The Research Process

To present an accurate and historical profile of Borghild Jacobson and her music the following research materials were utilized.
1. Personal interviews with Harvey Jacobson.
2. A review of the scores which constitute the complete works of Borghild Jacobson.
3. Selection of songs and hymns chosen by Mark Bloedow as "hallmarks" from various categories determined by the composer with music cataloged as such by the composer before her death.
4. A complete review of the index of "Musical Works of Borghild Jacobson" prepared by Harvey Jacobson (Draft No. 1, dated 1-14-95).
5. Two Memos dated March 7 & 9, 1999 from Harvey Jacobson (RE: The Mequon Portfolio: Borghild Jacobson, Composer, Part I & II).
6. Selected file materials and documentation provided by Harvey Jacobson.
7. Personal files of Mark Bloedow concerning Borghild Jacobson.
8. Musical and literary analysis of "hallmark" selections by Mark Bloedow.

The Focus

This paper will primarily focus on those musical compositions which are or are most closely related to hymnody. More specifically, those selections which are intended or could be successfully used for congregational song. It should be noted that Borghild's output does include a fair number of duets, trios and choral anthems ranging from two to eight parts in voice texture. Ultimately, the goal is to present a rather detailed overview of the hymnody of Borghild Jacobson. Major areas to be considered will be as follows:

1. Characteristics and Influences (musical, literary, scriptural/doctrinal)
2. Borghild's Signature Hymn: This My Church Shall Be
3. Hymn Collection: Songs for the Lesser Festivals
4. Other Collections
a. Five Christmas Songs, Set I (Morning Star)
b. Songs of Mary: from a Protestant Perspective
c. Songs of Mary's Day
d. Mercy Songs
e. Feminine Insights: 11 Songs about New Testament Women
5. A "hallmark" selection of single songs, hymns and semi-collections.
6. Appendix: An updated and annotated catalog of complete works based on the original "Musical Works of Borghild Jacobson" by Harvey Jacobson (Draft No. 1, 1-14-95). Also included is a current listing of publishers and copyright holders.
7. Various other appendices pertinent to the paper including autograph scores of Borghild Jacobson. Used by permission.

To provide a historical reference, free from editing, error in translation or other musical or non-musical influences, photocopies of the composer's autograph scores will be included in this paper. The clear notation and careful typing of the text by the composer adds yet further evidence of her craft and concern for detail in setting the text and music. All of these scores have been grouped in various appendices at the conclusion of this paper. References to a specific appendix will be included where appropriate. This format is being used to facilitate reading the paper as well as allowing the reader to more easily study and play the scores at the piano keyboard. Additional engraved musical examples will be used in the body of the paper when necessary.

Grateful appreciation is extended to the composer's husband, Harvey Jacobson, for making copies from the originals and providing permission for their use in this paper. It should be noted that these works are all under copyright protection. Please see Appendix A for copyright permission contact information.

This My Church Shall Be

This paper would not be complete without highlighting what has become known to many as Borghild's signature hymn, "This My Church Shall Be." This hymn, expressing a genuine appreciation for the life and gifts of the church, has been her gift to the church universal. In a letter to me just prior to her death, she writes: "The more copies run off the better!" Her intention continues to be honored as her husband Harvey, the current copyright holder, continues to grant free permission for the duplication of this hymn in worship books, hymn supplements, concert programs and worship bulletins to churches, schools and missions. His only request is that the copies bear Borghild's name and copyright date, 1982, along with the understanding that the copies will not be offered for resale or other distribution.

Central to this hymn is its poignant text which captures the very essence of church life while constantly providing encouragement to sing "This My Church Shall Be." Her choice of the words "shall be" gives a sense of the definite. It leaves little room for doubt about what the church can and should be. Her specificity and exacting choice of ideas speaks to her strong understanding and belief in the important aspects of the church to Christian life. The text beautifully connects with common life experiences: crying, singing, learning, growing, dying, rejoicing, speaking, sharing, preaching, praising, etc. These are everyday actions that take on new meaning when shared in the context of the church. The positive, confident and hopeful style in which this is presented is continually reinforced with the words "This My Church Shall Be."

In discussing the text in a sermon on this hymn, The Rev. Carol DiBiasio-Snyder notes a viewpoint about the recurring words "This My Church shall be." She believes "it is Jesus, who says this, calling us, empowering us, to be the kind of church described here (in the hymn)." This view can be supported by the closing verse of the first stanza "Leading up to Me, This My Church shall be." At this point in the text, it seems quite clear that these words represent a dialog by Jesus about the church. It is somewhat unclear, however, if Borghild intended the entire hymn to be solely a dialog by Jesus about the church. This thought is based upon the wider scope of Borghild's other compositions, her treatment of Jesus' words in other works, her personal desire to use her gifts in service to others and her understanding of participation in liturgical worship.

In many of Borghild's other works she denotes the words of Jesus by enclosing the text in quotations. It is generally very obvious when the words "I" and "Me" are intended to be those of Jesus. Although this hymn uses "Me" only once, "My" is included twelve times-once in each of the recurring refrains of "This My Church shall be." Since "My" indicates ownership, the question is whose. Obviously, it is Christ who is the head of the church. The question then is, can this "My" be used by individuals to express their own personal devotion to the church. It is interesting to note that poetically, Borghild could have used "Thee" in place of "Me." This rather important decision appears to indicate that she intended these words to be the words of Jesus. Further evidence can be seen in the capitalization of "My" each time in the refrain, "This My Church shall be." In discussing this point with her husband, he referenced conversations when this specific question was posed to Borghild in his presence. He recalls that she did understand the words as those of Jesus, but would equally appreciate and recognize the profound personal impact on the individual or church body singing the hymn.

In concluding this specific discussion of the text, it can be quite confidently stated that few would argue with the sincerity of the entire text as if spoken by Jesus. It is however, the broadness and human content of the hymn that suggests these words belong to all believers. It seems quite appropriate for one singing this hymn to make these words their own as well as consider them as thoughts from Jesus. This would most assuredly be in harmony with Borghild's desire to strengthen the faith of the believer and reach out to others in the name of Christ. Regardless of the interpretation, the believer and Christ are united through this hymn by a oneness of thought-This My Church shall be!

Note below the text of each verse and additional comments concerning the hymn text by Rev. Carol Dibiasio-Snyder.

As the Rev. Carol DiBiasio-Snyder has noted, the text is rich with images, thoughts, beliefs and hope. As the hymn is sung the inspirational text is supported by an equally energizing tune. A tune which Borghild crafted with the same love and devotion exemplified in the text. The text with the tune is included on the following page.

This My Church Shall Be

The tune at first seems simple and unassuming. One may, at first glance, suppose it to be "too simple," possibly even inadequate for the strength of the text. Greater consideration proves the tune to be masterfully created to uplift and undergird the text. In addition, there are some strong influences which indicate overall symbolism and text painting. Notice the continual upward motion of the melody which supports words such as flowing, growing, guiding, singing, leading, praising and raising. This motion is further complimented by each phrase beginning with three quarter notes moving in an upward direction. An emphasis on three, can also be seen in the three repeated unison notes in the recurring refrain, "This My Church shall be," on My, Church and be. And finally, the refrain itself occurs three times in each stanza. Without question, these influences help to unify the hymn musically and textually. The emphasis on three supports a common musical technique used through the ages for symbolism of the Trinity. It is unknown whether this was Borghild's conscious effort. It appears however, that sufficient evidence exists to document this Trinitarian theme in the text and the music of this hymn.

In addition to the tune, Borghild also wrote the harmonization of the tune. The harmonization features a solid bass line that supports a natural forward motion-each phrase moving confidently to the next. An interlude is included between the verses with a coda indicated after the final verse. In 1988, I arranged the hymn for handbell procession, handbell hymn accompaniment, handbell hymn interlude and trumpet. The arrangements were presented at a handbell concert at First English Lutheran Church, Oshkosh on May 22, 1988. See Appendix C for an autograph original, engraved copy and four-part choral setting by George Henriksen of "This My Church Shall Be."

The Washington National Cathedral

In the final communication I received from Borghild before her death, she sent me a copy of a choral arrangement of "This My Church Shall Be" done by George Henriksen (an organist from Grace Lutheran Church in Washington, D. C.). She states that "Mr. H. is trying to get it used as the theme hymn for the Reformation Rally next October at the Washington Cathedral." This was the first I heard of this extraordinary possibility. Unfortunately, this same letter included the sad news that her cancer was "proceeding on its nasty course." With a sense of acceptance about her physical condition, she says "I can be there lots of times in my imagination even if I miss the big event." She died in June, just four months before the Lutheran Reformation Festival was held at the Washington National Cathedral on Sunday, October 30, 1994. The service was sponsored by the Metropolitan Washington, D. C., Synod of the Evangelical Lutheran Church in America, which is comprised of seventy-four congregations. The service bulletin noted Borghild as "one of those many servants of God who made music and poetry so that we might glimpse that hope of perfection which will be ours as we stand before the glory of God."

Her hymn signature hymn, "This My Church Shall Be," was one of the featured hymns as well as the theme for the event. In addition, her hymn provided the inspiration for a special banner commissioned by the Synod Reformation Service Committee from Pastor Dean Louis Moe, Senior Pastor of Grace Lutheran Church. The Borghild Jacobson Newsletter published in 1995 gives the account that "1500 people lifted their voices in song to the accompaniment of the Great Organ as played by organist Jeffrey Pannebaker of St. Luke Lutheran Church, Silver Spring, MD." Members of Borghild's family attending the festival included her husband Harvey of Oshkosh, WI; her sister Rachel Hiebert of Moorhead, MN; and her nephew Michael Hiebert of Eagan, MI. The well wishes of Borghild's friends followed the family to this memorable and historic occasion. Many commented to Harvey and to me that certainly "Borghild was there singing in spirit."

One can only imagine the majestic sounds filling the acoustically beautiful setting at the Washington National Cathedral. It was a shining moment for this great hymn, the church and the people who experienced it. It should be duly noted that most in the assembled congregation had never seen or heard the hymn before singing it that day. Harvey has commented on how energetic and enthusiastic the singing of the hymn was done by those attending the service.

Before closing this section, it is important to note that two weeks before the Reformation Festival another of Borghild's songs, "Mercy on Those Who Cannot Sleep," which will be discussed later, was used to highlight the observance of St. Luke Day in churches in the Washington, D. C. area. St. Luke is the patron saint of healing. The song was used as The Hymn of the Day at Grace Lutheran Church, Washington, D. C. on Sunday, October 16 with the text and harmonization printed in the bulletin as transcribed and edited by George Henriksen.

Songs for the Lesser Festivals

One of Borghild's most interesting collections is her "Songs for the Lesser Festivals." This collection includes a musical selection for each of the twenty-eight lesser festivals of the church year noted in the Lutheran Book of Worship (LBW). Each of the songs is based on the gospel or one of the suggested lessons for the day as found in LBW.

For this work, the composer will speak for herself. Reprinted below is a portion of the preface she wrote for the collection.

"For the principal festivals, such as Easter, Pentecost, and Epiphany, the pastor and music director can find ample musical material. Composers, however, have been reluctant to give their energies to the Lesser Festivals, assuming that their work will find little use. As a result, songs about the minor events in the life of Christ and about God's grace to us through His apostles and evangelists are almost nonexistent. This volume hopes to provide such songs. While celebration of the Lesser Festivals is not yet widespread in the Lutheran Church, there is a growing interest in their celebration. The availability of music for these days may assist church leaders in making these festivals more meaningful to their congregations."

She continues by suggesting other uses for these hymns in the church year. She notes that of the twenty-eight songs, twenty-one also match the lessons and gospels for specific Sundays or Principal Festivals. Included is a complete listing of appropriate usage days as found in the three-year lectionary. She details additional possibilities in a complete listing of selections appropriate for various other occasions: baptism, wedding, ordination, funeral, mission emphasis, evangelism, bible study, proclamation of the word, women's meetings, men's groups, church conventions, services of praise, services of social welfare, and services of Christian life. A further detailing of scriptural themes and possible uses is also included for each song in the collection. Examples of suggested uses for three of the "hallmark" hymns found in this collection are found in the Scripture Hymn Text Analysis charts below. Autograph scores for these hymns are found in Appendix D.

To gain a greater appreciation for Borghild's ability to write creative poetry from scripture texts, it is helpful to compare the biblical text and her hymn text. Often in this collection and in other works, the hymn text becomes a synthesis of the scripture text. In many cases often a literal paraphrase. This of course takes a thorough understanding of the scriptures. Here is where Borghild's hymnody continually shines with clear images, sincerity of thought and uncomplicated, yet beautiful, language. The language inspires the singer, congregation or listener to a greater understanding of the text. To illustrate, consider one of the "hallmark" hymns from this collection, St. Barnabas, as compared in the Scripture Hymn Text Analysis chart which follows.

Notice how she immediately encapsulates the first verse into a concise poetic thought. She makes it clear that these are the words of Jesus by using the words, "Behold I send you." In stanza two, she uses the scriptural text quite directly. Stanza three on the other hand is a brilliant condensing of five verses. Quite a challenge when considering the importance of this part of the text. It is here where Jesus gives very specific directions to the twelve apostles concerning their mission. The closing stanza, the words of Jesus partly as a paraphrase from verse 16, provides a reassuring conclusion to the text.

In reviewing another of the "hallmark" hymns from this collection, we find similar treatment of the scripture text. St. Mary Magdalene is a narrative about Mary Magdalene's visit to the empty tomb. Stanzas one and two are a synopsis of the text including important parts of the dialog between the angel and Mary. Stanza three is a prayer that reflects on the significance and meaning of the text. Note below how this prayer becomes a natural extension of the first two stanzas.

A final "hallmark" hymn to consider is the last hymn in this collection. "All Saints Day" is based on The Beatitudes as found in Matthew 5:1-12. Once again, notice Borghild's ability to succinctly express the biblical text. The flowing triple time meter moves the text along nicely with a mostly stepwise melody. Note the very specific usage of the biblical text as a basis for the imagery and symbolism in each stanza of the hymn.

In addition to her fine literary talents and scriptural insight, she has provided skillful tunes which are seemingly one with the text they are set. The tunes, and her harmonizations, encourage and support the congregation, choir or soloist to see and understand the beauty of the word through music. The tunes are intentionally not difficult. She took great care to keep the music accessible to small church choirs and soloists with minimal training. This has not limited the use of her hymns, but rather given them a genuine quality which people find inviting and pleasing to sing.

Other Collections

Although several of Borghild's other collections are not necessarily intended for congregational hymn singing, they do provide further insight into her music and scripture based texts. In addition, some of the collections include individual settings suitable for congregational song.

Five Christmas Songs, Set I

This collection, published by Morning Star Music Publishers in 1992, contains five of Borghild's Christmas songs. Included are "Visit the Manger" which she originally titled "Creche," "On This Night," "Oh, Mary, Rock the Word Made Flesh," "Sleep Now, Weary One," and "If We Listen" (also titled "If We Listen Through The Night"). Two of these, "Visit the Manger" and "Oh, Mary, Rock the Word Made Flesh," could be used as congregational hymns. The latter would need a more supportive accompaniment if used as such. The others, by nature of their quickly moving melodies and text, would not in general lend themselves well to congregational song. The collection, which features lyrical melodies and creative poetry, would work well for unison choir or soloist.

Songs of Mary

The inside cover of this work contains a discussion, written by Borghild, concerning Martin Luther's views and changing beliefs about the Virgin Mary. Once again, it is best at this point to let the writer speak for herself:

"That the Virgin Mary was an important person for Martin Luther cannot be doubted, for her name appears almost a thousand times in his collected writings. …Mary was the source of Christ's humanity, and therefore was basic to Luther's view of the Person of Christ. He called her the Holy Virgin and the Blessed Virgin Mary. Yet through all Luther's writings runs the theme that Mary is to be honored not for her own virtues, lovely as her humility was, but rather because she received the unmerited goodness of God. She remains, not our intermediary, but our example, indeed the 'foremost example of the grace of God.'" (BSJ)

The collection includes nine settings based on quotations about Mary from Luther's Works. All but one of the songs is for solo voice with keyboard accompaniment. The other is a duet. One of the songs, "If We Listen," is also included in Five Christmas Songs, published by Morning Star Music, mentioned earlier. This song is based on Martin Luther's "Sermons on the Gospel of John." In general, these are solo settings not intended for congregational song. The fifth selection, "Sleep Soundly, Child of Mine," has melodic possibilities for use as a hymn, but would require a more supportive setting of the accompaniment if used as such. See Appendix E for an autograph copy of this hymn.

Songs of Mary's Day

This work is a collection of seven songs which form the basis for a narrative of the same title. The songs it would appear could be used independently from the narrative script if desired. I attended a performance of this work at First English Lutheran Church, Oshkosh, in February of 1988. In an article from the Oshkosh Northwestern, Sunday, February 21, 1988, the work is described as "a sketch about one day in the life of the Holy Family when Jesus was a boy, as seen through Mary's eyes." The work was written in 1982 and performed for a Mary Day celebration at Incarnation Lutheran Church, Reading, PA. The songs, setting and their focus are as follows:

1. Morning Hymn Three Part In tune with nature she (Mary) praises God for the morning.
2. Working Day Solo She cleans, scrubs, spins, weaves, grinds, kneads, bakes and serves.
3. Joseph Solo She gives thanks for the man chosen to be her husband.
4. Now From the Heavens Two Part She remembers the Annunciation.
5. Mary and the Grain Solo She walks at evening through the wheat and barley fields.
6. Angelus Three Part She ponders the words of Simeon
7. Evening Hymn Three Part She commits herself and her family to God for the night.

For the most part, the songs in this collection are not intended for congregational song and have limited liturgical use. One exception is the last song, "Evening Hymn," which was sung as a hymn at Borghild's funeral service. The text and tune for this hymn can be found on the following page.

Evening Hymn

Mercy Songs

This is a collection of eight songs based on texts about suffering, disease, medical concerns and healing. The title hymn in this collection, "Mercy Hospital" or "Mercy on Those Who Cannot Sleep," is dedicated to the patients, their relatives and the staff of Mercy Hospital, Oshkosh, Wisconsin where Borghild served as a Red Cross Volunteer. As mentioned previously, this hymn was used to highlight the observance of St. Luke Day, the patron saint of healing, in churches in the Washington, D.C. area in October of 1994. An autograph copy of this hymn can be found in Appendix F.

"Mercy on Those Who Cannot Sleep" is a song that deals very directly and graphically with illness and healing. The opening phrases of each stanza share the themes of this hymn: "those who cannot sleep through the night," "those who share the hours with their ill," "those who feel their power return," "those whose years of study bring sight." The final verse of each stanza recaptures these themes: "Mercy on those in pain," "Mercy on those who wait," "Mercy on those who mend," "Mercy on those who heal." Borghild is sharing not only her own personal struggle with health and medical issues, but also her compassion for others who are ill. Her recurring fourth verse of each stanza, "Mercy, Lord; Mercy, Lord," is a comforting refrain which serves to unify the hymn with a sense of hope. The minor setting lends a seriousness to the text that reflects the darkness and despair associated with disease. The tune, straightforward with mostly stepwise motion, has a chant quality centered around a "g" reciting tone and a "c" final. This gives the hymn a penitential and liturgical quality. A picardy third for the final cadence seems symbolic of goodness, hope and strength even in the midst of pain.

The collection includes a setting of Psalm 130, "From the Depths." The freely flowing chant-like style of the music, which has no time signature or bar lines, has a strong penitential and liturgical quality very appropriate to Psalm 130 (one of the penitential Psalms). Also, included in the collection is "Where Peter's Shadow Fell," based on Acts 5:15,16; "Depression" which expresses extremely vivid thoughts about this disease; "His Everlasting Arms" based on Deuteronomy 33:24-29; and "A Bruised Reed" based on Isaiah 42:3.

The final two songs require additional consideration. "May Blessed Be" is an extremely powerful hymn. It is a very personal prayer of Borghild Jacobson who herself suffered periods of depression. The sincerity and genuiness of the text overwhelmingly speaks to her great faith and unshaken Christian spirit. No one but she in her own words can truly express the thoughts in this hymn. Church musicians, artists, poets and hymn writers will certainly understand the words of her soul. Verse three summarizes the hymn best:

In the third, and final, stanza the Christian responds to Jesus with stronger, more confident words of obedience and faith. The musical setting of this hymn would be most affective as a solo. The accompaniment, in triple meter, includes some well-placed harmonic accidentals which give emotion and strength to the text.

All of the songs in this collection, with the possible exception of "With Him" as noted above, would work well as congregational hymns. Autograph copies of "May Blessed Be" and "With Him" can be found in Appendix F.

Feminine Insights

Feminine Insights includes eleven songs about New Testament Women. The songs in this collection are primarily intended for solo voice with keyboard. There are four settings, however, which could be used as congregational hymns: "The Wise Watchers" based on Matthew 25: 1-13, "So Shall It Be Done" based on Luke 1:38, "The First Day of the Week" about the resurrection, and "The Woman At The Well" based on John 4:1-42. All of the songs are scripture based and would make excellent selections for proclamation of the Gospel in worship.

Single Songs, Hymns and Semi-Collections

As mentioned throughout this paper, Borghild organized her compositions into categories prior to her death. The three main categories include: Completed Collections, Single Songs and Semi-Collections, and Choral Music. Already discussed in detail have been her collections and "This My Church Shall Be." She has divided the second category, Single Songs and Semi-Collections, into seven sub-groupings: Single Songs, Interspersions, Simple Rounds, Ten Hymns, Trios, Personal and A Lenten Christmas. The third category, Choral Music, is not the focus of this paper and will note be included here.

Ten Hymns

This grouping of songs is an especially important and useful set of congregational hymns. Although the title indicates ten hymns in the group, there are actually twelve that have been included in this set. The first hymn, "This My Church Shall Be," has already been discussed. The second one, "Jesus, May I This Christmas Eve," is a hymn for Christmas Communion. It appears that these two may be additions from earlier works and not specifically written for this collection. Since Borghild did not catalog the work, Ten Hymns, as a completed collection we cannot resolve this discrepancy with any certainty. In any case, the remaining hymns are well worth considering here.

Borghild enjoyed writing hymns for the communion service. No less than thirty of the hymns she wrote are based on communion texts. Two "hallmark" communion hymns from this collection include: "Jesus, At Your Paschal Table," and "Lord of the Feast." Singable tunes combined with well-crafted liturgical poetry highlight these selections.

The remaining selections include "This I Believe" with words by Paul O. Schoberg and music by Borghild. The text is a well-crafted synopsis of the two pinnacle celebrations in the church year, Christmas and Easter. The 6/8 meter and minor setting provide for a very interesting and supportive accompaniment. "Lord of all Lands" is dedicated to Melissa Jacobson and International Students, Inc. A final "hallmark" selection from this semi-collection, "Servant," discusses the many forms and blessings of servanthood. A theme we see consistently in Borghild's life, music and ministry to others. The "hallmark" hymns from this collection can be found in Appendix G.

More "Hallmark" Hymns

What follows is a final sampling of "hallmark" hymns by Borghild Jacobson. These have been chosen from both collections and single songs. Autograph scores for the titles listed below can be found in Appendix H. They are arranged in the order listed below.

Around Him (Christmas Collection)
Around Him
Glory, In Excelsis, Gloria

Communion Songs
Can There Be Greater Joy Than This?*

Feminine Insights
Mary Magdalene Sings an Easter Carol*

Personal
My Gift*

Single Songs
Jesus, May I Kneeling (communion emphasis)
I Will Bear You on Wings of Angels*
A Sign Remains from Jonah (teaching hymn)
While All Around Are Sifting Silt (teaching hymn)

Tableaux
Judgement
Via Dolorosa

Wedding
Lord Jesus, May This Marriage Vow

* See Appendix I for solo settings of these hymns by Mark E. Bloedow.

Conclusion

In preparing this paper, Harvey shared with me comments about Borghild's music included in letters from clergy, music directors, choir members, friends and parish members. Some of the notable qualities in her music that these people frequently commented on were: singable melodies, expressive words, impressive music, words and music that intertwine and support each other, an appeal to all age groups, meaningful texts, an ability to crystallize the purpose of the church, personal and emotional impact and music of enduring quality. This is but a sampling of themes supported by many wonderful comments from clergy and lay people throughout the church. Her music and hymns continue to influence the spiritual lives of Christians from many denominations.

To close, Borghild Jacobson was an individual blessed with great talent. She used her talents to serve God, to the serve the church and to serve others. Her music has touched the lives of countless people who have found inspiration, consolation and understanding through her carefully crafted texts and beautiful melodies. One can only imagine what she may have achieved with more healthy years, but that was not to be. For us and countless others, however, her song does not end here. She has left us with a legacy of her creative works to develop and share with others in the name of Christ. It is a personal prayer of mine that this paper will encourage others to share in the gift that God bestowed upon Borghild-the generous gift she shared so freely with others.

+ Blessed be the memory of Borghild Schoberg Jacobson +

Harvey Jacobson and Mark Bloedow

Copyright 1999 by Mark E. Bloedow, All rights reserved.