About 'trinity college dublin calendar'|Day 1 - Dublin
Ｅｖｅｒ ｓｉｎｃｅ ｔｈｅ Ｉｒｉｓｈ ｔｒｏｏｐｓ ｓｅｒｖｉｎｇ ｉｎ ｔｈｅ Ｅｎｇｌｉｓｈ ｍｉｌｉｔａｒｙ ｆｉｒｓｔ ｍｅｒｒｉｌｙ ｐａｒａｄｅｄ ｔｈｒｏｕｇｈ Ｎｅｗ Ｙｏｒｋ Ｃｉｔｙ ｏｎ Ｍａｒｃｈ 17, 1762, Ｉｒｉｓｈ (ａｎｄ ｏｔｈｅｒ ｎｏｎ-Ｉｒｉｓｈ) Ａｍｅｒｉｃａｎｓ ｈａｖｅ ｏｎｌｙ ｇｒｏｗｎ ｆｏｎｄｅｒ ｏｆ ｔｈｅ ａｎｎｕａｌ ｃｅｌｅｂｒａｔｉｏｎ ｏｆ Ｉｒｅｌａｎｄ'ｓ ｆａｖｏｒｉｔｅ ｓａｉｎｔ. Ａ ｌｏｔ ｏｆ ｃｒｏｓｓ-ｃｕｌｔｕｒａｌ ａｒｔｉｆａｃｔｓ ｈａｖｅ ａｃｃｕｍｕｌａｔｅｄ ａｓ ｗｅｌｌ ａｓ ｔｈｅ Ａｍｅｒｉｃａｎｉｚａｔｉｏｎ ｏｆ ｃｅｒｔａｉｎ Ｉｒｉｓｈ ｓｔｅｒｅｏｔｙｐｅｓ ｔｈａｔ ｗｏｕｌｄ ｓｕｒｐｒｉｓｅ ｍａｎｙ ｒｅａｌ Ｉｒｉｓｈ ｔｏ ｈｅａｒ ａｂｏｕｔ. Ｉｎ ａｎ ｅｆｆｏｒｔ ｔｏ ｒｅｉｎｔｒｏｄｕｃｅ ｔｈｅ ｔｒｕｅ ｅｓｓｅｎｃｅ ｏｆ Ｉｒｅｌａｎｄ ｉｎｔｏ ｔｈｅ ｎｏｗ ｏｖｅｒ-ｓａｔｕｒａｔｅｄ ｓｅａ ｏｆ ｃｏｍｍｅｒｃｉａｌｉｚｅｄ Ｉｒｉｓｈｙ ｓｔｕｆｆ ａ ｇｒｏｕｐ ｏｆ Ｉｒｉｓｈ ｗｈｏｓｅ ｆｏｎｄｎｅｓｓ ｆｏｒ Ａｍｅｒｉｃａ ｉｓ ｓｅｃｏｎｄ ｏｎｌｙ ｔｏ ｔｈｅｉｒ ｌｏｖｅ ｆｏｒ ｔｈｅｉｒ ｏｒｉｇｉｎａｌ ｃｕｌｔｕｒｅ ｇｏｔ ｔｏｇｅｔｈｅｒ ａｎｄ ｃｒｅａｔｅｄ ａ ｔｒｕｌｙ Ｉｒｉｓｈ ｍｕｓｉｃ-ｔｈｅａｔｅｒ ｇａｌａ ｓｐｅｃｔａｃｌｅ ｔｏ ｂｅ ｈｏｓｔｅｄ ｂｙ ｔｈｅ Ｉｒｉｓｈ ｃｏｍｐｏｓｅｒ/ｃｏｎｄｕｃｔｏｒ Ｅｉｍｅａｒ Ｎｏｏｎｅ ａｎｄ ｈｅａｄｌｉｎｅｄ ｂｙ ｐｒｏｍｉｎｅｎｔ Ｉｒｉｓｈ ｓｔａｒｓ (ｓｕｃｈ ａｓ Ｒｏｍａ Ｄｏｗｎｅｙ, Ｐｉｅｒｃｅ Ｂｒｏｓｎａｎ, ａｎｄ ｏｔｈｅｒｓ) ｆｏｒ ｔｈｉｓ ｙｅａｒ'ｓ Ｓｔ. Ｐａｔｒｉｃｋ'ｓ Ｄａｙ ｃｅｌｅｂｒａｔｉｏｎ. "Ｔｈｉｓ Ｉｓ Ｉｒｅｌａｎｄ" ｏｐｅｎｓ ｏｎ Ｍａｒｃｈ 17ｔｈ ａｔ Ｕｎｉｖｅｒｓｉｔｙ ｏｆ Ｃａｌｉｆｏｒｎｉａ - Ｌｏｓ Ａｎｇｅｌｅｓ (ＵＣＬＡ)'ｓ Ｒｏｙｃｅ Ｈａｌｌ. Ｗｉｔｈ ｔｈｅ ｈｅｌｐ ｏｆ Ｊａｎ Ｋｅａｎ ａｔ Ｋｅａｎ & Ｋｏｌａｒ Ｃｏｍｍｕｎｉｃａｔｉｏｎｓ Ｉ ｇｏｔ ｔｏ ａｓｋ Ｅｉｍｅａｒ Ｎｏｏｎｅ (ｐｒｏｎｏｕｎｃｅｄ 'Ｅｅｅｅｅｍｅｒ'), ｔｈｅ ｓｈｏｗ'ｓ ｈｏｓｔ ａｎｄ ｃｏｎｄｕｃｔｏｒ, ａ ｆｅｗ ｑｕｅｓｔｉｏｎｓ: Ｓｍｏｒｇ: Ｄｏ ｙｏｕ ｒｅｍｅｍｂｅｒ ｈｏｗ ｙｏｕ ｇｏｔ ｉｎｔｏ ｐｌａｙｉｎｇ ｔｈｅ ｐｉａｎｏ ａｔ ａｇｅ 3? Ｗａｓ ｔｈａｔ ｙｏｕｒ ｃｈｏｉｃｅ ｏｒ ｗａｓ ｉｔ ｓｏｍｅｔｈｉｎｇ ｔｈａｔ ｙｏｕｒ ｐａｒｅｎｔｓ ｗａｎｔｅｄ ｙｏｕ ｔｏ ｄｏ? Ｅｉｍｅａｒ Ｎｏｏｎｅ: Ａｃｔｕａｌｌｙ, ｍｙ ｆｉｒｓｔ ｔｉｍｅ ｏｎ ｓｔａｇｅ, Ｉ ｂｅｌｉｅｖｅ Ｉ ｗａｓ ｓｉｎｇｉｎｇ. Ｉ ｄｏｎ'ｔ ｒｅｍｅｍｂｅｒ ｗｈｏｓｅ ｃｈｏｉｃｅ ｉｔ ｗａｓ ｂｕｔ ｍｙ ｐａｒｅｎｔｓ ｈａｖｅ ａｌｗａｙｓ ｓｕｐｐｏｒｔｅｄ ｍｙ ｅｖｅｒｙ ｅｎｄｅａｖｏｒ. Ｉｎ Ｉｒｅｌａｎｄ , ｉｆ ａ ｃｈｉｌｄ ｈａｓ ａ ｔａｌｅｎｔ ｆｏｒ ａ ｐａｒｔｉｃｕｌａｒ ａｃｔｉｖｉｔｙ ｔｈｅｙ ａｒｅ ｅｎｃｏｕｒａｇｅｄ ｅｎｏｒｍｏｕｓｌｙ. Ｉ ｓｔｕｄｉｅｄ ａｔ ａ ｔｉｎｙ ｓｃｈｏｏｌ ｉｎ ｔｈｅ Ｗｅｓｔ ｏｆ Ｉｒｅｌａｎｄ ａｎｄ ｗａｓ ｃｏｎｓｔａｎｔｌｙ ｅｎｃｏｕｒａｇｅｄ, ｐｌａｙｉｎｇ ｉｎ ｇｒｏｕｐｓ ａｎｄ ｓｉｎｇｉｎｇ ｓｏｌｏｓ ｉｎ ｔｈｅ ｃｈｏｉｒ. Ｉｔ ｗａｓ ａ ｃｏｍｂｉｎａｔｉｏｎ ｏｆ ｓｏｍｅｔｈｉｎｇ Ｉ ｌｏｖｅｄ ｗｉｔｈ ｔｈｅ ｓｕｐｐｏｒｔ ｏｆ ｔｈｅ ａｄｕｌｔｓ - ｆａｍｉｌｙ ａｎｄ ｔｅａｃｈｅｒｓ - ａｒｏｕｎｄ ｍｅ. Ｓｍｏｒｇ:Ｙｏｕ ａｌｓｏ ｐｌａｙ ｔｈｅ ｆｌｕｔｅ, ａｃｔｕａｌｌｙ ｈｏｌｄｉｎｇ ａ ｄｅｇｒｅｅ ｉｎ ｃｏｎｃｅｒｔ ｆｌｕｔｅ ａｌｏｎｇ ｗｉｔｈ ｃｏｍｐｏｓｉｔｉｏｎ ａｎｄ ｐｅｒｆｏｒｍａｎｃｅ ｆｒｏｍ Ｔｒｉｎｉｔｙ Ｃｏｌｌｅｇｅ Ｄｕｂｌｉｎ. Ｗｈａｔ ｄｒｅｗ ｙｏｕ ｔｏ ｔｈｅ ｉｎｓｔｒｕｍｅｎｔ? Ｄｏ ｙｏｕ ｓｔｉｌｌ ｐｌａｙ ｉｔ ｒｅｇｕｌａｒｌｙ? Ａｎｙ ｆａｖｏｒｉｔｅ ｃｏｍｐｏｓｉｔｉｏｎ ｆｏｒ ｔｈｅ ｆｌｕｔｅ? ＥＮ:Ａ ｆｒｉｅｎｄ ｏｆ ｔｈｅ ｆａｍｉｌｙ ｈａｄ ａ ｗｏｏｄｅｎ ｔｒａｄｉｔｉｏｎａｌ Ｉｒｉｓｈ ｆｌｕｔｅ ａｎｄ Ｉ ｗｅｎｔ ｆｒｏｍ ｔｈｅｒｅ ｔｏ ｃｏｎｃｅｒｔ ｆｌｕｔｅ. Ｙｅｓ, Ｉ ｓｔｉｌｌ ｐｌａｙ ｆｒｏｍ ｔｉｍｅ ｔｏ ｔｉｍｅ. Ｍｙ ｆａｖｏｒｉｔｅ ｐｉｅｃｅ ｏｆ ｒｅｐｅｒｔｏｉｒｅ ｔｏ ｐｌａｙ ｗａｓ ａｌｗａｙｓ "Ｄｅｎｓｉｔｙ 21.5" ｂｙ Ｅｄｇａｒ Ｖａｒéｓｅ. Ｓｍｏｒｇ: Ｈａｖｉｎｇ ｇｒｏｗｎ ｕｐ ｉｎ ｖｅｒｙ ｍｕｓｉｃａｌ Ｉｒｅｌａｎｄ ａｎｄ ｎｏｗ ａｌｓｏ ｔｅａｃｈｉｎｇ ｆｉｌｍ ｓｃｏｒｅ ｃｏｎｄｕｃｔｉｎｇ ｆｏｒ ＵＣＬＡ Ｅｘｔｅｎｓｉｏｎ'ｓ Ｍｕｓｉｃ Ｐｒｏｇｒａｍ, ｗｈａｔ ｉｓ ｙｏｕｒ ｉｍｐｒｅｓｓｉｏｎ ｏｆ ｍｕｓｉｃ ｅｄｕｃａｔｉｏｎ ｈｅｒｅ ｉｎ ｔｈｅ ＵＳＡ ? Ｗｈａｔ ｃａｎ Ａｍｅｒｉｃａｎ ｓｃｈｏｏｌｓ ｄｏ ｂｅｔｔｅｒ ｔｏ ｐｒｏｍｏｔｅ ｍｕｓｉｃａｌ ｉｎｔｅｒｅｓｔ ｉｎ ｏｕｒ ｋｉｄｓ? ＥＮ:Ｔｈｅ ＵＳＡ ｉｓ ｓｕｃｈ ａ ｖａｓｔ ｃｏｕｎｔｒｙ ａｎｄ Ｉ'ｖｅ ｓｅｅｎ ｅｎｏｒｍｏｕｓ ｖａｒｉａｔｉｏｎ ｉｎ ｅｄｕｃａｔｉｏｎａｌ ｓｔａｎｄａｒｄｓ ａｎｄ ｂａｃｋｇｒｏｕｎｄｓ ａｓ ｏｎｅ ｗｏｕｌｄ ｅｘｐｅｃｔ. Ｂｙ ａｎｄ ｌａｒｇｅ, ｔｈｅ ｍａｊｏｒｉｔｙ ｏｆ ｓｔｕｄｅｎｔｓ Ｉ ｗｏｒｋ ｗｉｔｈ ｈａｖｅ ａｌｒｅａｄｙ ｃｏｍｐｌｅｔｅｄ ａｔ ｌｅａｓｔ ａｎ ｕｎｄｅｒｇｒａｄｕａｔｅ ｄｅｇｒｅｅ ａｎｄ ｄｅｄｉｃａｔｅｄ ｔｈｅｍｓｅｌｖｅｓ ｔｏ ｔｈｅｉｒ ｃｒａｆｔ ｓｏ Ｉ ｃａｎ'ｔ ｒｅａｌｌｙ ｃｏｍｍｅｎｔ ｏｎ ｇｅｎｅｒａｌ ｍｕｓｉｃ ｅｄｕｃａｔｉｏｎ. Ｉｎ ｔｅｒｍｓ ｏｆ ｓｃｈｏｏｌ ｃｈｉｌｄｒｅｎ: Ｉ ｂｅｌｉｅｖｅ ｔｈａｔ ｅｖｅｒｙ ｃｈｉｌｄ ｓｈｏｕｌｄ ｈａｖｅ ａｃｃｅｓｓ ｔｏ ａ ｍｕｓｉｃａｌ ｅｄｕｃａｔｉｏｎ. Ｔｈｅｒｅ'ｓ ｓｏ ｍｕｃｈ ｍｏｒｅ ｔｏ ｓｔｕｄｙｉｎｇ ａｎ ａｅｓｔｈｅｔｉｃ ｄｉｓｃｉｐｌｉｎｅ ｔｈａｎ ｍｏｓｔ ｐｅｏｐｌｅ ｒｅａｌｉｚｅ. Ｓｔｕｄｙｉｎｇ ｍｕｓｉｃ ｈａｓ ｐｒｏｖｅｎ ａ ｃｏｇｎｉｔｉｖｅ ｄｅｖｅｌｏｐｍｅｎｔａｌ ｂｅｎｅｆｉｔ ｆｏｒ ｃｈｉｌｄｒｅｎ. Ｓｍｏｒｇ: Ｉｆ ｙｏｕ ａｓｋ ｔｈｅ ａｖｅｒａｇｅ Ａｍｅｒｉｃａｎ ｔｏ ｎａｍｅ ａｎ Ｉｒｉｓｈ ｍｕｓｉｃ ｔｕｎｅ ｙｏｕ'ｄ ｍｏｓｔ ｌｉｋｅｌｙ ｈｅａｒ ｓｏｍｅｔｈｉｎｇ ｌｉｋｅ 'Ｇｒｅｅｎｓｌｅｅｖｅｓ' ｏｒ 'Ｄａｎｎｙ Ｂｏｙ' ｏｒ 'Ｒｉｖｅｒｄａｎｃｅ' ｂａｃｋ. Ａｒｅ ｔｈｅｓｅ ｒｅｐｒｅｓｅｎｔａｔｉｖｅ ｏｆ Ｉｒｉｓｈ ｍｕｓｉｃ? Ｉｓ ｔｈｅｒｅ ａｎｙ ｐａｒｔｉｃｕｌａｒ ｅｓｓｅｎｃｅ ｔｈａｔ ｉｓ ｃｈａｒａｃｔｅｒｉｓｔｉｃ ｔｏ Ｉｒｉｓｈ ｍｕｓｉｃ? (Ｆｏｒ ｅｘａｍｐｌｅ: Ｂｕｌｇａｒｉａｎ ｆｏｌｋ ｓｏｎｇｓ ｔｅｎｄ ｔｏ ｂｅ ｓｔｏｒｙ-ｔｅｌｌｉｎｇ ｏｒ ｒｅｌａｔｅｄ ｔｏ ｌｏｃａｌ ｆｏｌｋ ｌｏｒｅ, ａｎｄ ｓｏｕｎｄｉｎｇ ｐｒｅｔｔｙ ｄｉｓｓｏｎａｎｔ ａｎｄ ｓｅｔ ｔｏ ｉｒｒｅｇｕｌａｒ ｍｅｔｅｒ; Ｃｈｉｎｅｓｅ ｍｕｓｉｃ ｉｓ ｂａｓｅｄ ｏｎ ｔｈｅ ｐｅｎｔａｔｏｎｉｃ ｓｃａｌｅ ａｎｄ ｔｅｎｄ ｔｏ ｓｏｕｎｄ ｌｉｋｅ ｔｈｅ ｓｏｕｎｄ ｏｆ ｔｈｅ ｂａｍｂｏｏ ｆｏｒｅｓｔ; Ｉｔａｌｉａｎ ｓｏｎｇｓ ｈａｖｅ ｃｈａｒａｃｔｅｒｉｓｔｉｃ ｍｅｌｏｄｉｃ ａｒｃｈｓ; ｗｈｉｌｅ Ｆｒｅｎｃｈ ｓｏｎｇｓ ｔｅｎｄ ｔｏ ｂｅ ｖｅｒｙ ｃｈｒｏｍａｔｉｃ, ｅｔｃ). ＥＮ: Ｄａｎｎｙ Ｂｏｙ ｉｓ ｂａｓｅｄ ｏｎ ｔｈｅ ｔｕｎｅ "Ｔｈｅ Ｄｅｒｒｙ Ａｉｒ" (ｔｈｅ ｌｙｒｉｃ ｏｆ "Ｄａｎｎｙ Ｂｏｙ" ｗａｓ ａｃｔｕａｌｌｙ ｗｒｉｔｔｅｎ ｂｙ ａｎ Ｅｎｇｌｉｓｈ ｌａｗｙｅｒ - Ｆｒｅｄｅｒｉｃ Ｗｅａｔｈｅｒｌｙ) ａｎｄ Ｇｒｅｅｎｓｌｅｅｖｅｓ ｉｓ ａｎ Ｅｎｇｌｉｓｈ ｔｕｎｅ, ｓｏｍｅｔｉｍｅｓ ｆｏｌｋ ｌｏｒｅ ａｔｔｒｉｂｕｔｅｓ ｉｔｓ ｃｏｍｐｏｓｉｔｉｏｎ ｔｏ Ｋｉｎｇ Ｈｅｎｒｙ ＶＩＩＩ! Ｌｉｋｅ ｍｏｓｔ ｃｕｌｔｕｒｅｓ, ｔｒａｄｉｔｉｏｎａｌ Ｉｒｉｓｈ ｍｕｓｉｃ ｈａｓ ｉｔｓ ｗｏｒｋｓｏｎｇｓ, ｉｔｓ ｌａｍｅｎｔｓ, ｉｔｓ ｌｏｖｅ-ｓｏｎｇｓ ｅｔｃ. Ｉ ｌｏｖｅ ｔｈｅ ｗａｙ ａ ｔｒａｄｉｔｉｏｎａｌ Ｉｒｉｓｈ ａｉｒ ｓｕｎｇ ｕｎａｃｃｏｍｐａｎｉｅｄ ｉｎ ａ ｐｕｂ ｉｎ Ｉｒｅｌａｎｄ ｗｉｌｌ ｓｉｌｅｎｃｅ ｅｖｅｒｙ ｂｅｉｎｇ ｉｎ ｔｈｅ ｒｏｏｍ. Ｔｏ ｒｕｎ ｔｈｅ ｒｉｓｋ ｏｆ ｂｅｉｎｇ ｔｅｒｒｉｂｌｙ ｃｒｕｄｅ ａｎｄ ｂｒｅａｋｉｎｇ ｄｏｗｎ ｔｒａｄｉｔｉｏｎａｌ Ｉｒｉｓｈ ｔｕｎｅｓ ｉｎｔｏ ａ ｆｅｗ ｓｉｍｐｌｉｓｔｉｃ ｔｅｃｈｎｉｑｕｅｓ, ａ ｃｏｕｐｌｅ ｏｆ ｃｏｍｍｏｎ ｔｒａｉｔｓ ｗｏｕｌｄ ｂｅ ｔｈｅ ｕｓｅ ｏｆ ｔｈｅ Ｍｉｘｏｌｙｄｉａｎ ｍｏｄｅ ａｎｄ ｒｅｐｅｔｉｔｉｏｎ ｏｆ ｔｈｅ ｔｏｎｉｃ ａｔ ｔｈｅ ｅｎｄ ｏｆ ａ ｍｅｌｏｄｙ. Ｉ ｌｏｖｅ ｔｈｅ ｗａｙ Ｂｉｌｌ Ｗｈｅｌａｎ - ｔｈｅ ｃｏｍｐｏｓｅｒ ｏｆ Ｒｉｖｅｒｄａｎｃｅ - ｕｓｅｓ ｔｒａｄｉｔｉｏｎａｌ Ｉｒｉｓｈ ｍｏｄｅｓ/ｔｅｃｈｎｉｑｕｅｓ/ｆｌａｖｏｒｓ, ａｌｉｖｅ ｗｉｔｈ ｆａｎｔａｓｔｉｃ ｒｈｙｔｈｍｓ ａｎｄ ｂｒｉｎｇｓ ｔｈｅ ｆｒｅｓｈｎｅｓｓ ｏｆ ｓｏｍｅｏｎｅ ｗｈｏｓｅ ｍｕｓｉｃａｌ ｖｏｉｃｅ ｒｅｓｏｎａｔｅｓ ｗｉｔｈ ｔｈｅ ｓｐｉｒｉｔ ｏｆ ｏｔｈｅｒ ｇｒｅａｔ ｗｏｒｌｄ ｍｕｓｉｃｓ. Ｓｍｏｒｇ: Ｙｏｕｒ ｃａｒｅｅｒ ｈａｓ ｓｐａｎｎｅｄ ｓｏ ｍａｎｙ ｖａｒｉｅｔｙ ｏｆ ｍｕｓｉｃ ｇｅｎｒｅ; ｃｌａｓｓｉｃａｌ, ｂａｌｌｅｔ, ｆｉｌｍ, ｒｏｃｋ/ｐｏｐ, ａｎｄ ｅｖｅｎ ｖｉｄｅｏ ｇａｍｅ ｍｕｓｉｃ (ｙｏｕ ｓｅｅｍ ｌｉｋｅ ａ ｍｏｄｅｒｎ ｄａｙｓ ｖｅｒｓｉｏｎ ｏｆ Ｅｒｉｃｈ Ｋｏｒｎｇｏｌｄ!)! Ｗｈｉｃｈ ｏｆ ｔｈｅｓｅ ｄｏ ｙｏｕ ｆｉｎｄ ｔｈｅ ｍｏｓｔ ｃｈａｌｌｅｎｇｉｎｇ? ＥＮ: Ｉｔ ａｌｗａｙｓ ｄｅｐｅｎｄｓ ｏｎ ｔｈｅ ｓｉｔｕａｔｉｏｎ Ｉ'ｍ ｉｎ, ｔｈｅ ｐｅｒｆｏｒｍｅｒｓ, ｃｏｍｐｏｓｅｒｓ ｅｔｃ. Ｏｆ ｃｏｕｒｓｅ, ｇｅｎｅｒａｌｌｙ ｓｐｅａｋｉｎｇ, ｃｏｎｄｕｃｔｉｎｇ Ｓｔｒａｖｉｎｓｋｙ ｉｓ ｇｏｉｎｇ ｔｏ ｂｅ ｍｏｒｅ ｃｈａｌｌｅｎｇｉｎｇ ｔｈａｔ ｒｅｃｏｒｄｉｎｇ ａ ｐｏｐ ａｌｂｕｍ! Ｏｎｅ ｏｆ ｔｈｅ ｒｅａｓｏｎｓ Ｉ ｌｏｖｅ ＬＡ ｉｓ ｔｈａｔ Ｉ ｌｏｖｅ ｔｈｅ ｍｕｓｉｃａｌ ｄｉｖｅｒｓｉｔｙ. Ｉ ｒｅｍｅｍｂｅｒ ｏｎｅ ｐａｒｔｉｃｕｌａｒ ｗｅｅｋ ｗｈｅｎ Ｉ ｗｏｒｋｅｄ ｗｉｔｈ ｔｈｅ ｓａｍｅ ｍｕｓｉｃｉａｎｓ ｏｎ Ｓｔｒａｖｉｎｓｋｙ'ｓ "Ｌ'Ｈｉｓｔｏｉｒｅ ｄｕ Ｓｏｌｄａｔ", ａ ｐｏｐ ａｌｂｕｍ ａｎｄ ａ ｖｉｄｅｏ ｇａｍｅ. Ｉ'ｍ ａ ｈｕｇｅ ｃｒｏｓｓ-ｇｅｎｒｅ ｍｕｓｉｃ ｆａｎ ａｎｄ ｃｕｌｔｕｒａｌ ｓｎｏｂｂｅｒｙ ｉｓ ｓｏｍｅｔｈｉｎｇ ｔｈａｔ Ｉ ｔｈｉｎｋ ｏｆ ａｓ ｔｅｒｒｉｂｌｙ ｎａｒｒｏｗ-ｍｉｎｄｅｄ ａｎｄ ｓｔｕｌｔｉｆｙｉｎｇ ｆｏｒ ａｎ ａｒｔｉｓｔ. Ｉｎ ｆａｃｔ, Ｉ ｆｉｎｄ ｔｈａｔ ｍｙ ｒｅｌａｔｉｏｎｓｈｉｐ ｗｉｔｈ Ｃｌａｓｓｉｃ ｍｕｓｉｃ ｉｓ ｅｎｒｉｃｈｅｄ ｂｙ ｍｙ ｌｏｖｅ ａｆｆａｉｒ ｗｉｔｈ ｆｉｌｍ ｓｃｏｒｅｓ, ｒｏｃｋ, ｊａｚｚ ａｎｄ ｗｏｒｌｄ ｍｕｓｉｃｓ. Ｓｍｏｒｇ: Ｔｅｌｌ ｕｓ ｈｏｗ ｙｏｕ ｇｏｔ ｉｎｔｏ ｏｒｃｈｅｓｔｒａｔｉｎｇ ａｎｄ ｃｏｎｄｕｃｔｉｎｇ ｔｈｅ ｍｕｓｉｃ ｏｆ ｔｈｅ ｍｅｇａ ｈｉｔ ｖｉｄｅｏ ｇａｍｅ 'Ｗｏｒｌｄ ｏｆ Ｗａｒｃｒａｆｔ' ａｎｄ ｔｈｅ 'Ｓｔａｒｃｒａｆｔ' ｓｅｒｉｅｓ? Ｄｏ ｙｏｕ ｐｌａｙ ｔｈｅ ｖｉｄｅｏ ｇａｍｅｓ ｉｎ ｙｏｕｒ ｓｐａｒｅ ｔｉｍｅ, ｔｏｏ? ＥＮ: Ａｔ ｆｉｒｓｔ Ｉ ｗａｓ ａｎ ａｓｓｉｓｔａｎｔ ｔｏ ｏｎｅ ｏｆ ｔｈｅ ｏｒｉｇｉｎａｌ ｏｒｃｈｅｓｔｒａｔｏｒｓ ｏｎ ＷＯＷ ａｎｄ ｅｎｄｅｄ ｕｐ ｄｏｉｎｇ ａ ｌｏｔ ｏｆ ｔｈａｔ ｓｃｏｒｅ ｉｎ ｔｈｅ ｅｎｄ. Ｃｏｍｐｏｓｅｒ ａｎｄ Ａｕｄｉｏ Ｄｉｒｅｃｔｏｒ, Ｒｕｓｓｅｌｌ Ｂｒｏｗｅｒ ｆｒｏｍ Ｂｌｉｚｚａｒｄ ｇａｍｅｓ ｉｎｖｉｔｅｄ ｍｅ ｔｏ ｆｌｙ ｔｏ Ｓｋｙｗａｌｋｅｒ Ｒａｎｃｈ ｗｉｔｈ ｔｈｅ ｔｅａｍ ｔｏ ｃｏｎｄｕｃｔ ｔｈｅ ｓｃｏｒｅ ｔｏ Ｓｔａｒｃｒａｆｔ ＩＩ ｔｈｅｒｅ ｗｉｔｈ ａｎ ｏｒｃｈｅｓｔｒａ ｍａｄｅ ｕｐ ｏｆ ｍｅｍｂｅｒ ｏｆ ｔｈｅ Ｓａｎ Ｆｒａｎｃｉｓｃｏ Ｓｙｍｐｈｏｎｙ, Ｂａｌｌｅｔ ａｎｄ Ｏｐｅｒａ ｏｒｃｈｅｓｔｒａｓ. Ｂｌｉｚｚａｒｄ ｈａｓ ａ ｆａｎｔａｓｔｉｃ ｓｔａｂｌｅ ｏｆ ｃｏｍｐｏｓｅｒｓ ａｎｄ ｏｒｃｈｅｓｔｒａｔｏｒｓ ａｎｄ ｔｈｅｉｒ ｃｒｅａｔｉｖｅ ｄｉｒｅｃｔｏｒ Ｃｈｒｉｓ Ｍｅｔｚｅｎ ｉｓ ａ ｒｅａｌ ｖｉｓｉｏｎａｒｙ. Ｉｔ ｗａｓ ａｎ ｅｎｏｒｍｏｕｓｌｙ ｒｅｗａｒｄｉｎｇ ｅｘｐｅｒｉｅｎｃｅ ａｎｄ Ｉ ｇｏｔ ｔｏ ａｒｇｕｅ ａｔ ｌｅｎｇｔｈ ａｂｏｕｔ ｏｒｃｈｅｓｔｒａｌ ｓｅａｔｉｎｇ ｗｉｔｈ ｅｍｉｎｅｎｔ ｒｅｃｏｒｄｉｎｇ ｅｎｇｉｎｅｅｒ, Ｊｏｈｎ Ｋｕｒｌａｎｄｅｒ, ｗｈｉｃｈ ｗａｓ ｌｉｋｅ ｇｅｔｔｉｎｇ ａ ｍａｓｔｅｒｃｌａｓｓ ｉｎ ｏｒｃｈｅｓｔｒａｌ ｍｉｋｅ-ｐｌａｃｅｍｅｎｔ ａｎｄ ｒｅｃｏｒｄｉｎｇ - ｖｅｒｙ ｎｅｒｄｙ ｉｎｄｅｅｄ! Ｔｈｅ ｇａｍｅｓ ａｒｅ ｃｒｅａｔｉｖｅｌｙ ｇｒｏｕｎｄ-ｂｒｅａｋｉｎｇ ａｎｄ Ｉ ｐｌａｙ ｔｈｅｍ ｗｈｅｎ Ｉ ｃａｎ, ａｌｔｈｏｕｇｈ Ｉ ｍｕｓｔ ａｄｍｉｔ, Ｉ'ｍ ｍｕｃｈ ｍｏｒｅ ｉｎｔｏ ｔｈｅ ｉｎｃｒｅｄｉｂｌｅ ａｒｔｗｏｒｋ ａｎｄ ａｎｉｍａｔｉｏｎ ｔｈａｎ ａｎｙｔｈｉｎｇ ｅｌｓｅ! Ｓｍｏｒｇ: Ｈａｖｅ ｙｏｕ ｔｈｏｕｇｈｔ ｏｆ ｃｏｎｄｕｃｔｉｎｇ ｏｒ ｃｏｍｐｏｓｉｎｇ ａｎ ｏｐｅｒａ ｉｎ ｔｈｅ ｆｕｔｕｒｅ? ＥＮ: Ｉ'ｖｅ ｃｏｎｄｕｃｔｅｄ ｌｏｔｓ ｏｆ "ｏｐｅｒａ ｓｃｅｎｅｓ" ａｎｄ ａｒｉａｓ ｂｕｔ Ｉ'ｖｅ ｎｏｔ ｙｅｔ ｈａｄ ｔｈｅ ｏｐｐｏｒｔｕｎｉｔｙ ｔｏ ｃｏｎｄｕｃｔ ａ ｆｕｌｌｙ ｓｔａｇｅｄ ｏｐｅｒａ. Ｏｆ ｃｏｕｒｓｅ, Ｉ ｗｏｕｌｄ ｌｏｖｅ ｔｏ ｃｏｎｄｕｃｔ ａｎ ｏｐｅｒａ! Ａｓ ｆｏｒ ｃｏｍｐｏｓｉｎｇ ｏｎｅ - ｗｈｙ ｎｏｔ? Ｉｆ ａ ｃｏｍｍｉｓｓｉｏｎ ｈａｐｐｅｎ ｔｏ ｆｌｏａｔ ｍｙ ｗａｙ... Ｓｍｏｒｇ: Ｄｏ ｙｏｕ ｐｒｅｆｅｒ ｔｈｅ ｔｈｒｉｌｌ ａｎｄ ｕｎｃｅｒｔａｉｎｔｙ ｏｆ ｌｉｖｅ ｃｏｎｄｕｃｔｉｎｇ ｐｅｒｆｏｒｍａｎｃｅｓ ｏｒ ｄｏ ｙｏｕ ｐｒｅｆｅｒ ｓｔｕｄｉｏ ｃｏｎｄｕｃｔｉｎｇ ｗｈｅｒｅ ｙｏｕ ｃａｎ ｒｅａｌｌｙ ｐｅｒｆｅｃｔ ｔｈｅ ｓｏｕｎｄ ｏｆ ｔｈｅ ｐｅｒｆｏｒｍａｎｃｅ? ＥＮ: Ｔｈｅｙ ａｒｅ ｔｗｏ ｄｉｆｆｅｒｅｎｔ ａｎｉｍａｌｓ. Ｓｏｍｅｔｉｍｅｓ ｔｈｅ ｐｒｅｓｓｕｒｅ ｃａｎ ａｃｔｕａｌｌｙ ｂｅ ｇｒｅａｔｅｒ ｉｎ ｔｈｅ ｓｔｕｄｉｏ ｓｉｔｕａｔｉｏｎ ｅｓｐｅｃｉａｌｌｙ ｉｆ ｔｈｅｒｅ'ｓ ａ ｐａｒｔｉｃｕｌａｒｌｙ "ｄｅｔａｉｌ ｏｒｉｅｎｔｅｄ" (ｔｈａｔ'ｓ ｂｅｉｎｇ ｋｉｎｄ!) ｃｌｉｅｎｔ, ｄｉｒｅｃｔｏｒ, ｐｒｏｄｕｃｅｒ ｅｔｃ. Ｉ ｌｏｖｅ ｂｏｔｈ ｓｉｔｕａｔｉｏｎｓ, ｅｓｐｅｃｉａｌｌｙ ｗｈｅｎ Ｉ'ｍ ｗｏｒｋｉｎｇ ｗｉｔｈ ａ ｇｒｏｕｐ ｏｆ ｍｕｓｉｃｉａｎｓ Ｉ ｌｏｖｅ ａｎｄ ｔｒｕｓｔ. Ｓｍｏｒｇ: Ｗｈａｔ ｄｏ ｙｏｕ ｆｉｎｄ ｍｏｓｔ ｃｈａｌｌｅｎｇｉｎｇ ａｂｏｕｔ ｏｒｃｈｅｓｔｒａｌ ｃｏｎｄｕｃｔｉｎｇ? ＥＮ: Ｌｅｔ ｍｅ ｆｉｒｓｔ ｔｈｉｎｋ ａｂｏｕｔ ｗｈａｔ'ｓ ｌｅａｓｔ ｃｈａｌｌｅｎｇｉｎｇ ａｂｏｕｔ ｏｒｃｈｅｓｔｒａｌ ｃｏｎｄｕｃｔｉｎｇ... Ｉ ｍａｙ ｎｅｅｄ ｓｏｍｅ ｔｉｍｅ ｔｏ ｔｈｉｎｋ ａｂｏｕｔ ｔｈａｔ ｏｎｅ! Ｓｍｏｒｇ: Ｄｏｅｓ ｂｅｉｎｇ ａ ｗｏｍａｎ ｐｒｅｓｅｎｔ ｙｏｕ ｗｉｔｈ ｄｉｆｆｉｃｕｌｔｉｅｓ ｔｈａｔ ｙｏｕｒ ｍａｌｅ ｃｏｌｌｅａｇｕｅｓ ｗｏｕｌｄｎ'ｔ ｈａｖｅ ｉｎ ｙｏｕｒ ｆｉｅｌｄ ｏｆ ｗｏｒｋ? ＥＮ: Ｙｅｓ, Ｉ ｗｏｕｌｄ ｄｅｆｉｎｉｔｅｌｙ ｓａｙ ｓｏ. Ｔｈｅｒｅ ｉｓ ｓｏｍｅｔｈｉｎｇ ｃａｌｌｅｄ ｔｈｅ "ｍａｅｓｔｒｏ ｍｙｔｈ" ｔｈａｔ Ｉ ｄｏ ｎｏｔ, ａｎｄ ｉｎ ｆａｃｔ, ｃａｎｎｏｔ ｓｕｂｓｃｒｉｂｅ ｔｏ: ｍａｎｙ ｐｅｏｐｌｅ ｈａｖｅ ａｎ ｉｎｇｒａｉｎｅｄ ｐｅｒｃｅｐｔｉｏｎ ｏｆ ｔｈｅ ｂｉｇ-ｈａｉｒｅｄ ｍａｅｓｔｒｏ ｗｅａｒｉｎｇ ｂｏｗ-ｔｉｅ ａｎｄ ｔａｉｌｓ; ｉｔ'ｓ ａ ｐｅｒｃｅｐｔｉｏｎ Ｉ ｃａｎ'ｔ ｃｏｍｐｅｔｅ ｗｉｔｈ. Ｉ ａｌｗａｙｓ ｆｅｅｌ ｓｕｐｐｏｒｔｅｄ ｂｙ ｔｈｅ ｏｒｃｈｅｓｔｒａｌ ｍｕｓｉｃｉａｎｓ ａｎｄ ａｕｄｉｅｎｃｅｓ ｂｕｔ ｉｔ'ｓ ｓｏｍｅｔｉｍｅｓ ｄｉｆｆｉｃｕｌｔ ｔｏ ｇｅｔ ｔｈｅ ｏｐｐｏｒｔｕｎｉｔｙ ｔｏ ｃｏｎｄｕｃｔ ａｔ ａｌｌ ｂｅｃａｕｓｅ ｉｔ'ｓ ｄｉｆｆｉｃｕｌｔ ｆｏｒ ｔｈｏｓｅ ｗｈｏ ｈａｖｅｎ'ｔ ｐｒｅｖｉｏｕｓｌｙ ｓｅｅｎ ｍｅ ｐｅｒｆｏｒｍ - ｂｅｃａｕｓｅ ｏｆ ｐｒｅ-ｃｏｎｃｅｉｖｅｄ ｎｏｔｉｏｎｓ - ｔｏ ｖｉｓｕａｌｉｚｅ ｍｅ ｉｎ ｔｈａｔ ｒｏｌｅ. Ｍｙ ｉｒｒｅｖｅｒｅｎｔ ｍｏｔｔｏ ｉｓ: "Ｂｉｇ ｈａｉｒ ｄｏｅｓｎ'ｔ ｍａｋｅ ｔｈｅ ｍｕｓｉｃ ｓｏｕｎｄ ｂｅｔｔｅｒ!" Ｓｍｏｒｇ: Ｔｅｌｌ ｕｓ ａｂｏｕｔ ｔｈｅ Ｈｏｌｌｙｗｏｏｄ Ｓｏｕｎｄ Ａｓｙｌｕｍ? Ｈｏｗ ｉｓ ｔｈｅ ｐｒｏｊｅｃｔ ｃｏｍｉｎｇ ａｌｏｎｇ? ＥＮ: Ｔｈａｔ ｉｓ ａ ｐｅｔ ｐｒｏｊｅｃｔ ｏｆ ｍｉｎｅ ｔｈａｔ Ｉ'ｍ ｈｏｐｉｎｇ ｔｏ ｃｏｎｃｅｎｔｒａｔｅ ｏｎ ｌａｔｅｒ ｉｎ ｔｈｅ ｙｅａｒ. Ｏｆ ｃｏｕｒｓｅ ｉｔ'ｓ ａｌｌ ｓｕｂｊｅｃｔ ｔｏ ｆｕｎｄｉｎｇ ｂｕｔ Ｉ ｕｓｅｄ ｔｏ ｐｅｒｆｏｒｍ ａ ｌｏｔ ｏｆ ｓｍａｌｌｅｒ ｗｏｒｋｓ ｏｆ ｃｏｎｔｅｍｐｏｒａｒｙ ａｒｔ ｍｕｓｉｃ ｉｎ Ｄｕｂｌｉｎ ａｎｄ Ｉ'ｍ ｈｏｐｉｎｇ ｔｏ ｄｏ ｓｏｍｅ ｍｏｒｅ ｅｘｐｅｒｉｍｅｎｔａｌ ａｒｔ ｍｕｓｉｃ ｈｅｒｅ ｉｎ ＬＡ ｗｉｔｈ Ｈｏｌｌｙｗｏｏｄ Ｓｏｕｎｄ Ａｓｙｌｕｍ. Ｓｍｏｒｇ: Ｔｈｉｓ Ｓｔ. Ｐａｔｒｉｃｋ'ｓ Ｄａｙ ｙｏｕ ｗｉｌｌ ｂｅ ｈｏｓｔｉｎｇ 'Ｔｈｉｓ Ｉｓ Ｉｒｅｌａｎｄ' ｌｉｖｅ ｍｕｓｉｃ-ｔｈｅａｔｅｒ ｃｅｌｅｂｒａｔｉｏｎ ｏｆ ｙｏｕｒ ｈｏｍｅｌａｎｄ ａｔ ＵＣＬＡ'ｓ Ｒｏｙｃｅ Ｈａｌｌ ｉｎ Ｌｏｓ Ａｎｇｅｌｅｓ . Ｗｈａｔ ｉｎｓｐｉｒｅｄ ｙｏｕ ｔｏ ｔｈｉｓ ｐｒｏｊｅｃｔ ａｎｄ ｗｈａｔ ｄｏ ｙｏｕ ｈｏｐｅ ｔｏ ａｃｈｉｅｖｅ ｗｉｔｈ ｉｔｓ ｐｅｒｆｏｒｍａｎｃｅ? ＥＮ: Ｆｉｒｓｔｌｙ Ｉ ｃｏｕｌｄｎ'ｔ ｆｉｎｄ ｍｕｃｈ ｔｏ ｄｏ ｉｎ ＬＡ ｏｎ Ｓｔ. Ｐａｔｒｉｃｋ'ｓ Ｄａｙ ｔｈａｔ ｗａｓ ａｕｔｈｅｎｔｉｃａｌｌｙ Ｉｒｉｓｈ ａｎｄ Ｉ ｓａｗ ａ ｔｙｐｅ ｏｆ ｃａｒｔｏｏｎ ｖｅｒｓｉｏｎ ｏｆ ｍｙ ｃｕｌｔｕｒｅ ｔｈａｔ ｈａｄ ｂｅｃｏｍｅ ｗｈａｔ ｐｅｏｐｌｅ ｐｅｒｃｅｉｖｅｄ ｔｏ ｂｅ "Ｉｒｉｓｈ". Ｉｒｅｌａｎｄ ｉｓ ａ ｃｏｕｎｔｒｙ ｔｈａｔ ｉｓ ｓｏ ｓｔｅｅｐｅｄ ｉｎ ｔｒｕｅ - ｎｏｎ-ｐｌａｓｔｉｃ - ｃｕｌｔｕｒｅ. Ｗｈｅｎ Ｉ ｓｔａｒｔｅｄ ｐｒｏｇｒａｍｍｉｎｇ ｔｈｅ ｓｈｏｗ - ｗｈｉｃｈ ｆｏｌｌｏｗｓ ａｎ ｈｉｓｔｏｒｉｃａｌ ｔｉｍｅ-ｌｉｎｅ - Ｉ ｗａｓ ａｌｍｏｓｔ ｏｖｅｒｗｈｅｌｍｅｄ ｂｙ ｔｈｅ ａｂｕｎｄａｎｃｅ ｏｆ ｍａｔｅｒｉａｌ ｂｅｆｏｒｅ ｍｅ. Ｗｈｅｎ ｗｅ ｗｅｒｅ ｉｎｔｒｏｄｕｃｅｄ ｔｏ ｔｈｅ ｐｒｏｄｕｃｔｉｏｎ ｔｅａｍ ａｔ Ｒｏｙｃｅ Ｈａｌｌ ｂｙ Ｊｕｌｉｅ Ｗｈｉｔｔａｋｅｒ ｏｆ ｔｈｅ ＬＡ Ｂａｌｌｅｔ, ｔｈｅｙ ｌｉｋｅｄ ｔｈｅ ｉｄｅａ ｓｏ ｍｕｃｈ ｔｈｅｙ ｓｕｇｇｅｓｔｅｄ ｗｅ ｍａｋｅ ｉｔ ａｎ ａｎｎｕａｌ ｅｖｅｎｔ. Ｗｅ ｗａｎｔ ｏｕｒ ａｕｄｉｅｎｃｅ ｔｏ ｇｅｔ ａ ｔｒｕｅ ｓｅｎｓｅ ｏｆ ｔｈｏｓｅ ｅｌｅｍｅｎｔ ｔｈａｔ ｃｏｍｂｉｎｅ ｔｏ ｍａｋｅ ｔｈｅ Ｉｒｉｓｈ ｃｕｌｔｕｒｅ, ｉｎｄｅｅｄ ｔｈｅ Ｉｒｉｓｈ ｐｓｙｃｈｅ, ｗｈａｔ ｉｔ ｉｓ. Ｗｅ ｗａｎｔ ｔｏ ｓｈａｒｅ ｗｉｔｈ ｏｕｒ ａｄｏｐｔｅｄ ｃｉｔｙ, ｔｈｅ ｈｉｓｔｏｒｉｃａｌ ａｎｄ ｐｏｌｉｔｉｃａｌ ｂａｃｋｇｒｏｕｎｄ ｔｈａｔ ｈａｓ ｉｎｆｌｕｅｎｃｅｄ ｕｓ ａｓ ａｒｔｉｓｔｓ. Ｔｈｉｓ ｓｈｏｗ ｉｓ ａ ｒｅａｌ ｅｍｏｔｉｏｎａｌ ｒｏｌｌｅｒ-ｃｏａｓｔｅｒ ｗｉｔｈ ｓｃｅｎｅｓ ｏｆ ｐｏｉｇｎａｎｔ ｔｒａｇｉｃ ｂｅａｕｔｙ ａｎｄ ｃｏｍｅｄｉｃ ｌａｒｇｅｓｓｅ - ａ ｄｅｅｐｌｙ ｐｈｉｌｏｓｏｐｈｉｃａｌ ｐｉｅｃｅ ｏｆ ｐｏｅｔｒｙ ｆｏｌｌｏｗｅｄ ｂｙ ａ ｓｃｅｎｅ ｏｆ ｓｅｌｆ-ｍｏｃｋｉｎｇ ｂａｗｄｙ ｃｏｍｅｄｙ ｗｉｔｈ ｉｎｃｒｅｄｉｂｌｅ ｐｉｅｃｅｓ ｏｆ Ｉｒｉｓｈ ａｎｄ Ｉｒｉｓｈ-ｉｎｆｌｕｅｎｃｅｄ ｍｕｓｉｃ ａｓ ｔｈｅ ｐｉｌｌａｒｓ ｆｏｒ ｔｈｅ ｎａｒｒａｔｉｖｅ. Ｂａｓｉｃａｌｌｙ Ｉ ｗａｎｔｅｄ ｔｏ ｓｈａｒｅ ｔｈｅ ｒｅａｌ ｅｓｓｅｎｃｅ ｏｆ ｏｕｒ ｃｕｌｔｕｒｅ ｗｉｔｈ ｍｙ ＬＡ ｎｅｉｇｈｂｏｒｓ ａｎｄ ｆｒｉｅｎｄｓ - ｉｎ ｔｈｅ ｆｏｒｍ ｏｆ ａｎ ａｕｔｈｅｎｔｉｃ ｃｕｌｔｕｒａｌ ｐａｒｔｙ - ａｎｄ ｄｏ ａｗａｙ ｗｉｔｈ ｔｈｅ ｐｒｏｖｅｒｂｉａｌ ｉｎｆｌａｔａｂｌｅ ｌｅｐｒｅｃｈａｕｎｓ ｏｎｃｅ ａｎｄ ｆｏｒ ａｌｌ! Ｙｏｕ ｃａｎ ｖｉｓｉｔ Ｅｉｍｅａｒ Ｎｏｏｎｅ ａｔ ｈｅｒ ｗｅｂｓｉｔｅ: ｗｗｗ.ｅｉｍｅａｒｗｏｒｌｄ.ｃｏｍ ａｎｄ ｉｆ ｙｏｕ ａｒｅ ｏｒ ｐｌａｎ ｔｏ ｂｅ ｉｎ Ｌｏｓ Ａｎｇｅｌｅｓ ａｒｅａ ｏｎ Ｍａｒｃｈ 17ｔｈ, ｓｔｏｐ ｂｙ ａｔ ＵＣＬＡ'ｓ Ｒｏｙｃｅ Ｈａｌｌ ｆｏｒ ｔｒｕｅ Ｉｒｉｓｈ ｉｍｍｅｒｓｉｏｎ ａｔ ｔｈｅ ｆｉｒｓｔ Ｔｈｉｓ Ｉｓ Ｉｒｅｌａｎｄ ｃｅｌｅｂｒａｔｉｏｎ! Ｓｏｕｒｃｅｓ: - Ｋｅａｎ & Ｋｏｌａｒ Ｃｏｍｍｕｎｉｃａｔｉｏｎｓ - Ｅｉｍｅａｒ Ｎｏｏｎｅ - ＵＣＬＡ Ｌｉｖｅ! Ｐｅｒｆｏｒｍｉｎｇ Ａｒｔｓ Ｐａｇｅ - Ｈｉｓｔｏｒｙ.ｃｏｍ Ｓｔ. Ｐａｔｒｉｃｋ'ｓ Ｄａｙ Ｐａｇｅ |
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