I've been teaching ritual at Upaya Zen Center, and I actually put together a two-page handout of building blocks of Soto Zen ritual, you know, that you put it together generally out of these elements. And I think that the same thing, Suga Narasaki in his book I'm reading says,

[55:08]

It's okay, this is the formal way that you do choka or service. But when you're back in your home temple and you don't have all of these different temple positions and officers, one person has to do this. And so we want you to know what the elements are and then you figure out how to do it in the most effective way. This is our life. This is actually true of everything that we do. So thank you very much. Enjoy this beautiful summer day.

[55:40]

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