tag:blogger.com,1999:blog-17042280894806874952024-03-16T09:01:22.003+00:00Fiddler's DogFIDDLER'S DOG
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Patrick O'Sullivan's Whole Life BlogPatrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.comBlogger119125tag:blogger.com,1999:blog-1704228089480687495.post-57330898960761530942024-03-15T16:54:00.010+00:002024-03-16T09:00:50.238+00:00Friend of Heavy, sung by Shannon Marie Harney<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioRqGk0zTl6LHutEWzMNEmm7hDbr0g2JJITZhEGHNiHY2fP2UYW5Xl36r8JbrOQ_YFnk6tLooml5JDdvZw9j798qayBXzerKnfIwbiOafE4XjN3sqPkd_JsD4ML8KbG1QELsnJSSGlKNyEZKZwZ6cBB_8LCHO1ADH7MM1Hb08SFYHf6-RpnrSUL0S9FDE/s3000/friend_of_heavy_3000x3000.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioRqGk0zTl6LHutEWzMNEmm7hDbr0g2JJITZhEGHNiHY2fP2UYW5Xl36r8JbrOQ_YFnk6tLooml5JDdvZw9j798qayBXzerKnfIwbiOafE4XjN3sqPkd_JsD4ML8KbG1QELsnJSSGlKNyEZKZwZ6cBB_8LCHO1ADH7MM1Hb08SFYHf6-RpnrSUL0S9FDE/s320/friend_of_heavy_3000x3000.jpg" width="320" /></a></div><br /><p></p><p></p><p class="MsoPlainText">We have released Friend of Heavy, sung
by Shannon Marie Harney - track 9 of the incremental album, Harney sings
O'Sullivan...</p><p></p><p class="MsoPlainText">Friend of Heavy, lyric and melody by Patrick O'Sullivan...</p><p class="MsoPlainText">Friend of Heavy, on YouTube...</p><p class="MsoPlainText"><a href="https://www.youtube.com/watch?v=LzwXLdbKOoM">https://www.youtube.com/watch?v=LzwXLdbKOoM</a></p><p class="MsoPlainText">Friend of Heavy, on Spotify...</p><p class="MsoPlainText"><span lang="EN-GB"><a href="https://open.spotify.com/album/1P9UILvHsPOo9TeXfOfxh7?si=SPahCQakRZmJz2bEu3I3Lw">https://open.spotify.com/album/1P9UILvHsPOo9TeXfOfxh7?si=SPahCQakRZmJz2bEu3I3Lw</a><o:p></o:p></span></p><p class="MsoPlainText">and, in due course, on every music
platform...</p><p class="MsoPlainText">1.</p><p class="MsoPlainText">This song was sitting on the slipway,
keel in place, with a partly built superstructure...</p><p class="MsoPlainText">When Shannon Marie Harney decided she
wanted to take it for a spin. She said
it matched her mood...</p><p class="MsoPlainText"><span lang="EN-GB">I </span>like what we, myself, Shannon Marie Harney
and Danny Yates, have done with this song...</p><p class="MsoPlainText">2.</p><p class="MsoPlainText">This is most probably the most Robert Browning of my recent lyrics. It is is part of my exploration of
repetition and pattern - in life, in art, in music.</p><p class="MsoPlainText">Like, What is the Chorus for? How
does the Chorus work? If a song has a good Chorus,
we would want to take it to a live audience.</p><p class="MsoPlainText">But this grim song, with that relentless
A Minor...? Would that work? So many popular songs try to be upbeat, uplifting. Let us go in another direction. Be not afraid. Heightened emotion, yes, but the emotion is depression - what the psychiatrists call a flat affect.</p><p class="MsoPlainText">Note the patterned language of the verses, and the simple pattern of the Chorus.</p><p class="MsoPlainText">The verses sound as if they rhyme - but, technically, by definition, I think, they do not rhyme. They pretend to rhyme. In rhyme, the connecting words have the same end sound. Here the same words are simply, obsessively, repeated: meet, god, meet, god; might, door, might, door.</p><p class="MsoPlainText">The narrative is clear - the quarrel has been horrible, horrible. Does the narrator really believe that being a Friend of Heavy is sufficient explanation or excuse? And... What does that mean... to be a Friend Of
Heavy?</p><p class="MsoPlainText">3.</p><p class="MsoPlainText">My original plan was that the chorus would become more and more complex, musically, as the song progressed. Maybe a cornet solo? - but would a Yorkshire brass band really want to play this dour melody? A male voice choir? - where could we find so many depressed men? Yes, really bad ideas... We did bring in a bit of cello, just to fill that space...</p><p class="MsoPlainText">In the end, Shannon Marie Harney brought lovely harmony ideas to the Choruses. The melody lines become - not dour - but intense... </p><p class="MsoPlainText">The melody should be easy to play on a standard chromatic autoharp. This is the Chordify link, so that you can see the chords in place...</p><p class="MsoPlainText"><span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #222222; font-size: small;"><a href="https://chordify.net/chords/friend-of-heavy-shannon-marie-harney-topic">https://chordify.net/chords/friend-of-heavy-shannon-marie-harney-topic</a></span></p><p class="MsoPlainText">It is still... a very strange song. </p><p class="MsoPlainText"><span lang="EN-GB">So, Track 9. 9 tracks is an album?</span></p><p class="MsoPlainText">Patrick O'Sullivan</p><p class="MsoPlainText"><span lang="EN-GB">March 2024<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"> </span></p><p>
<br /></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-37546478292327613162024-03-06T16:02:00.011+00:002024-03-08T12:09:47.137+00:00Thank you, Moniaive<p></p><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Reading the annual report, 2024, of the
President of UK Autoharps...</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">He gives due reverence to the work of Nadine
Stah White and Ian White and Anja Lyttle, and their many helpers, in developing
the Scottish Autoharp Gathering...</span></div>
<p class="MsoPlainText">It looks as if Moniaive 2023 will be the
last Scottish Autoharp Gathering in that formal format.</p>
<p class="MsoPlainText">I have really enjoyed my visits to
Moniaive and that special Scottish approach to Musicking... In my other working lives we have met the
Moniaive problem, which is simply one of accommodation. If you build it, we will want to come - but
where are we going to sleep?</p>
<p class="MsoPlainText">Looking back at my notes from 2023... Amongst the things that I thought worked
ever so well in Moniaive 2023 were...</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">1</p><p class="MsoPlainText">The music of John and Kathie
Hollandsworth, a subtle and intelligent approach to a popular repertoire.</p>
<p class="MsoPlainText">In UK Autoharps we follow the Autoharp,
its strange adventures, in various niches - for example, its history as a
parlour instrument or a schoolroom instrument.
It was in Virginia, USA, that the Autoharp became a folk instrument -
because, as John Hollandsworth said, it got in there early, via the Sears
Roebuck catalogue. </p><p class="MsoPlainText">I attach, below, a
page from the 1902 Sears Roebuck, showing
Autoharps: 'one of the most
popular of small instruments...
Thousands are in use and the sale keeps on increasing at a wonderful
rate... Never before has it been
possible for the house to be graced with high class music at so small an
expense. The prices which we name enable
the poorest to possess an instrument which will produce the sweetest music and
gave just as much pleasure as would a high-priced piano.' </p>
<p class="MsoPlainText">Kathie Hollandsworth's historical presentation
was very clear, and has been absorbed, seamlessly, into my own projects - like: 'Why the Autoharp Did Not Become A Folk Instrument in Ireland'. More about that in due course...</p>
<p class="MsoPlainText"><span lang="EN-GB"> </span></p>
<p class="MsoPlainText"><span lang="EN-GB">2 <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB">A place for musicians new to the autoharp
to come with their instruments - and learn and share. </span><span lang="EN-GB">The autoharp's special selling point - we get
quickly to the bloody chords - means that isolated musicians find it and have
fun. </span></p><p class="MsoNormal">This really worked well in Moniaive 2023. It was a pleasure to meet new people, new to the autoharp. For... Musicians <span lang="EN-GB">can come to a UK Autoharps gathering to
learn </span><span lang="EN-GB">technique...
and vocabulary. I remember the
late, lovely, Judy Dyble saying, at her UK Autoharps presentation, 'But you have
WORDS... for THINGS...'</span></p><p class="MsoNormal"><span lang="EN-GB">(Judy Dyble was, of course, not an isolated musician, singer or songwriter - but she was an isolated autoharper. She had invented her own banjo-esque, clawhammer style. It worked.)</span></p>
<p class="MsoPlainText"><span lang="EN-GB"> </span></p>
<p class="MsoPlainText"><span lang="EN-GB">3
<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Care and feeding of the neglected autoharp... I have an electric Richwood Autoharp - bought secondhand, at a good price. It looks
good, and ought to be good - but I have never got on with it. </span></p><p class="MsoPlainText"><span lang="EN-GB">At Moniaive George Haig took the Richwood
into his experienced hands (O those hands...), listened with his experienced
ear, saw with his experienced eye. George
heard the buzzing B string and pointed out the skew-whiff chord bar
holder. I had heard but I had not seen. This was the autoharp as it had
left the factory and had been sold in a shop.
Back home in Yorkshire I arranged an emergency appointment with my
luthier...<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">I guess, in summary, Moniaive has been kind to the Autoharp, and the Autoharp has been kind to Moniaive. Thank you, both. And thank you Nadine, Ian and Anja...</span> </p>
<p class="MsoPlainText"><span lang="EN-GB">Patrick O'Sullivan<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">March 2024</span></p>
<p class="MsoPlainText"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTnUfn8-qM4IWrqbiAe4-rdQMO9PLFupYqlkX2qofNDm88jkBp5fLxvrnbMDE-EKVP86tJGeFfIQTkauj9NBUvmePY_s3k-Uyq1uch8jiW8DsgOPV0LCGoTS072T3PRKTKt7zqC-_4E6NkbVzuzrhZftNDSt8cRa6QPP8qKrpsf5W3CE9UoZVU0O-2xm8/s842/1902%20Sears%20Roebuck%20Catalogue%20no%20112_001.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="842" data-original-width="595" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTnUfn8-qM4IWrqbiAe4-rdQMO9PLFupYqlkX2qofNDm88jkBp5fLxvrnbMDE-EKVP86tJGeFfIQTkauj9NBUvmePY_s3k-Uyq1uch8jiW8DsgOPV0LCGoTS072T3PRKTKt7zqC-_4E6NkbVzuzrhZftNDSt8cRa6QPP8qKrpsf5W3CE9UoZVU0O-2xm8/w487-h640/1902%20Sears%20Roebuck%20Catalogue%20no%20112_001.jpg" width="487" /></a></p><br /> <p></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com1tag:blogger.com,1999:blog-1704228089480687495.post-25091928128941609612024-02-22T12:39:00.003+00:002024-02-24T10:13:19.065+00:00Montparnasse Waltz, sung by Shannon Marie Harney<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji0XP1Gy-NoUyJ-rXtdQqov5lucdv_Lkd2LN0WGKGx3Hex9B2qkrlcnOCUScbU8FuoTKkKZf1Irqip73khs4Zem5MdXGkknBXyPDjjUAnGZEBEozgxX-on-enaH0NXi7iPw165bsl2coA1VputocWtq3cKB9cq-un14VmBrLEGggGhJpuCKX0IcF_LhUg/s3000/montparnasse_waltz_3000x3000_v2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji0XP1Gy-NoUyJ-rXtdQqov5lucdv_Lkd2LN0WGKGx3Hex9B2qkrlcnOCUScbU8FuoTKkKZf1Irqip73khs4Zem5MdXGkknBXyPDjjUAnGZEBEozgxX-on-enaH0NXi7iPw165bsl2coA1VputocWtq3cKB9cq-un14VmBrLEGggGhJpuCKX0IcF_LhUg/s320/montparnasse_waltz_3000x3000_v2.jpg" width="320" /></a></div><br /><p></p><p><br /></p><p><b>We have released Montparnasse Waltz - lyric and melody by Patrick O'Sullivan.</b></p><p><br /></p><p>1.</p><p>This is Track 8 of the incremental album, <b>Harney sings O'Sullivan</b>. You can hear Montparnasse Waltz on the music platforms, and you can see the album coming together...</p><p></p><p class="MsoPlainText"><span lang="EN-GB"><b>Montparnasse Waltz</b><o:p></o:p></span></p>
<p class="MsoPlainText">On YouTube...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.youtube.com/watch?v=t-X_h6oOYKo">https://www.youtube.com/watch?v=t-X_h6oOYKo</a><o:p></o:p></span></p>
<p class="MsoPlainText">On Spotify</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://open.spotify.com/track/0qfhsUDqK8CNwvaiNHU3b4?si=899254573c8a4bc3">https://open.spotify.com/track/0qfhsUDqK8CNwvaiNHU3b4?si=899254573c8a4bc3</a></span></p>
<p class="MsoPlainText"><span lang="EN-GB">YouTube Playlist Overview<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://studio.youtube.com/playlist/PL8CXHKXfP1sd8lyFLQLllhQm2KWZMVS1I/videos">https://studio.youtube.com/playlist/PL8CXHKXfP1sd8lyFLQLllhQm2KWZMVS1I/videos</a><o:p></o:p></span></p>
<p class="MsoPlainText">Spotify Artist Overview</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://artists.spotify.com/c/artist/3z7aYsCGwhPh7mJ0apzu4u/profile/overview">https://artists.spotify.com/c/artist/3z7aYsCGwhPh7mJ0apzu4u/profile/overview</a><o:p></o:p></span></p><p class="MsoPlainText">And, in due course, on every music platform - wherever you find your music...</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">2.</p><p class="MsoPlainText">My thanks to Shannon Marie Harney, who has doggedly stuck with this project.</p><p class="MsoPlainText">And who, with this song, has delivered something delicate...</p><p class="MsoPlainText">And, as ever, thanks to Danny Yates, City Sound Studios...</p><p class="MsoPlainText">https://www.citysoundstudios.com/</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">3.</p><p class="MsoPlainText">By happenstance (perhaps) we have now issued recordings of two songs whose lyrics connect with my academic work, and activities in my other lives. Indeed, there is a danger that Montparnasse Waltz will turn into a song version of a roman-à-clef. </p><p class="MsoPlainText">(The coinage 'chanson-à-clef' does not really work - all songs have clefs, and we are always searching for the right key. Which, in my case, is usually G.)</p><p class="MsoPlainText">I am going to park all that for the time being. In due course people who want the texts and stories can have them. For now, as one poet friend, K. E. Smith, has put it, Montparnasse Waltz is about the shock discovery that our guru has feet of clay... And, as ever, my thanks to Ken Smith for his careful readings of text...</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">4.</p><p class="MsoPlainText"><span lang="EN-GB">But I can tell you how this song, Montparnasse Waltz, found its shape. The idea had waited in my notebook for
years. It was only in 2022 that
I sat down - found the brain health and space - to decide where the lyric
wanted to go. In 2023 I worked it out.<o:p></o:p></span></p><p></p><p class="MsoPlainText">I wanted to stay in a ballad
structure - with really solid ABAB, hardworking rhymes, and stay in ballad
metre. The rhymes are in charge.</p><p class="MsoPlainText">I took a first draft to Danny Yates, and
said, I want to set this as a Waltz.</p><p class="MsoPlainText">The second draft made more visible, and
audible, the waltziness of the piece - we move from 4/4 time to 3/4. The melodies are mine, but
obviously pay attention to ballad melodies. But in 3/4 time...</p><p class="MsoPlainText">My reading at the time included Colm O Lochlainn,
Irish Street Ballads - two lovely volumes, 1939 and 1965, now back on the shelves behind me. O Lochlainn prints ballad texts,
based on his own collection of nineteenth century broadside ballads, alongside melodies that these lyrics would have been sung to in his time...</p><p class="MsoPlainText">These are links to the O Lochlainn
collection at University College Dublin...</p><p class="MsoPlainText"><a href="http://digital.ucd.ie/view-media/ivrla:6274/canvas/ivrla:6275">http://digital.ucd.ie/view-media/ivrla:6274/canvas/ivrla:6275</a></p><p class="MsoPlainText"><a href="https://www.ucd.ie/specialcollections/print/olochlainnbooks/">https://www.ucd.ie/specialcollections/print/olochlainnbooks/</a></p><p class="MsoPlainText">I think that the balladness is still there in my lyric, Montparnasse Waltz - ballad simplicity...</p><p class="MsoPlainText">'There came a young man from the east...'</p><p class="MsoPlainText">...And in the melodies. We are all dipping our toes
into the great lake of ballad melodies.
But mine is a waltz.</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">5.</p><p class="MsoPlainText">I will write a separate blog entry on the graphic design decisions that went into the making of the Harney sings O'Sullivan art work, album and singles. You can see that, again with this album, we signal the approach of the complete album in the design - and occasionally we have added extra information in our choice of font.</p><p class="MsoPlainText">The Montparnasse Waltz design signals Paris in its use of the original Hector Guimard Paris Metro font - this design, by Andrew Milne, makes use of the work of Luc Devroye, McGill University, Canada.</p><p class="MsoPlainText">http://luc.devroye.org/fonts-43924.html</p><p class="MsoPlainText">My thanks to Andrew Milne - who persuaded me to accept the brave decision to use that authentic, distorted, Guimard tall letter P in Parnasse...</p><p class="MsoPlainText">And then - with voice and guitar, Shannon Marie Harney and Danny Yates - we took the song to Paris, to that Café. You know the one? No, not that one - the other one. Half way up the hill...</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><b>Patrick O'Sullivan</b></p><p class="MsoPlainText"><b>February 2024</b></p><p class="MsoPlainText"><span lang="EN-GB"><b><o:p></o:p></b></span></p><p><br /></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-6179951429388063902024-02-08T13:34:00.013+00:002024-03-10T16:24:45.002+00:00Sartre, that word 'diaspora', Links and References<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjAwOjwUuJ04TSmWO3dqSkfkc_w01lKBMVCfWM_EYLifJj0VodkC0a90kAoMQpP12oQvezgZXviYC8lyuDaIeOcUdZcI_1DvaZZZ6fKRsi5OVAmn07ITeqXiV2whMzJ-Evpz6SzfR_m7UIpPb69C4KhW1QhY4RQLDju2VPHFr5n9RwwnUpz_USWZHoNwfY" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="251" data-original-width="420" height="191" src="https://blogger.googleusercontent.com/img/a/AVvXsEjAwOjwUuJ04TSmWO3dqSkfkc_w01lKBMVCfWM_EYLifJj0VodkC0a90kAoMQpP12oQvezgZXviYC8lyuDaIeOcUdZcI_1DvaZZZ6fKRsi5OVAmn07ITeqXiV2whMzJ-Evpz6SzfR_m7UIpPb69C4KhW1QhY4RQLDju2VPHFr5n9RwwnUpz_USWZHoNwfY" width="320" /></a></div><br /><p class="MsoPlainText"><span lang="EN-GB"><b>Jean-Paul Sartre and that word,
'diaspora':<span style="mso-spacerun: yes;"> </span>movement in time and space<o:p></o:p></b></span></p>
<p class="MsoPlainText">Very pleased to be able to contribute, on Thursday February 8 2024, to the
series of on-line seminars ‘Repositioning Ireland’s Place in the World: Old
Configurations, New Realities’, part of the G.I.S EIRE research network,
organised by Grainne O'Keeffe Vigneron, University of Rennes, and Anne Groutel,
University of Paris 1...</p><p class="MsoPlainText">Below, some of my notes...</p><p class="MsoPlainText">I see this presentation as an exploration
of interdisciplinary methods - of interdisciplinary problems and interdisciplinary
solutions...</p>
<p class="MsoPlainText">I assume no knowledge of the texts
explored.</p>
<p class="MsoPlainText">My very brief paper covers research
areas where we have vast amounts of original source material, and vast amounts
of further research and comment. I give
here only enough to track the train of thought...</p>
<p class="MsoPlainText">My approach is personal and discursive. The obvious links to the general guides and
sources are easily available elsewhere.</p>
<p class="MsoPlainText">But... If you think that there are places where
you would like to see more here, I am happy to revisit this blog entry and fatten it
up.</p>
<p class="MsoPlainText">In my other working lives we have recurring
problems when people try to link on small devices to long web addresses, URLs. So, here I have also given the TinyURL, when
that seemed sensible.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">1.</span></p><p class="MsoPlainText"><b>The main texts</b> under consideration
are...</p>
<p class="MsoPlainText">The original Gallimard edition of
Jean-Paul Sartre, L'être et le néant: essai d'ontologie phénoménologique, 1943,
translated as Being and Nothingness.</p>
<p class="MsoPlainText">The Hazel Barnes translation...</p>
<p class="MsoPlainText">Sartre, Jean-Paul, and Hazel E. Barnes.
Being and Nothingness: An Essay on Phenomenological Ontology. Edited by Hazel
E. Barnes. Philosophical Library, 1956.</p>
<p class="MsoPlainText">and the new Sarah Richmond
translation...</p>
<p class="MsoPlainText">Sartre, Jean-Paul. Being and
Nothingness: An Essay in Phenomenological Ontology. Edited by Sarah Richmond.
London: Routledge, 2018.</p>
<p class="MsoPlainText">We also need to be aware of Sartre,
Jean-Paul, Réflexions sur la question juive,1945/1946 - translated as Portrait
of the Anti-Semite, London, 1948, and Anti-Semite and Jew, New York, 1948.</p>
<p class="MsoPlainText">And the Hazel Barnes' autobiography...</p>
<p class="MsoPlainText">Barnes, Hazel E. The Story I Tell
Myself: A Venture in Existentialist Autobiography. University of Chicago Press,
1998.</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">2.</p>
<p class="MsoPlainText"><span lang="EN-GB">The 2 <b>background articles</b> by Patrick
O'Sullivan are...<o:p></o:p></span></p>
<p class="MsoPlainText">O’Sullivan, Patrick. “Developing Irish
Diaspora Studies: A Personal View.” New Hibernia Review 7, no. 1 (2003):
130–48.</p>
<p class="MsoPlainText"><a href="https://www.mediafire.com/file/c760ub1xoac22cp/2003%252C_O%2527Sullivan%252C_Developing_Irish_Diaspora_Studies.pdf/file">https://www.mediafire.com/file/c760ub1xoac22cp/2003%252C_O%2527Sullivan%252C_Developing_Irish_Diaspora_Studies.pdf/file</a></p><p class="MsoPlainText">Tiny URL</p>
<p class="MsoPlainText"><a href="http://tinyurl.com/bdhkzj9s">http://tinyurl.com/bdhkzj9s</a></p>
<p class="MsoPlainText">O’Sullivan, Patrick. “On First Looking
into Mercier’s The Irish Comic Tradition.” New Hibernia Review 8, no. 4 (2004):
152–57.</p>
<p class="MsoPlainText"><a href="https://www.mediafire.com/file/pdv44q6atlon2tw/2004%252C_O%2527Sullivan%252C_On_First_Looking_into_Mercier%2527s_The_Irish_Comic_Tradition.pdf/file">https://www.mediafire.com/file/pdv44q6atlon2tw/2004%252C_O%2527Sullivan%252C_On_First_Looking_into_Mercier%2527s_The_Irish_Comic_Tradition.pdf/file</a></p>
<p class="MsoPlainText">Tiny URL</p>
<p class="MsoPlainText"><a href="http://tinyurl.com/yd2x5h4k">http://tinyurl.com/yd2x5h4k</a></p>
<p class="MsoPlainText">There are a number of notes on blog,
here at Fiddler's Dog, which consider further my approach to Irish Diaspora
Studies - most recently this one...</p>
<p class="MsoPlainText"><a href="https://fiddlersdog.blogspot.com/2024/01/visiting-professor-of-irish-diaspora.html">https://fiddlersdog.blogspot.com/2024/01/visiting-professor-of-irish-diaspora.html</a></p>
<p class="MsoPlainText">See also</p>
<p class="MsoPlainText"><span lang="EN-GB">Greenslade, Liam. “White Skins, White
Masks: Psychological Distress among the Irish in Britain.” In The Irish in the
New Communities, edited by Patrick O’Sullivan, 2:201–25. The Irish World Wide.
London & Washington: Leicester University Press, 1992.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Which can be found here on my archive<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.mediafire.com/file/u1fra5u07609k3z/IWW2-9%252C_Greenslade%252C_White_skin%252C_white_masks.pdf/file">https://www.mediafire.com/file/u1fra5u07609k3z/IWW2-9%252C_Greenslade%252C_White_skin%252C_white_masks.pdf/file</a></span></p><p class="MsoPlainText">TinyURL</p>
<p class="MsoPlainText"><a href="http://tinyurl.com/bdfpr4um">http://tinyurl.com/bdfpr4um</a></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">3.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>That word 'diaspora'...</b><o:p></o:p></span></p>
<p class="MsoPlainText">The 3 editions of Robin Cohen's book
show the debate expanding over time...</p>
<p class="MsoPlainText">Cohen, Robin. Global Diasporas. London:
UCL Press, 1997.</p>
<p class="MsoPlainText">Cohen, Robin, Global Diasporas: An
Introduction edition 2, illustrated, revised Publisher Routledge, 2008</p>
<p class="MsoPlainText">Cohen, Robin. Global Diasporas An
Introduction 25TH ANNIVERSARY EDITION. Routledge, Taylor & Francis Group,
2022. .</p>
<p class="MsoPlainText">see also...</p>
<p class="MsoPlainText">Dufoix, Stéphane, and William Rodarmor.
Diasporas. 1st ed. University of California Press, 2008.</p>
<p class="MsoPlainText">Dufoix, Stéphane. “Des Usages Antiques
de Diaspora Aux Enjeux Conceptuels Contemporains.” Pallas, no. 89 (November 7,
2012): 17–33.</p>
<p class="MsoPlainText">Kenny, Kevin. Diaspora: A Very Short
Introduction. Oxford: Oxford Univ. Press, 2013.</p>
<p class="MsoPlainText">and see...</p>
<p class="MsoPlainText">Fitzgerald, Patrick, and Brian Lambkin.
Migration in Irish History, 1607-2007. Palgrave Macmillan, 2008, pages 275-276,</p>
<p class="MsoPlainText">We can start thinking about diaspora as
a 'type of consciousness' with Steven Vertovec - for example...</p>
<p class="MsoPlainText">Vertovec, Steven. “Conceiving and
Researching Transnationalism.” Ethnic and Racial Studies 22, no. 2 (1999):
447–62.</p>
<p class="MsoPlainText">What is often forgotten are the obvious links
between the word 'diaspora', now a word in so many languages, and the English
word 'broadcast'. One way to explore Diaspora Studies is through the parable of the sower and the seed (Matthew 13: 1–9, 18–23).</p>
<p class="MsoPlainText">I have put that photograph of a farmer
in Perthshire at the top of this page, to remind me not to forget... </p><p class="MsoPlainText"><span lang="EN-GB"><o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">4.</p>
<p class="MsoPlainText"><span lang="EN-GB">This is the <b>Perseus project</b> at Tufts
University<o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://www.perseus.tufts.edu/hopper/">https://www.perseus.tufts.edu/hopper/</a></p>
<p class="MsoPlainText">This link takes you directly to the
paragraph in Thucydides, The Peloponnesian War, cited by Kevin Kenny.</p>
<p class="MsoPlainText"><a href="https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0200%3Abook%3D2%3Achapter%3D27">https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0200%3Abook%3D2%3Achapter%3D27</a></p><p class="MsoPlainText">Tiny URL</p>
<p class="MsoPlainText"><a href="http://tinyurl.com/5n8t5ufj">http://tinyurl.com/5n8t5ufj</a></p><p class="MsoPlainText">(Irish history specialists will notice that if, in that paragraph from Thucydides, we replace the word 'Athens' with the word 'England', and replace 'Aegina' with 'Ireland', the paragraph still makes sense - and becomes a summary of the history of these islands...)</p>
<p class="MsoPlainText">Note that you can use the Perseus web
site to explore all the uses and variants of the word 'speiro', including
'(dia)speiro'...</p>
<p class="MsoPlainText">This is Herodotus, Histories...</p>
<p class="MsoPlainText"><a href="https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0126%3Abook%3D7%3Achapter%3D91">https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0126%3Abook%3D7%3Achapter%3D91</a></p>
<p class="MsoPlainText">Tiny URL</p>
<p class="MsoPlainText"><a href="http://tinyurl.com/4xkzemxn">http://tinyurl.com/4xkzemxn</a></p>
<p class="MsoPlainText">There is, of course, a huge debate - and
a fascinating, but delicately poised, research literature. See, for example...</p>
<p class="MsoPlainText">Thompson, Thomas L, and Philippe
Wajdenbaum. The Bible and Hellenism: Greek Influence on Jewish and Early
Christian Literature. Edited by Thomas L Thompson and Philippe Wajdenbaum.
Abingdon: Routledge, 2014.</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">5.</p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Black Swans...</b><o:p></o:p></span></p>
<p class="MsoPlainText">The examples I should reference properly
include...</p>
<p class="MsoPlainText">Spicer, Edward H. “The Yaqui Indians of
Arizona.” Kiva 5, no. 6 (1940): 21–24.</p>
<p class="MsoPlainText">Which helps us find...</p>
<p class="MsoPlainText"><span lang="EN-GB">Calloway, C G. The Western Abenakis of
Vermont, 1600-1800: War, Migration, and the Survival of an Indian People. The
Civilization of the American Indian Series. University of Oklahoma Press, 1994<o:p></o:p></span></p>
<p class="MsoPlainText">And see...</p>
<p class="MsoPlainText"><span lang="EN-GB">Lavelle, Michael. “Nationality and the
Irish Abroad.” In Irish Man - Irish Nation Lectures on Some Aspects of Irish
Nationality Delivered Before the Columban League, Maynooth, During 1946.
Dublin: Mercier Press, 1947.<o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">6.</p>
<p class="MsoPlainText"><span lang="EN-GB">This is a source for that <b>G. K.
Chesterton</b> quote - but you will find it all over the place...<o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://chesterton.wordpress.com/category/the-common-man/">https://chesterton.wordpress.com/category/the-common-man/</a></p>
<p class="MsoPlainText">'Philosophy is merely thought that has
been thought out. It is often a great bore.</p>
<p class="MsoPlainText">But man has no alternative, except
between being influenced by thought that has been thought out and being
influenced by thought that has not been thought out.'</p>
<p class="MsoPlainText">(Here in Bradford, Yorkshire, the
revived Bradford Irish Society is considering a project about the Right Reverend Monsignor John O'Connor, 1870–1952, Chesterton's friend, often considered the model for
Chesterton's detective, Father Brown.
The Reverend O’Connor’s final parish was St Cuthbert's, Bradford – St.
Cuthbert’s Church is a few yards from my home.)</p>
<p class="MsoPlainText">On my blog is a brief note which also
engages with the habits of the philosophical method...</p>
<p class="MsoPlainText"><a href="https://fiddlersdog.blogspot.com/2022/06/a-shipowner-was-about-to-send-to-sea.html">https://fiddlersdog.blogspot.com/2022/06/a-shipowner-was-about-to-send-to-sea.html</a></p>
<p class="MsoPlainText">As an example of thinking about this academic area - I remember liking the work of David Concepción...</p>
<p class="MsoPlainText"><span lang="EN-GB">Concepción, David W. “Reading Philosophy
with Background Knowledge and Metacognition.” Teaching Philosophy 27, no. 4
(2004): 351–68.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">7.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Reputation of Sartre...</b><span style="mso-spacerun: yes;"> </span>Well...<span style="mso-spacerun: yes;">
</span>Where to begin... <o:p></o:p></span></p>
<p class="MsoPlainText">The key text for me is the brief mention
in...</p>
<p class="MsoPlainText"><span lang="EN-GB">Magee, Bryan. The Great Philosophers: An
Introduction to Western Philosophy. Oxford Paperbacks. Oxford University Press,
2000, pages 275-6<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Originally published 1987, and based on a television series...<o:p></o:p></span></p>
<p class="MsoPlainText">I see that the original television interview is available
on YouTube...</p>
<p class="MsoPlainText"><a href="https://www.youtube.com/watch?v=H4_Tsjmqxak&t=2432s">https://www.youtube.com/watch?v=H4_Tsjmqxak&t=2432s</a></p>
<p class="MsoPlainText">...key moment, at 37 minutes onwards, when the
interviewee says that Heidegger described Being and Nothingness as 'muck',
'Dreck'... And Magee says '...It is difficult to believe that Sartre will
survive as a philosopher...'</p>
<p class="MsoPlainText">See also</p>
<p class="MsoPlainText"><span lang="EN-GB">Manser, Anthony R. “Sartre and Le
Néant.” Philosophy 36, no. 137 (1961): 177–87.<o:p></o:p></span></p>
<p class="MsoPlainText">I will look at Hazel Barnes' comments on
Sartre, and my own difficulties with Sartre...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">8.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">This is the web site of the <b>Delancey
Street Foundation</b>, San Francisco, USA...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span><a href="https://www.delanceystreetfoundation.org/wwa.php">https://www.delanceystreetfoundation.org/wwa.php</a></p>
<p class="MsoPlainText">'We are a community where people with
nowhere to turn, turn their lives around.</p>
<p class="MsoPlainText">Delancey Street is the country's leading
residential self-help organization for former substance abusers, ex-convicts,
homeless and others who have hit bottom...' </p>
<p class="MsoPlainText">and this link takes you to the
restaurant...</p>
<p class="MsoPlainText"><a href="https://www.delanceystreetfoundation.org/enterrestaurant.php">https://www.delanceystreetfoundation.org/enterrestaurant.php</a></p>
<p class="MsoPlainText">'Delancey Street Restaurant is a key
training school of the Delancey Street Foundation, the country's largest
self-help residential organization for people who have hit bottom to completely
rebuild their lives. Like the immigrants who came through Ellis Island to
Delancey Street on New York's Lower East Side at the turn of the century to
start new lives, newcomers to Delancey Street Foundation are
"immigrants" of all races, all ages, all backgrounds, who come
together in this community of last resort...'</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">9.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">I look briefly at the renewed
interest in <b>Réflexions sur la question juive</b>, Anti-Semite and Jew...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Let me note the helpful work of Stuart <o:p></o:p></span>Charmé...</p>
<p class="MsoPlainText"><span lang="EN-GB">Charmé, Stuart Z. Authentically Jewish:
Identity, Culture, and the Struggle for Recognition. Rutgers University Press, 2022.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">10.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Songs</b><o:p></o:p></span></p>
<p class="MsoPlainText">We have recorded, and have released, one
of my Sartre songs... This is Pierre, on
YouTube...</p>
<p class="MsoPlainText"><a href="https://www.youtube.com/watch?v=Hb5zeD6G3Ko">https://www.youtube.com/watch?v=Hb5zeD6G3Ko</a></p>
<p class="MsoPlainText">But you will find it on every music
streaming platform. Worth listening to
on one of the better quality platforms, to hear the detail of the arrangement.</p>
<p class="MsoPlainText">This is the link to the discussion on my
blog...</p>
<p class="MsoPlainText"><a href="http://fiddlersdog.blogspot.com/2024/01/pierre-sung-by-shannon-marie-harney.html">http://fiddlersdog.blogspot.com/2024/01/pierre-sung-by-shannon-marie-harney.html</a></p>
<p class="MsoPlainText">The important point here is that we have
an explanation for the Duke of Wellington's appearance, or non-appearance, in
Sartre's Being and Nothingness...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Patrick O'Sullivan<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Visiting Professor of Irish Diaspora
Studies</b></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>London Metropolitan University<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>February 8 2024</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><b><br /></b></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>PS</b></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>Below my own outline, which became my road map through this research material...</b></span></p><p class="MsoNormal"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;">Patrick O’Sullivan <o:p></o:p></span></b></p><p class="MsoNormal"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;">Jean-Paul Sartre and that word, 'diaspora': movement in time and space <o:p></o:p></span></b></p><p class="MsoNormal"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></b><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;">OUTLINE </span></b><span style="font-family: "Times New Roman", serif; font-size: 12pt;">January
11 2024</span></p><p class="MsoNormal"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">‘In
the Ancient world, the term “diaspora” referred to the profound cohesion and
dispersion of the Jewish people.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">We can
make use of this word…’</span></p><p class="MsoNormal"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Sartre,
J.-P. (2018) Being and Nothingness: An Essay in Phenomenological Ontology,
Translated by Sarah Richmond. London: Routledge, page 201.</span></p><p class="MsoNormal"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">On
page 172 of the original Gallimard edition of L'être et le néant: essai
d'ontologie phénoménologique, 1943, Being and Nothingness, Jean-Paul Sartre becomes
preoccupied with a new word, ‘diaspora’.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">
</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">In my 1969 copy of the 1956 Hazel Barnes translation of Being and
Nothingness the word first appears on page 136.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">
</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">In the new 2018 translation, by Sarah Richmond, it is page 201.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">The word ‘diaspora’ is there in Sartre’s
thought for a further 80 pages – then disappears.</span></p><p class="MsoNormal"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">These
uses of the word ‘diaspora’ by Sartre have not been much noticed.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">The word does not appear in the standard
works on Sartre.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">And the name ‘Sartre’
does not appear in the standard works on Diaspora.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">The word ‘diaspora’ does appear in Sarah
Richmond’s index to her translation.</span></p><p class="MsoNormal"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">In
this paper, I outline the place of Sartre in my own personal history, and in
the history of my generation - and in my thinking as I developed Irish Diaspora
Studies.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Through an interdisciplinary
approach to the study of Sartre, I suggest a method behind a reading of Being
and Nothingness (philosophy as genre).</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">I
look briefly at the light thrown by that reading on a later work, Réflexions
sur la question juive,1945/1946 - translated as Portrait of the Anti-Semite,
London, 1948, and Anti-Semite and Jew, New York, 1948.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">And I look at the few brief mentions of
Sartre’s interest in the word 'diaspora’ that I have been able to find.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span></p><p class="MsoNormal"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">I
end with a summary of Sartre’s notion of ‘diaspora’, drawn from the book, Being
and Nothingness.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">The form of words that
Sartre uses - ‘reflection is a diasporic phenomenon’ – seems to anticipate later
developments in diaspora theorising.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">The
interdisciplinary approach would question any simple overlap – this paper thus
becomes an exploration of interdisciplinary processes.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">At the very least, Sartre’s use of the word
’diaspora’ must have a place in the history of uses of that disputed word.</span></p><p class="MsoNormal"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">This
paper takes its place in the series of on-line seminars ‘Repositioning
Ireland’s Place in the World: Old Configurations, New Realities’, part of the
G.I.S EIRE research network, organised by Grainne O'Keeffe Vigneron, University
of Rennes, and Anne Groutel, University of Paris 1.</span></p><p class="MsoNormal"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p><p class="MsoNormal"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;">Patrick O’Sullivan </span></b><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;">January 11 2024</span></b></p><p class="MsoNormal"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;">© Patrick O’Sullivan 2024</span></b></p><p class="MsoPlainText"><span lang="EN-GB">
</span></p><p class="MsoNormal"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12pt;">Visiting Professor of Irish Diaspora Studies, London
Metropolitan University<o:p></o:p></span></b></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-GB"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX90aO812saWDzTdAGkCV9_8Y4IrEHWNoTMLmfTWB6je2c7HcrP1efGCy8b00MIJ6PZAsLE_c0mXd8x5JgZgdrW232TIxqWLqpayKfgxmN1F2Mzz7gZOkhRep9nvsr_2pdNVHrexaav-lx6Y2iWcliHXPM8cbTY6KB2vP1IybdcsKyens5uAcoIFxl9Vg/s842/Sartre,%20L'etre%20et%20le%20neant,%201943,%20page%20172.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="842" data-original-width="595" height="615" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX90aO812saWDzTdAGkCV9_8Y4IrEHWNoTMLmfTWB6je2c7HcrP1efGCy8b00MIJ6PZAsLE_c0mXd8x5JgZgdrW232TIxqWLqpayKfgxmN1F2Mzz7gZOkhRep9nvsr_2pdNVHrexaav-lx6Y2iWcliHXPM8cbTY6KB2vP1IybdcsKyens5uAcoIFxl9Vg/w435-h615/Sartre,%20L'etre%20et%20le%20neant,%201943,%20page%20172.jpg" width="435" /></a></span></div><span lang="EN-GB"><span style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 16px;">Jean-Paul Sartre, page </span><span style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 16px;">172 of the original Gallimard edition of L'être et le néant: essai d'ontologie phénoménologique, 1943, Being and Nothingness...</span></span><br /><p></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-85066123899530862024-01-28T16:10:00.013+00:002024-03-07T09:47:06.812+00:00Pierre, sung by Shannon Marie Harney<p></p><p class="MsoPlainText"><span lang="EN-GB"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-GB"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEfQSVGu18odcNje92L8HxwVbLiA61Xf7-O2gQTkY9ezbu4jCpm-JYnY123CmVVDk0K2cLZjvbp4tWZ9M36MQ5-z7zUMHxEtklCACTMXfGy7aaYBhShaa_Oepc0rG_k4RErT2wEuDTYKqejJOYD196LsN3IdKKQWjV9STekNVPk4chBEqGaG3HFdyT8bg/s3000/pierre_3000x3000.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEfQSVGu18odcNje92L8HxwVbLiA61Xf7-O2gQTkY9ezbu4jCpm-JYnY123CmVVDk0K2cLZjvbp4tWZ9M36MQ5-z7zUMHxEtklCACTMXfGy7aaYBhShaa_Oepc0rG_k4RErT2wEuDTYKqejJOYD196LsN3IdKKQWjV9STekNVPk4chBEqGaG3HFdyT8bg/s320/pierre_3000x3000.jpg" width="320" /></a></span></div><span lang="EN-GB"><br />Pierre, sung by Shannon Marie Harney,<o:p></o:p></span><p></p>
<p class="MsoPlainText">I am pleased to be able to announce that
we have released another track, in our developing project...</p>
<p class="MsoPlainText">Pierre, sung by Shannon Marie Harney -
words and music by Patrick O'Sullivan - can now be seen, and heard, on YouTube,
Apple, and Spotify... </p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">1. </p><p class="MsoPlainText">Pierre...</p>
<p class="MsoPlainText">On Spotify</p>
<p class="MsoPlainText"><a href="https://open.spotify.com/album/04u6hf1izab0zFQxv0vgHS?si=Rjus8RScRy2OP--FcqHAfg">https://open.spotify.com/album/04u6hf1izab0zFQxv0vgHS?si=Rjus8RScRy2OP--FcqHAfg</a></p>
<p class="MsoPlainText">On Apple Music</p>
<p class="MsoPlainText"><a href="https://music.apple.com/us/album/pierre-single/1726253895">https://music.apple.com/us/album/pierre-single/1726253895</a></p>
<p class="MsoPlainText">On YouTube</p>
<p class="MsoPlainText"><a href="https://www.youtube.com/watch?v=Hb5zeD6G3Ko">https://www.youtube.com/watch?v=Hb5zeD6G3Ko</a></p>
<p class="MsoPlainText">And, in due course, on every streaming
service...</p>
<p class="MsoPlainText">My thanks to Shannon Marie Harney, and
to Danny Yates, City Sound Studios...</p>
<p class="MsoPlainText"><a href="https://www.citysoundstudios.com/">https://www.citysoundstudios.com/</a></p>
<p class="MsoPlainText">Pierre is the final song in my
2010 song lyric book, Love Death and Whiskey...</p>
<p class="MsoPlainText"><a href="https://www.amazon.co.uk/Love-Death-Whiskey-Patrick-OSullivan/dp/095678240X">https://www.amazon.co.uk/Love-Death-Whiskey-Patrick-OSullivan/dp/095678240X</a></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">2.</p>
<p class="MsoPlainText">I - like (I think) many people - found
2023 an odd, hard year. Yes, we were
able to move about, but it seemed difficult to bring any endeavour to
completion. So many fractured networks,
so much illness. Sometimes all we could
do was be dogged...</p>
<p class="MsoPlainText">And sometimes 'It’s dogged as does
it...'</p>
<p class="MsoPlainText">And we did it.</p>
<p class="MsoPlainText">There are problems with dogged - keep
development routes open, but do not over-promise.</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">3.</p>
<p class="MsoPlainText">Going to the café to meet Pierre... Is the moment when, reading Jean-Paul
Sartre's Being and Nothingness, we think, O, I get it.</p>
<p class="MsoPlainText">There is by now something of a tradition
of reading that moment in Being and Nothingness as Being about Being In
Love. That is how Andy Martin reads it,
in his book...</p>
<p class="MsoPlainText">Martin, Andy. The Boxer and The Goal
Keeper: Sartre Versus Camus. Simon & Schuster UK, 2012.</p>
<p class="MsoPlainText">We think, like Sam in Love Actually, of
the 'total agony of being in love'.
Perhaps we think of the Second Date.
Anticipation, excitement. A
tryst?</p>
<p class="MsoPlainText">In the background are my thoughts about song -
like, maybe you do not need a long text to make a long song, with its own
narrative and development. And my
thanks to the performers who helped me
work out those thoughts.</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">4.</p>
<p class="MsoPlainText">Of course, at that moment, in reading in
Being and Nothingness, we do not actually get to meet Pierre. He is not there. As powerful in his absence as is Godot.</p>
<p class="MsoPlainText">We should really read the name
'Pierre' in Being and Nothingness as simply a place holder in a philosopher's
thought experiment - a very common name, any man, much like English-speaking
philosophers talk of Tom, Dick and Harry.</p>
<p class="MsoPlainText">(And they do. They do.)</p>
<p class="MsoPlainText">Later in Being and Nothingness we DO
meet Pierre. A lot. Pierre, a hapless fellow, and not that
interesting, wanders from predicament to predicament, from thought experiment
to thought experiment. I briefly
considered, and immediately discarded, the notion of something about the
further adventures of Sartre's Pierre.
Nah.</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">5.</p>
<p class="MsoPlainText">Then things get more complex than is
strictly tolerable.</p>
<p class="MsoPlainText">Evidently the first appearance of Pierre
is something of a private joke - I am going to use that word 'joke' - between
de Beauvoir and Sartre. Those pages in
Being and Nothingness meditate on a section of de Beauvoir's novel - L' Invitee/
She Came to Stay. Which is itself a
mediation on their complex love life, and just one ménage à trois. (Actually, it is a ménage à quatre - but let
us not get bogged down...)</p>
<p class="MsoPlainText">My source here is a chapter by
Edward Fullbrook and Kate Fullbrook...</p>
<p class="MsoPlainText">Fullbrook, Edward, and Kate Fullbrook.
“The Absence of Beauvoir.” In Feminist Interpretations of Jean-Paul Sartre,
edited by Julien S. Murphy, 45–63. Pennsylvania State University Press, 1999.</p>
<p class="MsoPlainText">See also</p>
<p class="MsoPlainText">Fullbrook, Edward. “She Came to Stay and
Being and Nothingness.” Hypatia 14, no. 4 (January 19, 1999): 50–69. <a href="http://www.jstor.org/stable/3810826">http://www.jstor.org/stable/3810826</a>.</p>
<p class="MsoPlainText">In the novel Elisabeth enters the room
of her rival, Francoise - there is evidence of the recent presence of
Francoise, and evidence of her absence.
Her stockings, her perfume. There
is a bust of Napoleon, there is an open volume of Shakespeare.</p>
<p class="MsoPlainText">Also absent from the room is the errant
husband - Pierre.</p>
<p class="MsoPlainText">In Being and Nothingness Sartre signals
his interest in de Beauvoir's novel, by developing the absence of Pierre. From the café. Also absent from the café are the Duke of
Wellington and Paul Valery.</p>
<p class="MsoPlainText">When I wrote my own mediation on Pierre,
many years ago, I did not know then that de Beauvoir originally wrote
'Napoleon' and Sartre, jokingly, changed that to 'Wellington' - which I had
changed to Napoleon. But I am not at all
surprised.</p>
<p class="MsoPlainText">I should explain that 'Napoleon' is
simply far more present in English-speaking story and song...</p>
<p class="MsoPlainText"><a href="https://shannonselin.com/2018/01/songs-about-napoleon-bonaparte/">https://shannonselin.com/2018/01/songs-about-napoleon-bonaparte/</a></p>
<p class="MsoPlainText">There used to be a pub, here in
Bradford, Yorkshire, called The Napoleon...</p>
<p class="MsoPlainText"><a href="https://www.closedpubs.co.uk/yorkshire/bradford_bd4_napoleon.html">https://www.closedpubs.co.uk/yorkshire/bradford_bd4_napoleon.html</a></p><p class="MsoPlainText">While we are at it... Pierre, of course, has his own history in song. We could begin with You Never Can Tell, by Chuck Berry - 'You could see that Pierre did truly love
the mademoiselle'. Which becomes the track for the Twist Competition in Tarantino's Pulp Fiction. Which refers to the one-take 'Madison' sequence in Godard's Bande à Part...</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">6.</p>
<p class="MsoPlainText">I really do thank the performers and
musicians who have allowed me to develop my thinking about song, and develop my
practice - exploring pattern, repetition, structure. Pierre is an example.</p>
<p class="MsoPlainText">As I say, in this project, I especially
thank Shannon Marie Harney, and Danny Yates, City Sound Studios...</p>
<p class="MsoPlainText">Now...
Back to my well wrought urns...</p>
<p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB">Patrick O'Sullivan<o:p></o:p></span></p>
<p class="MsoPlainText">January 2024</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">Below, the page from Hazel Barnes' translation, in which Pierre, the Duke of Wellington and Paul Valery do not appear...</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWlPys1JHX2Y1gQCI3lfbfdZrwnwaZlVh2MWbPUn0i4eXSkwmozDxdXiY4wkffnPo4VZZ-Vg2SCzUhtZ41zF9MIxTkhwfvPuTk9o2DG-Voxf3atAQsZ1GyGwQd6ZSza__kiJBXtDlf1FI_a0QbEYl3oqg8srMRKtmLWreckdAmrZGyoKEFBgoMDIK9UI/s3508/Barnes,%20Sartre,%20B%20&%20N,%20p42%20Current%20View.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3508" data-original-width="2479" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWlPys1JHX2Y1gQCI3lfbfdZrwnwaZlVh2MWbPUn0i4eXSkwmozDxdXiY4wkffnPo4VZZ-Vg2SCzUhtZ41zF9MIxTkhwfvPuTk9o2DG-Voxf3atAQsZ1GyGwQd6ZSza__kiJBXtDlf1FI_a0QbEYl3oqg8srMRKtmLWreckdAmrZGyoKEFBgoMDIK9UI/w399-h640/Barnes,%20Sartre,%20B%20&%20N,%20p42%20Current%20View.jpg" width="399" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p class="MsoPlainText"><br /></p><br /><p></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-16639550405678800242024-01-08T17:32:00.013+00:002024-02-06T11:32:05.681+00:00Visiting Professor of Irish Diaspora Studies, London Metropolitan University (Continued)<p> </p><p class="MsoPlainText"><span lang="EN-GB">Visiting Professor of Irish Diaspora
Studies, London Metropolitan University (Continued 2024)<o:p></o:p></span></p>
<p class="MsoPlainText">January 7 2024</p>
<p class="MsoPlainText">My thanks to the friends and colleagues
who noticed the anniversary of the start of my relationship with London
Metropolitan University, and my role there, Visiting Professor of Irish
Diaspora Studies...</p>
<p class="MsoPlainText">And, yes, London Metropolitan University
and I have (quietly) agreed that we should continue our relationship for a
further year. We have plans.</p>
<p class="MsoPlainText">My thanks to Don MacRaild, Pro-Vice
Chancellor for Research and Knowledge Exchange, and Lynn Dobbs, Vice-Chancellor
and Chief Executive of London Metropolitan University. </p>
<p class="MsoPlainText">I must also thank the patient staff of
London Metropolitan University, especially in the Library and in Research
Support - who have been so helpful in difficult times.</p>
<p class="MsoPlainText">Our thing, this Visiting Professor thing, began
towards the end of 2019. Then and early
in 2020 I held a series of meetings in London - making links, exploring ideas
and possible projects. I walked and
talked. London, with its complex past
and present, and its many academic strengths, ought to be a world centre for
Diaspora Studies. It isn't.</p>
<p class="MsoPlainText">Well, as you know, all plans were
kiboshed by the pandemic. I wrote a
(rather sad) little note, which is still there on my blog...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span><a href="https://fiddlersdog.blogspot.com/2020/06/visiting-professor-of-irish-diaspora.html">https://fiddlersdog.blogspot.com/2020/06/visiting-professor-of-irish-diaspora.html</a></p>
<p class="MsoPlainText">And I am still sad. Here are some rock pools of sadness, chosen
from many such pools...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>1.<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Notre Autre Voisin...</b><o:p></o:p></span></p>
<p class="MsoPlainText">It was always obvious, and was even more
obvious in 2020, that, if we wanted to develop Irish Diaspora Studies in
London, in the South of England, we should reach out to our colleagues in
France. Especially in Northern France, a
few hours away.</p>
<p class="MsoPlainText">And this was working well. For example, our colleagues at the University
of Caen, and Caen University Press, made available to us, as a gift to London
Metropolitan University, a selection of their books in our field. The books arrived just in time to be locked
away, as the virus crisis took hold.</p>
<p class="MsoPlainText">But we have, thankfully, stayed in touch
online with our colleagues in France - there have been online gatherings. Always in Irish Diaspora Studies, when I am
struggling to explain a train of thought, perfect examples present
themselves. I think here particularly of
Nathalie Sebbane's presentation, the thought behind her book about the
Magdalene Laundries... See...</p>
<p class="MsoPlainText">Sebbane, N. (2021) Memorialising the
Magdalene Laundries: From Story to History. Peter Lang .</p>
<p class="MsoPlainText">For me, in the background, in this
conversation with Ireland's Other Neighbour, is a developing project about
differing national and scholarly/academic approaches to Irish matters - it is an 'Irish Diaspora Studies' critique of
'Irish Studies'. I have quietly
collected the material for many years...</p>
<p class="MsoPlainText">This must now be, in part, a dialogue
with the 2021 Handbook edited by Renée Fox and colleagues...</p>
<p class="MsoPlainText">Fox, R., Cronin, M. and Ó Conchubhair,
B. (2021) Routledge International Handbook of Irish Studies. Routledge.</p>
<p class="MsoPlainText">...especially a dialogue with Michael
Cronin's chapter 3, 'Irish Studies in the non-Anglophone world'.</p>
<p class="MsoPlainText">This is that Michael Cronin, of Trinity
College Dublin - whose work on translation we admire and use.</p>
<p class="MsoPlainText">Not Mike Cronin, Boston College, one of
the Editors of the Handbook - who is also admired.
Mike Cronin's own chapter in the Handbook is Chapter 10, 'Connections
and capital: the diaspora and Ireland’s global networks'.</p>
<p class="MsoPlainText">Similar dialogue with Michael and Mike.
And all good wishes...</p>
<p class="MsoPlainText">Thus we are in meditation with a remark
by Eiléan Ní Chuilleanáin, that 'Irish Studies' was invented by Joseph Campbell
at Fordham, in 1926... See p11 of...</p>
<p class="MsoPlainText">Campbell, J. and Ní Chuilleanáin, E.
(2001) ‘As I was Among the Captives’: Joseph Campbell’s Prison Diary,
1922-1923. Cork: Cork University Press.</p>
<p class="MsoPlainText">We look at the different underpinnings,
intellectual and structural, in different places, in the development of Irish
Studies and Irish Diaspora Studies. And
specific difficulties...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>2.<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>The Theology of Diaspora...</b><o:p></o:p></span></p>
<p class="MsoPlainText">My notes on this began, long ago,
with a reading of Nicholas Lash...</p>
<p class="MsoPlainText">Lash, N. (1982) A Matter of Hope: A
Theologian’s Reflections on the Thought of Karl Marx. Longman and Todd.</p>
<p class="MsoPlainText">There have been notes shared, over the
years, with a number of colleagues - I think now of Thomas O'Loughlin, in
Nottingham. And, more recently, Aidan
Beatty, in Pittsburgh</p>
<p class="MsoPlainText">Where would I begin nowadays? Maybe with Jeremiah 29, which is both an
Emigrant Letter (as we now understand these things) and a Diaspora Policy (as
we now understand these things).</p>
<p class="MsoPlainText">Or Diaspora This Worldly/Theology Next
Wordly?</p>
<p class="MsoPlainText">Certainly the Theology of Diaspora is
something that needs to be refreshed, and there is enough interest to develop
some kind of exploration and gathering.</p><p class="MsoPlainText">(Recently, in a discussion elswhere, I made the interdisciplinary point that when the word, 'diaspora' moved from Greek literature and history - it is used mostly in histories - to the Greek language version of the Bible, it changed disciplines. It moved from history to theology.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p><p class="MsoPlainText"><b>3.</b></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Rhyme And...</b><o:p></o:p></span></p>
<p class="MsoPlainText">In recent times I have worked a lot
alongside colleagues in what are broadly called the Digital Humanities. I am the guy who asks the obvious questions -
I do this because it is part of my role to collate the obvious answers.</p>
<p class="MsoPlainText">It is complained, perhaps fairly, that
too often the Digital Humanities represent a solution in search of a
problem. For this very reason I collect
problems that will welcome Digital Humanities solutions. These can be problems within Irish Diaspora
Studies, or problems that can be given an Irish Diaspora Studies spin.</p>
<p class="MsoPlainText">And so to Rhyme... I am unusual amongst the poets of my
generation in that I am comfortable with traditional poetic techniques. I know how they work, and I know how to make
them work...</p>
<p class="MsoPlainText">I won't go into detail here - but we are
in a strange golden age of Rhyme. Rhyme has spread into cultures with no
previous history of popular rhyming verse.
It might be the influence of Rap, or it might be the influence of John
Skelton and Edith Sitwell...</p>
<p class="MsoPlainText">But the obvious starting point - the
spin - for us, today, is with W. B. Yeats.
And I can give my standard lecture on Yeats and Rhyme.</p>
<p class="MsoPlainText">To my joy - when I began planning work
for the Visiting Professor of Irish Diaspora Studies - I found myself exchanging
notes with Marjorie Perloff, who seems as active and charming as ever. (I am not.)</p>
<p class="MsoPlainText">Her early book on Yeats...</p>
<p class="MsoPlainText">Perloff, M. (1970) Rhyme and Meaning in
the Poetry of Yeats. Paris: Mouton</p>
<p class="MsoPlainText">...has always seemed to me to offer a
Digital Humanities approach. <i>Avant la
lettre</i>.</p><p class="MsoPlainText">And now the software is in place, and I am in touch with the software developers - and we can test my observation.</p>
<p class="MsoPlainText">Marjorie Perloff herself explains that behind
her thesis, and the subsequent book, is the approach of Craig LaDrière, at the
Catholic University, Washington. LaDrière
looked, in the study of literature, for things to measure - we are
familiar with this approach in the social sciences and in the development of
social policy. I guess that LaDrière himself
has pretty much disappeared from view - the Ezra Pound specialists might know
the name. LaDrière did some nice work on
genre. In her Memoir, p226, Marjorie
Perloff comments that this focus on the 'ontology of poetry' put the Catholic
University students, in a curious way, 'ahead of the game' in later developments
in the worlds of theory.</p>
<p class="MsoPlainText">There are moments when Marjorie
Perloff's Memoir offers footnotes to Irish Diaspora Studies - like the series
of chances that took her to the Catholic University, Washington, to sit
alongside all those nuns and Christian Brothers, and study under LaDrière. LaDrière would always arrive late to give his
lectures, and would always begin his lectures by reciting the Hail Mary
prayer. In French.</p>
<p class="MsoPlainText">Marjorie Perloff's own Memoir is a powerful,
thoughtful, moving classic of Diaspora Studies - it is a book I would be happy
to bring to a seminar. I will be
fulsome.</p>
<p class="MsoPlainText">Perloff, M. (2004) The Vienna Paradox: A
Memoir. New Directions Books.</p>
<p class="MsoPlainText">It asks the question: what does a little 4 year girl, of Jewish
heritage, fleeing across the Atlantic from Anschluss Vienna, need to know? It recounts how German-speaking Gabriele became
English-speaking Marjorie - as Amerika became America. The Memoir's Epilogue includes little nods to
Terry Eagleton, on Wittgenstein of course, and to Yeats...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>4.</b></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>And so forth...</b></span></p><p class="MsoPlainText"><span lang="EN-GB"><b><br /></b></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>5.</b></span></p><p class="MsoPlainText"><b>The Diaspora Dictum</b></p><p class="MsoPlainText">...is: Do what you can, where you are. As opportunities arise, and when I am asked, I
am getting back into the habit of academic lecturing and presentations - and
have not done too badly, really, with projects about the Emigrant Letter,
Ireland and the BBC, Jonathan Swift, Denis Johnston, Samuel Beckett, and more. The themes outlined above give a flavour. </p><p class="MsoPlainText">I continue, as usual, the collation of
research material and research advice. Here in Yorkshire, I
have given my support to the revived Bradford Irish Society - who have asked me
to give a lecture on the Irish origins and interests of the Brontës. That is the sort of thing I can do - an Irish
Diaspora Studies approach. Of course.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Patrick O'Sullivan<o:p></o:p></b></span></p><p class="MsoPlainText"><span lang="EN-GB"><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222;"><b>Visiting Professor of Irish Diaspora Studies</b></span></span></p><p class="MsoPlainText"><span lang="EN-GB"><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #222222;"><b>London Metropolitan University </b></span></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>January 7 2024</b><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="mailto:p.osullivan@londonmet.ac.uk">p.osullivan@londonmet.ac.uk</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Patrick O'Sullivan's Whole Life Blog <a href="http://www.fiddlersdog.com/">http://www.fiddlersdog.com/</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Archive <a href="https://www.mediafire.com/folder/ooj5btdttc9y4/Documents">https://www.mediafire.com/folder/ooj5btdttc9y4/Documents</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Archives of the Irish Diaspora List,
1997-2017 <a href="http://idslist.friendsov.com/">http://idslist.friendsov.com/</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://britishmusiccollection.org.uk/composer/patrick-osullivan">https://britishmusiccollection.org.uk/composer/patrick-osullivan</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Personal Fax 0044 (0) 709 236 9050<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-63362215255398998112023-12-16T13:51:00.003+00:002023-12-22T19:40:22.203+00:00Good Drying Day, sung by Shannon Marie Harney<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgoJOFq684FjWW37LZ9DD2sVKIvflrS4YzM-s6jplyUfQkOqM8Bo_gDJITsNwCAtmi-0Mk-OhIxuXY1YVu3oeRNSf-UR_vCb1_QHjFXNGl6KeykTrXe4lZVq06owsgY68OJkcxDqp5GRYP33mrGCGywk4zykJ8bfAQQ0GFkiarUE3JL87I75MIIJq0ua5g" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="3000" data-original-width="3000" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgoJOFq684FjWW37LZ9DD2sVKIvflrS4YzM-s6jplyUfQkOqM8Bo_gDJITsNwCAtmi-0Mk-OhIxuXY1YVu3oeRNSf-UR_vCb1_QHjFXNGl6KeykTrXe4lZVq06owsgY68OJkcxDqp5GRYP33mrGCGywk4zykJ8bfAQQ0GFkiarUE3JL87I75MIIJq0ua5g" width="240" /></a></div><br /><b><br /></b><div><b>Good Drying Day</b><p></p>
<p class="MsoPlainText"><b>Sung by Shannon Marie Harney</b></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Lyric and Melody by Patrick O'Sullivan<o:p></o:p></b></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">New song out there, doing nicely...</p><p class="MsoPlainText">Yes, a song about Doing the Laundry...</p>
<p class="MsoPlainText"><span lang="EN-GB">The song will be visible and audible on
every other streaming platform, in due course...<o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB">Has already turned up on Apple...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Good Drying Day<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://music.apple.com/us/album/good-drying-day-single/1717826586">https://music.apple.com/us/album/good-drying-day-single/1717826586</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">And Spotify...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://open.spotify.com/track/1H4dFwc13IvmEWY16CDLL1">https://open.spotify.com/track/1H4dFwc13IvmEWY16CDLL1</a><o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://open.spotify.com/album/2WhXEzFHzGzs842EoQxulZ?si=Sj3uh0qETlGF07X4sA1v-g">https://open.spotify.com/album/2WhXEzFHzGzs842EoQxulZ?si=Sj3uh0qETlGF07X4sA1v-g</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">And YouTube<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.youtube.com/watch?v=he61fkuRtl0">https://www.youtube.com/watch?v=he61fkuRtl0</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Worth listening on a higher quality
platform, if you have access - to hear the detail of the arrangement...<o:p></o:p></span></p>
<p class="MsoPlainText">Note that through Musixmatch Pro I am
able to slot in lyrics on the platforms that will accept lyrics, like Spotify.</p>
<p class="MsoPlainText">Musixmatch will even have a stab at
translating lyrics...</p>
<p class="MsoPlainText"><a href="https://www.musixmatch.com/es/letras/Shannon-Marie-Harney/Good-Drying-Day">https://www.musixmatch.com/es/letras/Shannon-Marie-Harney/Good-Drying-Day</a></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">This is the French...<o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://www.musixmatch.com/es/letras/Shannon-Marie-Harney/Good-Drying-Day/traduccion/frances">https://www.musixmatch.com/es/letras/Shannon-Marie-Harney/Good-Drying-Day/traduccion/frances</a></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">In tidying the lyric I left enough subtext and back story in place, I think, to satisfy those who like subtext and backstory. Others will not notice. </p><p class="MsoPlainText">What the BBC calls 'a certain brand' of washing machine plays a little phrase from Schubert's Trout at the end of its cycle. </p><p class="MsoPlainText">It is Samsung. </p><p class="MsoPlainText">So... We quote Schubert at the beginning of Good Drying Day...</p><p class="MsoPlainText">...and the laundry is done...</p><p class="MsoPlainText"><b><br /></b></p><p class="MsoPlainText"><b>Patrick O'Sullivan</b></p><p class="MsoPlainText"><b>December 2023</b></p>
<p class="MsoPlainText"><br /></p></div>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-18986401071124745462023-12-16T13:11:00.012+00:002023-12-18T12:42:35.079+00:00The Spirit of My Song, by Metta Victoria Fuller and Stephen C. Foster<p> </p><p class="MsoPlainText"><span lang="EN-GB">This is the link to my YouTube recording
of<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>The Spirit of My Song </b><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">poetry by Metta Victoria Fuller, music
by Stephen C. Foster<o:p></o:p></span></p>
<p class="MsoPlainText">Video link</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/bpBikx2L-nc">https://youtu.be/bpBikx2L-nc</a><o:p></o:p></span></p>
<p class="MsoPlainText">In the weeks before Christmas, there is
now a tradition that the members of UK Autoharps build an Advent Calendar -
members develop and share a song, one member/one song per day, in the days leading
up to Christmas.</p>
<p class="MsoPlainText">It is a nice tradition.<span style="mso-spacerun: yes;"> </span>It began in the days of lockdown and
breakdown.</p>
<p class="MsoPlainText">And The Spirit of My Song is my
contribution, December 17, 2023...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">1.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">From my point of view there are a number
of sub-traditions.<o:p></o:p></span></p>
<p class="MsoPlainText">It has become a tradition that my
offering to the UK Autoharps Advent Calendar develops from my exploration of
the song archives - specifically the archives of Stephen Foster.</p>
<p class="MsoPlainText">The Autoharp has a special relationship
with these nineteenth century 'parlour songs' - for the parlour was one of the
places where the Autoharp found a niche.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoPlainText"><span lang="EN-GB">The case study is the nineteenth century 'parlour
song' which escaped from the parlour and, through the Carter Family, became a 'folk
song', and an Autoharp standard - Wildwood Flower/ </span><span lang="EN-GB" style="mso-ascii-font-family: Calibri; mso-bidi-font-size: 10.5pt; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">I'll Twine 'Mid the Ringlets.</span></p>
<p class="MsoNormal">Stephen Foster songs are usually very Autoharp-friendly.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">2.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Often a feature of these parlour songs
is their hard won 'poetic diction'.<o:p></o:p></span></p>
<p class="MsoPlainText">We can take the discussion in any number
of directions - one starting point is this note by the Academy of American
Poets, on poets.org...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://poets.org/glossary/poetic-diction">https://poets.org/glossary/poetic-diction</a><o:p></o:p></span></p>
<p class="MsoPlainText">But...<span style="mso-spacerun: yes;">
</span>Search on, search on...</p>
<p class="MsoPlainText">I see this turn to poetic diction as
part of the expansion of education and printing in the late nineteenth century,
especially in the USA.</p>
<p class="MsoPlainText">With due deference to Wordsworth, it
would be very odd if we defined poetry in a way that made poets use ONLY everyday
language in their poems.<span style="mso-spacerun: yes;"> </span>Poets who use
heightened, elaborate language, with arcane and unusual words, are not making a
mistake.<span style="mso-spacerun: yes;"> </span>They are exploring a resource -
in many cases a resource that is, through education, new to them.<span style="mso-spacerun: yes;"> </span>They are demonstrating a developing skill.<span style="mso-spacerun: yes;"> </span>And some human experiences ask for heightened
language.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">3.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">These thoughts arise from my work on...<o:p></o:p></span></p>
<p class="MsoPlainText">The Spirit of My Song</p>
<p class="MsoPlainText"><span lang="EN-GB">poetry by Metta Victoria Fuller, music
by Stephen C. Foster<o:p></o:p></span></p>
<p class="MsoPlainText">This is the sheet music on the Library
of Congress web site.</p>
<p class="MsoPlainText"><a href="https://www.loc.gov/item/2011565323/">https://www.loc.gov/item/2011565323/</a></p>
<p class="MsoPlainText">You can see that the LOC librarian wrote
on the title page the date when the song entered the Library of Congress, 21
August 1850.</p>
<p class="MsoPlainText">See also...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://levysheetmusic.mse.jhu.edu/collection/068/124">https://levysheetmusic.mse.jhu.edu/collection/068/124</a><o:p></o:p></span></p>
<p class="MsoPlainText">Foster's Complete Songs</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.library.pitt.edu/foster-songs">https://www.library.pitt.edu/foster-songs</a><o:p></o:p></span></p>
<p class="MsoPlainText">In 1850 the poet, Metta Victoria Fuller,
was 19 years old.</p>
<p class="MsoPlainText">Let us see if we can find a way to treat
her song with respect.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">4.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">There is a Wikipedia entry on Metta
Fuller<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://en.wikipedia.org/wiki/Metta_Victoria_Fuller_Victor">https://en.wikipedia.org/wiki/Metta_Victoria_Fuller_Victor</a><o:p></o:p></span></p>
<p class="MsoPlainText">You can see that, with marriage, her
full name became Metta Victoria Fuller Victor...</p>
<p class="MsoPlainText">But that was only one of her many, many
names.<span style="mso-spacerun: yes;"> </span>She became a successful professional
writer, publishing under at least a dozen names, often masculine names, some
weird masculine names like 'Seeley Regester' .</p>
<p class="MsoPlainText">So, very hard to research...</p>
<p class="MsoPlainText">See also</p>
<p class="MsoPlainText"><span lang="EN-GB">Women Writers and Detectives in
Nineteenth-Century Crime Fiction<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">The Mothers of the Mystery Genre<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Lucy Sussex<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://blogs.stockton.edu/litrecovery2019/metta-victoria-fuller-victor/">https://blogs.stockton.edu/litrecovery2019/metta-victoria-fuller-victor/</a></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Metta Fuller is sometimes credited with
bringing the detective into American crime fiction - her Mr. Burton does seem like
a nod to Dickens' Mr. Bucket.<o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://www.gutenberg.org/files/46708/46708-h/46708-h.htm#p1c5">https://www.gutenberg.org/files/46708/46708-h/46708-h.htm#p1c5</a></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">5.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">I first came across the text of The
Spirit of My Song in the sheet music of 1850.<o:p></o:p></span></p>
<p class="MsoPlainText">The text is also visible on Google Books
in</p>
<p class="MsoPlainText"><span lang="EN-GB">Poems of Sentiment and Imagination: With
Dramatic and Descriptive Pieces<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">By Frances A. Fuller, and Metta V. Fuller<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Published in 1851<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Page 211<o:p></o:p></span></p>
<p class="MsoPlainText">TinyUrL</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://tinyurl.com/2nrsk9tk">https://tinyurl.com/2nrsk9tk</a><o:p></o:p></span></p>
<p class="MsoPlainText">(The New York Public Library, and Google Books, have made a mistake - in attaching Metta's later married name, Victor, to both sisters...)</p><p class="MsoPlainText">Metta and Frances - Frances is the older
sister - describe their poems as 'the first fruit offering of young hearts...'</p>
<p class="MsoPlainText">And say that the poems 'have before
appeared through various literary mediums...'</p>
<p class="MsoPlainText">I assume that Stephen Foster saw the
text in a journal, or it might have been sent to him for consideration.</p>
<p class="MsoPlainText">Note that Metta Fuller's text does not
have a chorus.<span style="mso-spacerun: yes;"> </span>She does top and tail the
lyric with the same four lines</p>
<p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Tell me, have you ever met her<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Met the spirit of my song?<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Have her wave-like footsteps glided<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Through the city's worldly throng?</b><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p><p class="MsoPlainText">Those are the first 4 lines of the poem
and they are the last 4 lines.</p>
<p class="MsoPlainText">I deduce that Stephen Foster wanted a
song with a chorus.<span style="mso-spacerun: yes;"> </span>He knew his
audience.</p>
<p class="MsoPlainText">So, the Composer decided that the first
four lines of the song would become the Chorus - and that is set out in the
sheet music.</p>
<p class="MsoPlainText">As ever the Melody has two parts, Melody
A on the first 4 lines of the 8 line stanza, Melody B on the second 4 lines.</p>
<p class="MsoPlainText">The repeats of those 4 lines as Chorus
with Melody A, and the structure of the song, are Composer decisions.</p>
<p class="MsoPlainText">We respect the decisions of the Poet and
the Composer.<span style="mso-spacerun: yes;"> </span>So, we get those 4 lines a
total of 8 times, once in stanza 1, once in stanza 6, and in the 6 choruses.</p>
<p class="MsoPlainText">And in stanza 6, where those 4 lines are
the last lines of the poem, we sing the same 4 lines first on Melody B and
then, back into the Chorus, on Melody A.</p>
<p class="MsoPlainText">This is hard.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">6.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Now, let me introduce another sub-tradition.<span style="mso-spacerun: yes;"> </span>It turns out that my work for the UK
Autoharps Advent Calendar becomes an investigation of the state of my health as
the winter progresses...<o:p></o:p></span></p>
<p class="MsoPlainText">There is a video from a previous year
where you can see me, lashed to the microphone, determined to stay upright and
give a performance.</p>
<p class="MsoPlainText">This year, 2023...<span style="mso-spacerun: yes;"> </span>Turns out I was having a slow motion health
crisis.<span style="mso-spacerun: yes;"> </span>I was ill throughout October - merely
a Very Bad Cold.<span style="mso-spacerun: yes;"> </span>Merely...<span style="mso-spacerun: yes;"> </span>I lost October.</p>
<p class="MsoPlainText">November was spent recovering and
apologising.</p>
<p class="MsoPlainText">I asked for extra time from the organisers
of the Advent Calendar project - my thanks to Helen Slade and the other Autoharpers
who stepped in to help.</p>
<p class="MsoPlainText">In the video you can hear how ill I
was.<span style="mso-spacerun: yes;"> </span>We have left in some fluffs and
spoonerisms.<span style="mso-spacerun: yes;"> </span>We had to - there were so many.<span style="mso-spacerun: yes;"> </span>Only sometimes do I hit that high note.</p>
<p class="MsoPlainText">Have we invented the Raku Ware approach
to the music video? - where the blemish is part of the process, and a part of
the beauty? Nah.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">7.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">I wanted the video and the performance to
keep the Autoharp-friendly nature of Stephen Foster' setting.<span style="mso-spacerun: yes;"> </span>And to respect the text.<o:p></o:p></span></p>
<p class="MsoPlainText">This young Poet is pushing Poetic
Diction.<span style="mso-spacerun: yes;"> </span>Hard.<span style="mso-spacerun: yes;"> </span>You have to take this on its own terms, and
enjoy its effects.</p>
<p class="MsoPlainText">There are some splendid effects - eyes
that 'magnificently flash'.</p>
<p class="MsoPlainText">So...<span style="mso-spacerun: yes;">
</span>what is the song about?<span style="mso-spacerun: yes;"> </span>What did
Stephen Foster hear?<span style="mso-spacerun: yes;"> </span>Who is the Spirit
of Metta Fuller's song?</p>
<p class="MsoPlainText">At one level, it must be a song about
our Muse - the bringer of inspiration.<span style="mso-spacerun: yes;"> </span>Perhaps
Euterpe, the Muse of Music and Lyric Poetry, often shown carrying a flute, or Terpsichore,
the Muse of Dance and Choral Song, with her lyre.</p>
<p class="MsoPlainText">And in Metta Fuller's poem the Spirit
has a lyre, and tries to teach Metta how to play the lyre.</p>
<p class="MsoPlainText">But Metta Fuller's Spirit can be clearly
seen, and met, walking through the crowds.<span style="mso-spacerun: yes;">
</span>The text follows the Sprit into the home, into the parlour.<span style="mso-spacerun: yes;"> </span>Where she brings inspiration, yes - and comfort
and education.</p>
<p class="MsoPlainText">I think that Metta Fuller is writing
about her older sister, Frances.</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">So there it is - my contribution to the UK Autoharps Advent Calendar 2023.</p><p class="MsoNormal"><span lang="EN-GB">But is this a Christmas
Song?<o:p></o:p></span></p><p class="MsoNormal">Again, following Dickens – Christmas is when we see
Spirits, and learn from them.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Patrick O'Sullivan</b></span></p><p class="MsoPlainText"><b>December 2023</b></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-26238618458457689642023-02-25T12:29:00.010+00:002023-03-19T16:22:29.984+00:00Shannon Marie Harney sings The Border...<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj7OBJ2wQQhPvbsUvszSecEAcoQfARo_Hm9gekMyiHq8NUTafviidXm7YB2Tz5TIpzK59NfeK0GBvQ4bZ79mwi3prO7IE2fEJPANAFCD2B_UgLR1LuVcJPwAqtDH3dltZxncAFvpZKQP92SmxYObASk1YThGSTZWzZo8yo8xDLHnc5RYxCzeNDTQQWL" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="3000" data-original-width="3000" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEj7OBJ2wQQhPvbsUvszSecEAcoQfARo_Hm9gekMyiHq8NUTafviidXm7YB2Tz5TIpzK59NfeK0GBvQ4bZ79mwi3prO7IE2fEJPANAFCD2B_UgLR1LuVcJPwAqtDH3dltZxncAFvpZKQP92SmxYObASk1YThGSTZWzZo8yo8xDLHnc5RYxCzeNDTQQWL" width="240" /></a></div><br /><p>Shannon Marie Harney sings The Border...</p><p>We have released a new recording of the
O'Sullivan/Edwards song, The Border.</p>
<p class="MsoPlainText">The setting, the melody, is by Sue Edwards
- who is well known to the autoharp community, of course.</p>
<p class="MsoPlainText">And it is a very autoharp friendly
melody - chords are G C D. We have added
a little Middle 8 section, Chords Em C G D.</p>
<p class="MsoPlainText">Sue took a lyric of mine from my song
lyric book, Love Death and Whiskey, pages 44-45, and set it.
I have always really liked this setting, and its embrace of repetition. The patterns of repetition in the lyric
interweave with the patterns of repetition in the melody. Highlighting different phrases - different words
and different melodic phrases. It is the
kind of repetition you would exploit in a song lyric, but not in a poem. Very much the whole being greater than the
sum.</p>
<p class="MsoPlainText">The singer is Shannon Marie Harney. I have said that my stuff is not a typical
part of Shannon Marie's repertoire. And,
at first, she sang this song almost in rock chick mode - which I liked, and might
have been happy with.</p>
<p class="MsoPlainText">But we gave Shannon Marie her studio
time - the song asserted itself, and took its own direction. </p>
<p class="MsoPlainText">I hope Sue Edwards is happy with the
result.</p>
<p class="MsoPlainText">The obvious links are pasted in below -
but the song can be found wherever you look for your music...</p>
<p class="MsoPlainText"><span lang="EN-GB">I have also pasted in the Chordify link,
so that you can see the pattern of the chords. </span>And the Google Books link to the song
lyric book.</p><p class="MsoPlainText">My thanks to Sue Edwards, to Shannon Marie Harney, and to Danny Yates, City Sound Studios.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">1<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">YouTube<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Provided to YouTube by CDBaby<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">The Border · Shannon Marie Harney<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span>℗ 2023 Patrick Joseph O'Sullivan, Sue
Edwards</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span>Released on: 2023-02-22</p>
<p class="MsoPlainText"><span lang="EN-GB">Auto-generated by YouTube.<o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://youtu.be/I_AcH3jR8WY">https://youtu.be/I_AcH3jR8WY</a></p>
<p class="MsoPlainText"><a href="https://www.youtube.com/playlist?list=PL8CXHKXfP1sd8lyFLQLllhQm2KWZMVS1I">https://www.youtube.com/playlist?list=PL8CXHKXfP1sd8lyFLQLllhQm2KWZMVS1I</a></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">2.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Spotify<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://open.spotify.com/album/2tUHcIe1C4o7Agff5FvmwJ">https://open.spotify.com/album/2tUHcIe1C4o7Agff5FvmwJ</a><o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://open.spotify.com/artist/3z7aYsCGwhPh7mJ0apzu4u">https://open.spotify.com/artist/3z7aYsCGwhPh7mJ0apzu4u</a></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">3.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Amazon<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://music.amazon.com/albums/B0BWK8DTL2">https://music.amazon.com/albums/B0BWK8DTL2</a></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://music.amazon.com/artists/B0BNWBGPM5/shannon-marie-harney">https://music.amazon.com/artists/B0BNWBGPM5/shannon-marie-harney</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">4.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Chordify, Shannon Marie Harney, The
Border<o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://chordify.net/chords/the-border-shannon-marie-harney-topic">https://chordify.net/chords/the-border-shannon-marie-harney-topic</a></p>
<p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB">5.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Love Death and Whiskey - 40 Songs<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">By Patrick O'Sullivan · 2010<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.google.co.uk/books/edition/Love_Death_and_Whiskey_40_Songs/Hw8XkeS_hlQC?hl=en&gbpv=0">https://www.google.co.uk/books/edition/Love_Death_and_Whiskey_40_Songs/Hw8XkeS_hlQC?hl=en&gbpv=0</a><o:p></o:p></span></p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">Patrick O'Sullivan</p><p class="MsoPlainText">February 2023</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><p></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-62326476149059467372023-01-22T16:31:00.001+00:002023-01-22T16:31:26.865+00:00Irish Diaspora Studies and... The Male<p> </p><p class="MsoPlainText"><span lang="EN-GB">Irish Diaspora Studies and...</span></p><p class="MsoPlainText">Versions of this message have appeared
on various platforms, in connection with other parts of my lives...</p>
<p class="MsoPlainText">This version is a compact tidy - I hope
it is coherent...</p>
<p class="MsoPlainText">One starting point might be an aside at
the end of my Introduction to Volume 4 of The Irish World Wide, p15...</p>
<p class="MsoPlainText">O’Sullivan, P. (1995) ‘Introduction:
Irish Women and Irish Migration’, in O’Sullivan, P. (ed.) Irish Women and Irish
Migration. London & Washington: Leicester University Press (The Irish World
Wide), pp. 1–22.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">'Yet you cannot deconstruct only one
half of the dyad, woman/man. If I<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">can imagine a volume on Irish Women and
Irish Migration quite other than<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">the one you have in your hands, I can
equally well imagine a volume on<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Irish Men and Irish Migration which
would be the companion to this one.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">That volume would bring into Irish
Studies and Irish Migration Studies the<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">critical study of men and masculinities.
<span style="mso-spacerun: yes;"> </span>Certainly we now need studies of<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Irish migration which give the variable
of gender its proper due.'<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">So...<span style="mso-spacerun: yes;">
</span>That thought has been in the back of my everchanging mind, as we have
tracked Irish Diaspora Studies throughout the intervening years...<o:p></o:p></span></p>
<p class="MsoPlainText">We can begin with two songs. A drinking song. And a temperance song.</p>
<p class="MsoPlainText">As a little music project, before
Christmas 2022, we did two Stephen Foster songs:
one a drinking song, and the other a temperance song...</p>
<p class="MsoPlainText">There are notes here and here...</p>
<p class="MsoPlainText"><a href="http://fiddlersdog.blogspot.com/2022/12/autoharp-advent-calendar-foster-cooper.html">http://fiddlersdog.blogspot.com/2022/12/autoharp-advent-calendar-foster-cooper.html</a></p>
<p class="MsoPlainText"><a href="http://fiddlersdog.blogspot.com/2022/12/comrades-fill-no-glass-for-me-stephen.html">http://fiddlersdog.blogspot.com/2022/12/comrades-fill-no-glass-for-me-stephen.html</a></p>
<p class="MsoPlainText">And little videos here and here...</p>
<p class="MsoPlainText">Video link</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/kuBP6lvHSzM">https://youtu.be/kuBP6lvHSzM</a><o:p></o:p></span></p>
<p class="MsoPlainText">Video link</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/55l0oSzOh5Y">https://youtu.be/55l0oSzOh5Y</a><o:p></o:p></span></p>
<p class="MsoPlainText">Yes, I am not in good voice... It is winter.</p>
<p class="MsoPlainText">The drinking song, 'When the bowl goes
round...', music by Stephen Foster, lyric by George Cooper, uses a strange
phrase in the chorus, 'jolly fellows'.</p>
<p class="MsoPlainText">'We'll all be jolly fellows'. It felt like there was more to know...</p>
<p class="MsoPlainText">I have now found a book by Richard
Stott...</p>
<p class="MsoPlainText">Stott, R. (2009) Jolly Fellows: Male
Milieus in Nineteenth-Century America. Johns Hopkins University Press (Gender
Relations in the America).</p>
<p class="MsoPlainText">...which is a study, page 1, of </p><p class="MsoPlainText"><span lang="EN-GB">'a
distinctive male comportment that consisted of not just fighting but also heavy
drinking, gambling and playing pranks. Men who engaged in such behavior were
called “jolly fellows.” Although the jolly fellows were a subset of the male
population, whenever men, especially young men, gathered in milieus that were
all male or where women were rare, such conduct could occur. Such behavior was
tolerated, even condoned, by men who were not themselves drinkers, fighters, or
gamblers...'<o:p></o:p></span></p>
<p class="MsoPlainText">Richard Stott does not seem to have been
aware of this particular Stephen Foster song when he wrote his book, and picked
its title. It seems that Stephen Foster
and George Cooper, writing in the 1860s, found that phrase, 'jolly fellows',
still there in the ether. And maybe by
then - Richard Stott, the cultural historian, suggests - the age of the 'jolly
fellows' was over... He maps the
development of a 'civilizing process' (Norbert Elias) that will, eventually,
lead to Prohibition. A drinking song,
followed by a temperance song.</p>
<p class="MsoPlainText">I find myself putting the, 'jolly
fellows', from this Foster drinking song, alongside the 'boon companions' of
'Comrades, fill no glass...', the second Foster song I prepared for Christmas
2022.</p>
<p class="MsoPlainText">The point for Irish Diaspora Studies is
that Richard Stott has absorbed, seamlessly, the research and comment on Irish
male violence into his study of nineteenth century American male violence -
male violence, accepted, useful, controlled, directed? There they are, the references we would
expect, Carolyn Conley, “The Agreeable Recreation of Fighting,”, Patrick
O’Donnell, Irish Faction Fighters of the Nineteenth Century, William Carleton, Traits and Stories of the Irish
Peasantry. Edward “Ned” Harrigan and
Mulligan's Guards. And so on...</p>
<p class="MsoPlainText">In turn, Richard Stott's book should
take its place alongside all those other studies of the Irish male, and the
Irish-American...</p>
<p class="MsoPlainText">It is worth searching for Richard
Stott's book - because I found it Open Access.
It is readily available.</p>
<p class="MsoPlainText">Patrick O'Sullivan</p><p class="MsoPlainText">Visiting Professor of Irish Diaspora
Studies, London Metropolitan University</p><p class="MsoPlainText">January 2022</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-13472836323683753052022-12-17T14:19:00.014+00:002023-01-21T19:13:39.704+00:00Autoharp Advent Calendar: Stephen Foster, Comrades, fill no Glass for me <p>Comrades, fill no Glass for me - Stephen
Foster</p>
<p class="MsoPlainText">This is my contribution for Day 16 of
the UK Autoharps Advent Calendar 2022...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">1.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Jan Brodie asked me if I had a second
song for the Advent Calendar - I said that I was working on a song that might
fit...<o:p></o:p></span></p>
<p class="MsoPlainText">But...
That first song was a Stephen Foster drinking song,</p>
<p class="MsoPlainText">When the Bowl goes round, Stephen Foster
and George Cooper</p><p class="MsoPlainText">Video link</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/kuBP6lvHSzM">https://youtu.be/kuBP6lvHSzM</a><o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">...and this second song is a Stephen
Foster temperance song.</p>
<p class="MsoPlainText">Comrades, fill no Glass for me - Stephen
Foster</p>
<p class="MsoPlainText"><span lang="EN-GB">Video link<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/55l0oSzOh5Y">https://youtu.be/55l0oSzOh5Y</a></span></p><p class="MsoPlainText">Compare and contrast...</p><p class="MsoPlainText">But Jan thinks that nothing is more
Chrismassy than temperance and good intentions...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">2.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">A second song from Stephen Foster.<span style="mso-spacerun: yes;"> </span>A second song from the University of
Pittsburgh and the Library of Congress online archives.<o:p></o:p></span></p>
<p class="MsoPlainText">The sheet music says, proudly, Poetry
and Music by Stephen Foster.</p>
<p class="MsoPlainText">Pittsburgh Stephen Foster Collection</p>
<p class="MsoPlainText"><span lang="EN-GB">Has 3 copies.<span style="mso-spacerun: yes;"> </span>Here is one...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Comrades, fill no glass for me<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://digital.library.pitt.edu/islandora/object/pitt%3A31735061827113#page/1/mode/2up">https://digital.library.pitt.edu/islandora/object/pitt%3A31735061827113#page/1/mode/2up</a><o:p></o:p></span></p>
<p class="MsoPlainText">Library of Congress</p>
<p class="MsoPlainText"><span lang="EN-GB">Comrades, fill no glass for me<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Music for a nation: American sheet
music, 1820-1860<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.loc.gov/item/sm1855.590420/">https://www.loc.gov/item/sm1855.590420/</a><o:p></o:p></span></p>
<p class="MsoPlainText">A web search will find that the sheet
music has spread widely - and a number of people have had a go at singing the song....</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">3.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">The lyric does show Foster's workmanlike
skill, three 8 line verses each building to the couplet, which is sung twice,
for emphasis...<o:p></o:p></span></p>
<p class="MsoPlainText">Still, boon companions may ye be,</p>
<p class="MsoPlainText"><span lang="EN-GB">But, comrades, fill no glass for me.<o:p></o:p></span></p>
<p class="MsoPlainText">With little variants on the later repeats. There is the oddity that Verse 1 has 'boon companions may ye be',</p>
<p class="MsoPlainText">But Verse 2 and Verse 3 have 'boon companions ye may
be'. Can we find a subtle reason for this?</p>
<p class="MsoPlainText">You can sometimes hear performers
puzzling over that difference. And Copy
& Paste web sites do not care.</p>
<p class="MsoPlainText">There is a lot going on in the lyric - back
and forth rumination. Certainly a love
of whisky, mixed feelings about the boon companions, and that, oft repeated, desired
conclusion.</p>
<p class="MsoPlainText">Basic lyric skills on show - like, when we
plan rhyme schemes, if we are going to rhyme on an unusual word get that word in
place early, so that the later, more expected, rhyme cements it in place.</p>
<p class="MsoPlainText">'Liquid flame', meaning whisky, is a
good example. Foster knows then that he has the
standard rhymes available. He could explore
the drinker's shame, the boon companions' blame. And, of course, we do explore them.</p>
<p class="MsoPlainText">For the actual rhyme Foster chooses
'blighted fame...'</p><p class="MsoPlainText">See also Verse 3, 'aspirations undefiled' leads to the rhyme with 'child'...</p>
<p class="MsoPlainText">And when we hear 'fill no glass for me',
do we not also hear 'blasphemy...'?</p>
<p class="MsoPlainText">Part of the fun of making the little
illustrated videos for YouTube is seeing if - without getting bogged down - we can
visually mark such detail.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">4.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">The melody is also workmanlike - but has
enough Foster subtlety to make it worthwhile.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoPlainText">The sheet music gives no time signature -
I don't think that that is unusual?
There are little irregularities, which can confuse. In this performance, we try to skate over.</p>
<p class="MsoPlainText">And the second part of the melody has,
for me, an unexpected twist - for line 6, in the key of G, we have gone with A7
and D7.</p>
<p class="MsoPlainText">The real musicians will have more to say. </p>
<p class="MsoPlainText">We should say Thank You to the University
of Pittsburgh and the Library of Congress for the online archives - this is the
web working as it was meant to work.</p>
<p class="MsoPlainText">Patrick O'Sullivan</p>
<p class="MsoPlainText"><span lang="EN-GB">December 2022<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><br /></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-67012291453202474422022-12-10T15:34:00.004+00:002023-02-25T20:50:09.829+00:00Christmas Guest: Carol for Drums and Choir, sung by Shannon Marie Harney<p><b>Christmas Guest: Carol for Drums and Choir</b></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjrUXPKvhfoL8WmF5Pi3ThORB8pPIlNv5nBBYxihEpTLf_mQnhAJRu_YddzTtjfl21eLvHJjCSoVDiwFIOr_3ivyB2JSUmTsaRqNsCVpB2k3cj6Rj2oBOftLWlptyQ-pVGQgiumHA5f4e53bxcaFyiMNGFKRajg7ew8mPcwz8eZEGwG9JmEbFviBoDR" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="351" data-original-width="351" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjrUXPKvhfoL8WmF5Pi3ThORB8pPIlNv5nBBYxihEpTLf_mQnhAJRu_YddzTtjfl21eLvHJjCSoVDiwFIOr_3ivyB2JSUmTsaRqNsCVpB2k3cj6Rj2oBOftLWlptyQ-pVGQgiumHA5f4e53bxcaFyiMNGFKRajg7ew8mPcwz8eZEGwG9JmEbFviBoDR" width="240" /></a></div><p class="MsoPlainText" style="text-align: center;"><span lang="EN-GB"><i><span style="font-size: xx-small;">Helleborus Niger - The Christmas Rose</span></i></span></p><p class="MsoPlainText" style="text-align: center;"><span style="text-align: left;"><br /></span></p><p class="MsoPlainText" style="text-align: justify;"><span style="text-align: left;">Anyone active in music in England is
aware of that extraordinary network of choirs, a subset of the ecosystems
studied by Ruth Finnegan in her important book, The Hidden Musicians.</span></p>
<p class="MsoPlainText">1. I have just noticed that Ruth Finnegan now
has her own web site, which can now be a starting point.</p>
<p class="MsoPlainText"><a href="https://www.ruthhfinnegan.com/the-hidden-musicians">https://www.ruthhfinnegan.com/the-hidden-musicians</a></p>
<p class="MsoPlainText">I am re-reading her
sections on choirs... </p>
<p class="MsoPlainText">The possibility of my writing songs for
choirs has been around, but has never quite come together - I am sad. But I am aware that I would need to spend
much more time understanding the repertoire and the ecosystems...</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">2. As a case study...</p>
<p class="MsoPlainText">A while back I was asked if I had a
Christmas song for a choir. And, why
not?</p>
<p class="MsoPlainText">Thinking about Christmas songs,
recurring themes, and talking and listening to people, as they remember Christmas,
and value Christmas, and worry about Christmas...</p>
<p class="MsoPlainText">I developed an idea about that extra
plate on the table, the last minute guest - a person with nowhere else to go, because
of tragedy or disaster, personal, political. On the receiving end of rough kindness.</p>
<p class="MsoPlainText">I started with
the line, 'He brings nothing to the feast...'</p>
<p class="MsoPlainText">And began to structure a lyric.</p>
<p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB">3. </span>And then Lyric Madness took over. I looked at my opening, and thought, Why am I
adding words to add meaning? Could I not
add meaning by taking words away?</p>
<p class="MsoPlainText">And that is what I did, hewing the
opening quatrain, 'He brings nothing to the feast...' so that each of the four lines
could be halved.</p>
<p class="MsoPlainText">To make a new more compact four line verse. </p>
<p class="MsoPlainText">And then halved again. And then halved again.</p>
<p class="MsoPlainText">So that I had created four quatrains. Each one clearly developed from the quatrain
before, but each one with a different meaning.
And a different line length.</p>
<p class="MsoPlainText">And the last one, the most compact,
lists the things that the Christmas Guest did bring to the feast.</p><p class="MsoPlainText"> </p>
<p class="MsoPlainText"><span lang="EN-GB">4. </span>So, four very different quatrains, with
four different line lengths - difficult to set as one song. Maybe it is really a sequence of four songs? Four different songs, with four different moods.</p>
<p class="MsoPlainText">How to impose unity? Because there is unity, unity of thought and
unity of narrative.</p>
<p class="MsoPlainText">At this point we might just call in The
Lone Arranger. But those days are gone,
or, at least, disrupted.</p>
<p class="MsoPlainText">And I already had a vision, partly based
on those conversations with choirs - see above.
It was a theatrical vision - what I wanted to see on the stage.</p>
<p class="MsoPlainText">So, this became...</p>
<p class="MsoPlainText"><span lang="EN-GB">Christmas Guest: </span>Carol for Drums and Choir</p>
<p class="MsoPlainText">I created the four melodies for the four
songs, and, with the help of Danny Yates and Shannon Marie Harney, created an
arrangement.</p>
<p class="MsoPlainText">Some details we had to return to, when
first thoughts did not work. For example,
to clarify the story, I created more theatre - including the Jovial Man (God,
he is annoying!), and the white phone. With that distinctive sound.</p>
<p class="MsoPlainText">Every choir has its Jovial Man. Or Woman.</p>
<p class="MsoPlainText">The keyboard signals the ways in which the
choir might 'vocalise' its interludes, and the
drums impose drive, unity and structure.</p>
<p class="MsoPlainText">There will be other ways of doing all
this - for example, I did think of developing the four 'songs' further, by giving
one song each to the four voices of the choir.</p>
<p class="MsoPlainText">If someone lends us a choir...</p>
<p class="MsoPlainText"><span lang="EN-GB">But the result now is 'Christmas Guest'
- perhaps the bleakest Christmas song ever written...<o:p></o:p></span></p>
<p class="MsoPlainText">In some theologies of Christmas there is
that sense of foreboding. See also, Matthew
25:31-46, Whatever you did for one of these least brothers of mine, you did for
me.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">5.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">'Christmas Guest' on YouTube...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/WbDv7PBYRNw">https://youtu.be/WbDv7PBYRNw</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">This is Christmas Guest on Spotify<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://open.spotify.com/track/41l1sHcY1yOBcuqqJLu3L6">https://open.spotify.com/track/41l1sHcY1yOBcuqqJLu3L6</a><o:p></o:p></span></p>
<p class="MsoPlainText">It is worth listening on one of the
better platforms - to hear the uncompressed audio...</p>
<p class="MsoPlainText">When I shared these thoughts, above,
with Shannon Marie Harney - she understood perfectly...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Patrick O'Sullivan<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>December 2022</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><b>Christmas Guest: Carol for Drums and Choir</b></p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">He brings nothing to the feast but fears and woes.</p><p class="MsoPlainText">His hollow eyes say everything that can be said.</p><p class="MsoPlainText">His broken hands reach out to touch the Christmas Rose.</p><p class="MsoPlainText">His hunger knows to sing, and waiting to be fed.</p><p class="MsoPlainText"><span lang="EN-GB"></span></p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">He brings nothing to the feast.</p><p class="MsoPlainText">His hollow eyes say everything.</p><p class="MsoPlainText">His broken hands reach out.</p><p class="MsoPlainText">His hunger knows to sing. </p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">He brings nothing but</p><p class="MsoPlainText">His hollow eyes,</p><p class="MsoPlainText">His broken hands.</p><p class="MsoPlainText">His hunger knows. </p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">He brings</p><p class="MsoPlainText">His eyes,</p><p class="MsoPlainText">His hands,</p><p class="MsoPlainText">His hunger. </p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><span lang="EN-GB"><b>©</b></span><span lang="EN-GB"><b> Patrick O'Sullivan 2022</b></span></p><span lang="EN-GB"><b><br /><br /></b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrPlM-0BhF7sxbXWIFAHWlN56IxWQ2wz8Erpzqq2pPcWKYtEaMzwNtdF6CW2Bsv2uJwcq00uo_3g88gBrf1r-lG-alJUaWpDM4G0WkCHcDhvYgyXgrv0zUVmyOCHLzA_cYrL7YSMuXC6QluWNL_9uJ0SrXUgizmTScnZdHmW8-P4OXd9MVcJMdBaV/s3000/christmas_guest_3000x3000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrPlM-0BhF7sxbXWIFAHWlN56IxWQ2wz8Erpzqq2pPcWKYtEaMzwNtdF6CW2Bsv2uJwcq00uo_3g88gBrf1r-lG-alJUaWpDM4G0WkCHcDhvYgyXgrv0zUVmyOCHLzA_cYrL7YSMuXC6QluWNL_9uJ0SrXUgizmTScnZdHmW8-P4OXd9MVcJMdBaV/s320/christmas_guest_3000x3000.jpg" width="320" /></a></div><br /></span><p></p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><br /></p><div><br /></div><p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-25554718339375942702022-12-06T16:11:00.003+00:002023-02-25T20:46:18.495+00:00A new song called 'Darkness', sung by Shannon Marie Harney<p> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEjxN-73XM4KlPk03cso0qFhgSSHuIuTW1LkAYTdF_ddVRpXrV4sFGx2pU12iofEa_KLK7JniqdrH-WTlu1O5Grkt_Ex27dmavJa-JELvCwRUrct-po-jAwMw8Tko4ZeD27tFNSXbsvKdA5UgbkGVlR-WtYd68z9RYNfxDJtHhUZvmzCCQ6HdrsxAJjy" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="3000" data-original-width="3000" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjxN-73XM4KlPk03cso0qFhgSSHuIuTW1LkAYTdF_ddVRpXrV4sFGx2pU12iofEa_KLK7JniqdrH-WTlu1O5Grkt_Ex27dmavJa-JELvCwRUrct-po-jAwMw8Tko4ZeD27tFNSXbsvKdA5UgbkGVlR-WtYd68z9RYNfxDJtHhUZvmzCCQ6HdrsxAJjy" width="240" /></a></p><p><br />Well, yes, since you ask - with this
song, I do know where the ideas came from...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">1. </span>I was listening to singer, Shannon Marie
Harney, and thinking about writing a new song that would respond to her
strengths.</p>
<p class="MsoPlainText">So, reaching into the song bag, I found
and wrote 'Darkness'.</p>
<p class="MsoPlainText">And this time, for a number of
reasons... Setting the text to
music... I did it myself - I heard, emerging from the text, a waltz...</p>
<p class="MsoPlainText">At this point this note on my blog
becomes over-complicated - I will leave the complications in place, below, for
people who like that sort of thing...</p>
<p class="MsoPlainText">Others can waltz...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">2. </span>Certainly we had been thinking about the
Great American Songbook - and those songs which, when you analyse them and sing
them, have a tiny, pared down, lyric.
Like a nursery rhyme.</p>
<p class="MsoPlainText">A thimbleful. Dark matter, compacted by gravity.</p>
<p class="MsoPlainText">The heavy lifting is left to the
performer, to the performance, to the music and the arrangement.</p>
<p class="MsoPlainText">Also interesting is the power of
repetition, and reprise. On the page my
lyric, 'Darkness', looks like 3 identical stanzas, times 2. It would be easy to end up with the same melody times 6.</p>
<p class="MsoPlainText">That is not what the lyric wanted. Lines are repeated, yes, but at each repeat
the meaning of the words change.
Choreograph that, in waltz time.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">3. </span>The first line of the song comes from a
play by Samuel Beckett.</p>
<p class="MsoPlainText">This is not 'Godot, the Musical' -
though there is a moment in the 'Godot' play where we expect Didi and Gogo to
launch into 'The Trail of the Lonesome Pine'.</p>
<p class="MsoPlainText">No, different play.</p>
<p class="MsoPlainText">For reasons which I will not go into
here, we are interested in translation - we are in an age of translation. We are interested in the work of translators
and interpreters. I have written about
this elsewhere, and can return to that theme at a later date.</p>
<p class="MsoPlainText">Academic 'Translation Studies' has
become very complex - and now includes a special category, 'self-translators'... Writers who translate their own work from one
language to another. Amongst the list of
famous names - a surprising number of them are Nobel Prize winners - we always
find Samuel Beckett.</p>
<p class="MsoPlainText">The first line of my lyric comes from
the Beckett play that is called, in French, 'Fin de partie', and in English -
Beckett's translation - 'Endgame'. So,
has the meaning changed? The French, end
of a game, becomes the English, endgame, the much analysed part of the game of
chess that comes before the end?</p>
<p class="MsoPlainText">Towards the end of 'Fin de partie'/
'Endgame' the main character, Hamm, remembers a poem. He half-remembers a poem, and then corrects
himself. He half-remembers a very famous
French poem...</p>
<p class="MsoPlainText">Now we have a section where text talks
to text, soul to soul.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">4. <o:p></o:p></span>Fin de partie/Endgame</p>
<p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><span lang="EN-GB">Fin de partie </span>Samuel Beckett</p>
<p class="MsoPlainText">Hamm:</p>
<p class="MsoPlainText"><span lang="EN-GB">Un peu de poésie . <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">( Un temps ) <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Tu appelais <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">( Un temps.) <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">(Il se corrige) ...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">TU RECLAMAIS le soir;<span style="mso-spacerun: yes;"> </span>il vient<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">( Un temps.) <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">(Il se corrige) ...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">IL DESCEND:<span style="mso-spacerun: yes;"> </span>le voici<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">( Un temps.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Joli ca.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Endgame </span>Samuel Beckett</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Hamm:<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">A little poetry.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>(Pause.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>You prayed—<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">(Pause. He corrects himself.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>You CRIED for night; it comes—<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>(Pause. He corrects himself.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>It FALLS: now cry in darkness.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>(He repeats, chanting.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>You cried for night; it falls: now cry in
darkness.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>(Pause.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>Nicely put, that.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>(Pause.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>And now?<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><span style="mso-spacerun: yes;"> </span>(Pause.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">(Note:<span style="mso-spacerun: yes;">
</span>the French text here is from a secondary source.<span style="mso-spacerun: yes;"> </span>I need to check it.)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">5. </span>The half-remembered poem is by Charles
Baudelaire, from Flowers of Evil, 1857.
It is called Recueillement, and these are the first 4 lines...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Recueillement<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Sois sage, ô ma Douleur, et tiens-toi
plus tranquille.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Tu réclamais le Soir; il descend; le
voici:<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Une atmosphère obscure enveloppe la
ville,<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Aux uns portant la paix, aux autres le
souci.<o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">You will find tons of comment online, in
many languages - and I have excised from this note most of my own comment. In English the title is usually translated as
'Meditation'.</p>
<p class="MsoPlainText">We can explore the suggestion that the
language of the poem hints that the poet is talking to 'Douleur', Sorrow, Sadness,
as if she were a lover. Or a
recalcitrant child. </p>
<p class="MsoPlainText">The poem takes us on a walk, from 'Soir'
to 'Nuit' - and one issue in translation is how to translate 'Soir' in line 2. Be still, my O Level French...</p>
<p class="MsoPlainText">Roy Campbell, 1952, goes with 'Dusk. 'Evening', Robert Lowell, 1963. 'Night', Cyril Scott, 1909.</p>
<p class="MsoPlainText">Beckett - or is it Hamm? - has 'Soir' in
his French text. And 'Night' in his
English.</p>
<p class="MsoPlainText">You CRIED for night - what are you going
to do with it? 'Now cry in darkness'.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">6. </span>And my lyric begins: 'You can cry, in the darkness...'</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">Dark matter, compacted by gravity...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">See also....<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Ecclesiastes 3:1-8<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">(English Standard Version)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">For everything there is a season...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">...a time to weep, and a time to laugh;<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">a time to mourn, and a time to dance...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">7.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Now, for goodness sake, do not tell any
of this to Shannon Marie Harney...<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoPlainText">Just let her sing...</p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><span lang="EN-GB">Darkness, Shannon Marie Harney</span></p><p class="MsoPlainText">On Spotify </p><p class="MsoPlainText"><a href="https://open.spotify.com/album/1397tL51SiVvwZvOzFHJvj">https://open.spotify.com/album/1397tL51SiVvwZvOzFHJvj</a></p><p class="MsoPlainText">On YouTube </p><p class="MsoPlainText"><a href="https://youtu.be/BCKkbPYCzmg" target="_blank">https://youtu.be/BCKkbPYCzmg</a><br /></p><p class="MsoPlainText">And on every other platform...</p><p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB">Patrick O'Sullivan<o:p></o:p></span></p>
<p class="MsoPlainText">December 2022</p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-16192072275044710682022-12-05T16:24:00.011+00:002023-01-21T19:49:46.867+00:00Autoharp Advent Calendar: Foster & Cooper, When the Bowl goes round<p> UK Autoharps have invented a new
tradition, the Autoharp Advent Calendar...</p><p class="MsoPlainText">1. During the winter lockdown of 2021-2022 our collective organised our first long distance Autoharp Advent Calendar - a number of us sent in a songs, with video, for display, one a day, on the run-up to
Christmas 2021.</p>
<p class="MsoPlainText">I was then in a struggle with health,
but was determined to contribute. My video from
Christmas 2021 is still there - you can see me, lashed to my horse, like
Rodrigo Díaz de Vivar, El Cid, defending Valencia...</p>
<p class="MsoPlainText">...singing Stephen Foster 'Hard
Times'...</p>
<p class="MsoPlainText"><span lang="EN-GB">Video link</span></p><p class="MsoPlainText"><a href="https://youtu.be/55Rw7Da_lYc">https://youtu.be/55Rw7Da_lYc</a></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">2. </span>It helped that I knew the song. I knew the song from Cathy Britell's 2012,
lovely long distance, project... I
participated in that project in 2012, alongside Jan Brodie and Stephanie
Hladowski, and the autoharp world...</p>
<p class="MsoPlainText">Cathy Brittell wrote... 'In the winter of 2012, a group of
friends (many of whom have never met) who share membership on an international
autoharp mailing list, cyberpluckers, decided to reach across cyberspace and
play and sing a song together. There is
nothing quite as wonderful as making music with others, whether in person or in
the ether.'</p>
<p class="MsoPlainText"><span lang="EN-GB">And her 2012 video is still visible...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Hard Times Come Again No More - The
Cyberpluckerpotluck<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Catherine Britell<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.youtube.com/watch?v=Jof-4H-tY-U&t=10s">https://www.youtube.com/watch?v=Jof-4H-tY-U&t=10s</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p><p class="MsoPlainText">3. My thanks to Danny Yates, who propped me
up, and pointed a camera in 2021</p>
<p class="MsoPlainText"><span lang="EN-GB">This year Danny has helped me get
another Stephen Foster number ready.<span style="mso-spacerun: yes;">
</span>Back on the horse.<o:p></o:p></span></p>
<p class="MsoPlainText">I suppose that there is here the makings
of a further tradition. There is a
relationship between the autoharp communities and the work of Stephen Foster -
I won't go into all the detail here, but it can be a problematic
relationship...</p>
<p class="MsoPlainText">Foster's work is autoharp friendly - and
the autoharp and Stephen Foster, at one time, shared an ecological niche, the
nineteenth century parlour...</p>
<p class="MsoPlainText"><span lang="EN-GB">In our own time, studying and playing
the works of Stephen Foster has become just...<span style="mso-spacerun: yes;">
</span>easy...<o:p></o:p></span></p>
<p class="MsoPlainText">First, there is the Stephen Foster
Collection at the University of Pittsburgh, much of it digitised and free to
download...</p>
<p class="MsoPlainText">'Sheet music, broadsides, songsters,
music manuscripts, correspondence, business records, photographs, newspaper
clippings, maps, iconography, Foster’s sketchbook, and other ephemera related
to Stephen Foster and his family...'</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://digital.library.pitt.edu/collection/stephen-foster-collection">https://digital.library.pitt.edu/collection/stephen-foster-collection</a><o:p></o:p></span></p>
<p class="MsoPlainText">There is also the Library of Congress - again
much material is free to download...</p>
<p class="MsoPlainText">Stephen Collins Foster: A Guide to
Resources</p>
<p class="MsoPlainText"><span lang="EN-GB">'Stephen Collins Foster (1826-1864) was
the most famous American song composer of the 19th century. This guide provides
links to resources at the Library of Congress, including a large collection of
published first editions.'<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://guides.loc.gov/stephen-foster">https://guides.loc.gov/stephen-foster</a><o:p></o:p></span></p>
<p class="MsoPlainText">The availability of the sheet music at
Pittsburgh and LOC means that you can check other online versions of Foster's works, and correct the texts, if need be...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">4. </span>For the UK Autoharps Advent Calendar
2022 I have offered, from the Stephen Foster archives, the justly
neglected 'When the bowl goes round'.</p>
<p class="MsoPlainText">The Lyric is by George Cooper, Stephen
Foster's collaborator - Cooper is not as good a lyricist as Stephen Foster. Melody is by Stephen Foster.</p>
<p class="MsoPlainText">The song is Christmassy, I think - the
bowl must be the Wassail bowl. Cooper
and Foster wrote drinking songs and temperance songs, as the market
demanded. In this song they seem to have
confused the two categories - as a drinking song it demands, from the singer,
extreme sobriety. The lyric is chewy,
and full of the archaisms that nineteenth century lyricists and audiences loved
- it describes itself as 'the jocund song'.
I had a few goes at singing it - then Danny Yates and I decided that,
try as I might, my version was never going to be more than adequate...</p>
<p class="MsoPlainText"><span lang="EN-GB">As for correcting the text...<span style="mso-spacerun: yes;"> </span>You can see that the title page has 'When the
bowl goes round' - while the verses as published have 'While the bowl goes
round'...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://digital.library.pitt.edu/islandora/object/pitt%3A31735061838425#page/1/mode/2up">https://digital.library.pitt.edu/islandora/object/pitt%3A31735061838425#page/1/mode/2up</a><o:p></o:p></span></p>
<p class="MsoPlainText">I think that 'When' is better than
'While', and that is what I sing throughout. </p><p class="MsoPlainText">(There is the oddity that in some regional varieties of English the word
'While' can mean 'Until'. Which...</p>
<p class="MsoPlainText"><span lang="EN-GB">'...reminds me of the possibly
apocryphal tale about the first automatic level crossings in the Midlands -
where the sign "Wait here while the lights are flashing" supposedly
caused a string of near-fatalities...'<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.theguardian.com/notesandqueries/query/0,5753,-5498,00.html">https://www.theguardian.com/notesandqueries/query/0,5753,-5498,00.html</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">But I digress...)<o:p></o:p></span></p>
<p class="MsoPlainText">So, here is, 'When the Bowl goes round',
Stephen Foster and George Cooper</p>
<p class="MsoPlainText"><span lang="EN-GB">Video link<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/kuBP6lvHSzM">https://youtu.be/kuBP6lvHSzM</a><o:p></o:p></span></p>
<p class="MsoPlainText">My contribution to the UK Autoharps Advent
Calendar 2022...</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Patrick O'Sullivan<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">December 2022<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><span lang="EN-GB">Further Note January 2023</span></p><p class="MsoPlainText"><span lang="EN-GB">Thinking further about this song, Foster & Cooper, 'When the Bowl goes round...' And that strange phrase 'jolly fellows' in the chorus... I have come across a book by Richard Stott...</span></p><p class="MsoPlainText"><span lang="EN-GB">Stott, R. (2009) Jolly Fellows: Male Milieus in Nineteenth-Century America. Johns Hopkins University Press (Gender Relations in the America). </span></p><p class="MsoPlainText"><span lang="EN-GB">...which is a study, page 1, of '</span>a distinctive male comportment that consisted of not just fighting but also heavy drinking, gambling and playing pranks. Men who engaged in such behavior were called “jolly fellows.” Although the jolly fellows were a subset of the male population, whenever men, especially young men, gathered in milieus that were all male or where women were rare, such conduct could occur. Such behavior was tolerated, even condoned, by men who were not themselves drinkers, fighters, or gamblers...'</p><p class="MsoPlainText">It is worth searching for Richard Stott's book - because I found it Open Access. It is readily available.</p><p class="MsoPlainText">Richard Stott does not seem to have been aware of this particular Stephen Foster song when he wrote his book, and picked its title. It seems that Stephen Foster and George Cooper, writing in the 1860s, found that phrase still there in the ether. And maybe by then - Richard Stott, the cultural historian, suggests - the age of the 'jolly fellows' was over...</p><p class="MsoPlainText">I find myself putting the, 'jolly fellows', from this Foster song, alongside the 'boon companions' of 'Comrades, fill no glass...', the second Foster song I prepared for Christmas 2022. See my note on 'Comrades', further up/later in this blog.</p><p class="MsoPlainText">P.O'S.</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><span lang="EN-GB"></span></p><div><br /></div>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-41778607558179036282022-11-01T11:41:00.005+00:002022-11-01T11:42:01.599+00:00New Yorker magazine and the 'Irish short story'<p>In my note on the BBC at 100 Symposium -
in an aside - I suggested a possible study of the influence of New Yorker
magazine on the 'Irish short story' in the twentieth century...</p>
<p class="MsoPlainText"><a href="http://fiddlersdog.blogspot.com/2022/09/the-bbc-at-100-symposium.html">http://fiddlersdog.blogspot.com/2022/09/the-bbc-at-100-symposium.html</a></p>
<p class="MsoPlainText">See now an article by Nora Shaalan, in
the online journal Public Books, a digital humanities approach. This New Yorker interest in short stories from
Ireland/of Ireland has already been noted by, for example, Ben Yagoda...</p>
<p class="MsoPlainText">Yagoda, B. (2001) About Town: The New
Yorker and The World It Made. Da Capo Press.</p>
<p class="MsoPlainText"><span lang="EN-GB">Nora Shaalan puts some figures on that.<o:p></o:p></span></p>
<p class="MsoPlainText">My suggestion is that New Yorker
magazine also shaped, from a distance, stories that did NOT make it into the
magazine...</p>
<p class="MsoPlainText"><span lang="EN-GB">P.O'S.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">The View from the Fiction of the “New
Yorker”<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">10.13.2022<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Digital Humanities<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">By Nora Shaalan<o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://www.publicbooks.org/geography-fiction-the-new-yorker/?utm_source=pocket-newtab-global-en-GB">https://www.publicbooks.org/geography-fiction-the-new-yorker/?utm_source=pocket-newtab-global-en-GB</a></p>
<p class="MsoPlainText">... At the magazine’s inception, in
1925, the fiction section was a hybrid of different genres, including
miscellaneous pieces that straddle the line between prose, verse, and visual
art. The section only began to cohere circa 1945. Around the same time, the magazine
began to regularly publish fiction by a small subset of authors. Between 1945
and 2019, the magazine published 7,451 stories by 1,493 different authors, but
4,398 of these stories (more than 66 percent of them) were written by just 149
authors (less than 10 percent of the total pool).4 Many of these 149 authors
have become synonymous with the magazine, and their work has come to define a
dynamic New Yorker fiction tone and style, characterized by ironic detachment
and a meticulous, if somewhat overbearing, attention to facticity...</p>
<p class="MsoPlainText"><span lang="EN-GB">... Many of the countries that score
relatively high in both metrics are the usual suspects—the United Kingdom,
France, Italy—with one exception. There is an outlier that has a relatively
high diversity score and that outperforms the United States in the granularity
measure: Ireland. A former colony, whose landmass and population are
significantly smaller than those of the United States, Ireland boasts a
granularity score of 1.875. The country is mentioned using 77 unique locations,
placing it in the top five most diverse countries in the corpus. There are many
plausible reasons why evocations of Ireland are both diverse and granular, but
one striking detail stands out. Of the 176 stories that mention Ireland, 135
are by Irish writers—the likes of Edna O’Brien, Roddy Doyle, and William
Trevor.<o:p></o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-70911144001396012472022-09-06T13:23:00.009+01:002022-10-08T20:46:37.078+01:00The BBC at 100 Symposium<p>The BBC at 100 Symposium</p>
<p class="MsoPlainText"><span lang="EN-GB">Date / time: </span>13 September - 15 September, 2022</p>
<p class="MsoPlainText"><span lang="EN-GB">Location: </span>National Science & Media Museum (and
online)</p>
<p class="MsoPlainText">We have, here next week, in Bradford,
Yorkshire, not far from my home, The BBC at 100 Symposium...</p>
<p class="MsoPlainText">I am presenting a paper at the Symposium
on a Diaspora Studies approach to the history of the BBC (that is already there
in the research literature) - I think that the approach has to be fairly broad
brush, but I want to zoom in on the life and work of Denis Johnston, whose 1953
memoir, Nine Rivers from Jordan, about his years as a BBC War Correspondent, is
his ungainly masterpiece.<span style="mso-spacerun: yes;"> </span>But the book
only really makes sense with the sideways look of diaspora studies.</p>
<p class="MsoPlainText">I also want to start a discussion about
the short story for radio - which is part of the study of the study of
technologies and art forms, including technologies of the word. And the ways that markets shape art forms -
the BBC radio market for Irish short stories can be compared with, for example,
the New Yorker magazine market for Irish short stories. Very different markets, different
technologies - how do they shape that Irish short story tradition?</p>
<p class="MsoPlainText">And I am chairing a session on the BBC
and the Northern Ireland 'Troubles'. It
turns out that one way to track the research literature through my database is
to search for just one word:
'oxygen'. </p>
<p class="MsoPlainText"><a href="https://royalhistsoc.org/calendar/the-bbc-at-100-symposium-2/">https://royalhistsoc.org/calendar/the-bbc-at-100-symposium-2/</a></p>
<p class="MsoPlainText"><a href="https://www.sciencemuseum.org.uk/see-and-do/bbc-100">https://www.sciencemuseum.org.uk/see-and-do/bbc-100</a></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p>BRIEF REPORT September 20</o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><span lang="EN-GB">See background...<o:p></o:p></span></span></p><span lang="EN-GB">
<p class="MsoPlainText"><a href="https://www.lboro.ac.uk/research/crcc/events/eventslist/220913---the-bbc-at-100-symposium.html">https://www.lboro.ac.uk/research/crcc/events/eventslist/220913---the-bbc-at-100-symposium.html</a></p>
<p class="MsoPlainText"><a href="https://royalhistsoc.org/calendar/the-bbc-at-100-symposium-2/">https://royalhistsoc.org/calendar/the-bbc-at-100-symposium-2/</a></p>
<p class="MsoPlainText">etc...</p>
<p class="MsoPlainText">A quick report might help put things on the agenda...</p>
<p class="MsoPlainText">Marcus Collins, the organiser, stressed
that it was a Symposium, not a Conference - and that it was 'a gathering of the
tribes'.</p>
<p class="MsoPlainText">So, the full weight of the BBC history
community was there, and - as we know - these things can be clannish, and
indeed tribal. But I am already known to
the community, have been to events (Before Covid), know the vocabulary and the
preoccupations... It was a hybrid event,
was affected by illnesses - the technology mostly worked. There had to be a lot of thinking on
feet. Not sure that the Symposium idea
worked - a lot of sharing of truisms.
But I can see what was aimed at...</p><p class="MsoPlainText">Certainly the gathering of the tribes worked - I think that everyone appreciated the opportunity to have, at last, face to face informal conversations. We moved things forward.</p>
<p class="MsoPlainText">1. On Wednesday, 14th, I gave a
presentation on Denis Johnston, a Diaspora Studies approach, focussing on his
time as War Correspondent for the BBC, and his memoir...</p>
<p class="MsoPlainText">Johnston, D. (1953) Nine Rivers from
Jordan: The Chronicle of a Journey and a Search. London: Derek Verschoyle.</p>
<p class="MsoPlainText">Johnston, D. (1955) Nine Rivers from
Jordan: The Chronicle of a Journey and a Search. Boston: Little, Brown and
Company.</p>
<p class="MsoPlainText">You may know the background, but, in
essence, all debate, about neutrality, balance, guns, ends when he reaches
Buchenwald concentration camp - and, just the way the session panned out, I was
able to cover most of the ground and give a reading from the book...</p><p class="MsoPlainText">It worked with the audience. For example, the detail that the
American edition differs from the first British edition. Different ending. The international audience could see a bear trap avoided.</p>
<p class="MsoPlainText">2. On Thursday, 15th, I chaired a session
on the BBC and Northern Ireland. I had
Robert Savage and Mark Devenport as talking heads, on the big screen above me,
and Jean Seaton, Craig Murray and Ella Roberts on the stage beside me.</p>
<p class="MsoPlainText">The names that will be new here are
Craig Murray, Imperial War Museum - who is curator of the looming Northern
Ireland exhibition - and Ella Roberts - who is a phd student looking at BBC
series about Ireland.</p>
<p class="MsoPlainText">(I have shared my notes about the <i>Irish Empire</i> tv series with Ella Roberts.)</p>
<p class="MsoPlainText">3. I repeatedly flagged my relationship
with London Metropolitan University - I think the video recordings of the
Symposium will be made available in due course, so we can all critique my
performance.</p><p class="MsoPlainText"><span style="font-family: times;">Thinking about the short story... Let me leave a note here. As I say - looking at the market forces shaping the 'Irish short story'... Two major forces are BBC radio and New
Yorker magazine - pulling in different directions, of course. With the work that has been done on the New
Yorker online, we could do
something quantifiable. Similar, but
more difficult, with the BBC - bit of a gap there</span><span face="Calibri, sans-serif">.</span></p><p class="MsoPlainText">At the Symposium I was able to develop the notion of a Diaspora
Studies approach to the history of the BBC - the Denis Johnston presentation
laid some of the ground rules. I liaised
with people studying Jews, Italians, Germans + BBC, and so on. A lot
on the BBC World Service, which will be of interest to colleagues at London Metropolitan University. In the background, there is some
work on Irish + BBC, which is complex but not over-complex, different but not
that different.</p>
<p class="MsoPlainText">It would not be great task to write
the bibliographic discussion paper, a Diaspora Studies approach to the history
of the BBC, what has been done so far, integrating strands, rewards and
fairies. As I say, complex, but not
over-complex.</p><p class="MsoPlainText">Patrick O'Sullivan</p>
<p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p><br /></span><p></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-61932839555100750562022-08-27T09:34:00.011+01:002022-09-13T09:53:52.443+01:00Shabby Dress, sung by Shannon Marie Harney<p>Shabby Dress, sung by Shannon Marie
Harney</p>
<p class="MsoPlainText">Now working with Bradford-based torch
singer Shannon Marie Harney. Shannon
Marie is new to our repertoire. But she
is determined.</p>
<p class="MsoPlainText">We have started with a song whose needs
we understand, an old song...</p>
<p class="MsoPlainText">Here is Shannon Marie and Shabby Dress
on YouTube...</p>
<p class="MsoPlainText"><span lang="EN-GB">Video link<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/XK3taoyvuoo">https://youtu.be/XK3taoyvuoo</a><o:p></o:p></span></p>
<p class="MsoPlainText">And here on Soundcloud...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://on.soundcloud.com/rxCQ">https://on.soundcloud.com/rxCQ</a><o:p></o:p></span></p>
<p class="MsoPlainText">A song with its own history... </p>
<p class="MsoPlainText">And I will give some of that history
here, omitting detail that might embarrass the living, or the dead.</p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">1.</span></p><p class="MsoPlainText">The anecdotal lecture about this song
can be long - and even longer if we include the musical interludes... But, in my defence, that is maybe what a song
lyric should be - distillation...</p>
<p class="MsoPlainText">The lyric is in the book, Love Death and
Whiskey - pages 48-49.</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.amazon.co.uk/Love-Death-Whiskey-Patrick-OSullivan/dp/095678240X">https://www.amazon.co.uk/Love-Death-Whiskey-Patrick-OSullivan/dp/095678240X</a><o:p></o:p></span></p>
<p class="MsoPlainText">If you put 'Terry Jones Shabby Dress'
into your favourite search engine, you find this...</p>
<p class="MsoPlainText"><a href="https://twitter.com/pythonjones/status/108103285625462784">https://twitter.com/pythonjones/status/108103285625462784</a></p>
<p class="MsoPlainText"><span lang="EN-GB">'Love Death & Whisky 40 songs by
Patrick O'Sullivan is a great way in for those nervous of poetry. Shabby Dress
- great song lyric of our time<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">10:06 AM · Aug 29, 2011·Twitter Web
Client'<o:p></o:p></span></p>
<p class="MsoPlainText">Terry had long been a supporter of my
lyric writing. When, in the 1970s, we
first put a band together, he offered financial support - Terry's management
company paid for recording studio time, with André Jacquemin at Redwood...</p>
<p class="MsoPlainText"><a href="http://www.redwoodstudios.co.uk">http://www.redwoodstudios.co.uk</a></p>
<p class="MsoPlainText"><span lang="EN-GB">...and paid for The Van.<span style="mso-spacerun: yes;"> </span>This, for me, was induction into the Cult of
The Van, and other odd aspects of the life of working musicians.<span style="mso-spacerun: yes;"> </span>Really, we did not know what we were doing -
and did not know what we wanted to do.<span style="mso-spacerun: yes;">
</span>When the danger arose that looking after The Van might become my full
time job, I decided enough was enough.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">Looking back, I can hope that nowadays I
have a<span style="mso-spacerun: yes;"> </span>better understanding of what was
going on.<span style="mso-spacerun: yes;"> </span>I can lecture, and I can
quote...<span style="mso-spacerun: yes;"> </span>Christopher Small, on 'Musicking',
Ruth Finnegan, on the 'Hidden Musicians'.<span style="mso-spacerun: yes;"> </span>David Hesmondhalgh's critique.<span style="mso-spacerun: yes;"> </span>I can quote Ted Gioia.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">For Christopher Small, music is a verb,
not a<span style="mso-spacerun: yes;"> </span>noun.<span style="mso-spacerun: yes;"> </span>'Musicking' is something that people do...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">2.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">In the 1970s and 1980s I had become a
minor poet of the late twentieth century - and the horrors of that experience
can become the basis of another anecdotal lecture.<span style="mso-spacerun: yes;"> </span>But the main lesson from the experience was
simple, and became a mantra:<span style="mso-spacerun: yes;"> </span>If you are
going to write for performance, you might as well write for performers.<span style="mso-spacerun: yes;"> </span>So, song lyrics...<o:p></o:p></span></p>
<p class="MsoPlainText">In the 1970s, at a difficult time in my
life, my friend, Leslie Megahey, put me in a car and took me across
Spain... Pause here, for anecdotal
comedy.</p>
<p class="MsoPlainText">In Madrid I met Leslie's friends, Esperanza
and Sidney Malkin. Sidney was a large,
Hemingwayesque character. As a US Marine
he had invaded Sicily. In Spain he led a
complex, not quite controlled, existence.
He leased the shooting rights of several villages in the mountains to
the north of Madrid, and he organised hunting parties for visiting Americans. Special guests would be taken to shoot bustard. In
Esperanza's distinctive English this became 'persecuting the bustard...' It was impossible not to fall in love with Esperanza...</p>
<p class="MsoPlainText"><span lang="EN-GB">I spent some days in the mountains with
Sydney, and his gamekeepers, watching the persecution of the bustards.<span style="mso-spacerun: yes;"> </span>Nevertheless...<span style="mso-spacerun: yes;"> </span>Sydney and I got on, and we became friends.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">Sidney had lived in Paris for a long
time, and he had in Madrid his French record collection.<span style="mso-spacerun: yes;"> </span>So, it was in the apartment of Sidney and
Esperanza Malkin, in Madrid, that I first heard the distilled essence of French
song, Barbara.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">Vinyl rotating.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">3.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Nowadays, we can search online for
Monique Andrée Serf, stage name Barbara...<span style="mso-spacerun: yes;">
</span>And that song, La Solitude, that I heard for the first time in Madrid...<o:p></o:p></span></p>
<p class="MsoPlainText">Here she is on YouTube...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.youtube.com/watch?v=GlVrWsEUFGY">https://www.youtube.com/watch?v=GlVrWsEUFGY</a><o:p></o:p></span></p>
<p class="MsoPlainText">And here are the words...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://genius.com/Barbara-la-solitude-lyrics">https://genius.com/Barbara-la-solitude-lyrics</a><o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://lyricstranslate.com/en/la-solitude-solitude.html">https://lyricstranslate.com/en/la-solitude-solitude.html</a></p>
<p class="MsoPlainText">My song, Shabby Dress, references La
Solitude. I have made it at home in the English language, more structured, more technical, less fierce...</p>
<p class="MsoPlainText"><span lang="EN-GB">Loneliness rather than the French, Solitude.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">In Shannon Marie's version of my lyric
we do get the feeling that the ghost, the reflection, the memory, whatever it
is - at least it can be depended on.<span style="mso-spacerun: yes;"> </span>A
reliable ghost...<o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">4.</p>
<p class="MsoPlainText"><span lang="EN-GB">We could dedicate this song to Monique
Andrée Serf, Barbara.<span style="mso-spacerun: yes;"> </span>I could dedicate
it to Sidney Malkin, or to Esperanza.<span style="mso-spacerun: yes;"> </span>Or
to Leslie Megahey.<span style="mso-spacerun: yes;"> </span>And they are there in
the story...</span></p>
<p class="MsoPlainText"><span lang="EN-GB">Terry Jones remained a supporter of my
work, and a good friend.<span style="mso-spacerun: yes;"> </span>This was before
the public appearance of Terry Jones, the writer for children, and the scholar
of medieval literature - whose scholarship was at first sneered at, and is now
revered.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">So, in the background are long,
garrulous, lubricated, conversations about kinds of writing, and how they work.<span style="mso-spacerun: yes;"> </span>The lyric, Shabby Dress, is a nice, technical,
piece of writing - that is one of the things I like about it.<span style="mso-spacerun: yes;"> </span>Terry Jones understood that.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">When at last I got round to publishing
that little book of my lyrics, in 2010, I sent a copy to Terry - as a thank
you.<span style="mso-spacerun: yes;"> </span>And he told me how much he enjoyed
reading the lyrics aloud, as poetry.<span style="mso-spacerun: yes;">
</span>Especially Shabby Dress.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">So, alongside the composer, Adrian
Long, who set the lyric - and alongside our companions and memories of those days - let us dedicate the song to Terry Jones...<o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">5.</p>
<p class="MsoPlainText"><span lang="EN-GB">Now, for goodness sake, do not tell any
of this to Shannon Marie Harney...<span style="mso-spacerun: yes;"> </span></span></p><p class="MsoPlainText"><span lang="EN-GB">Just
let her sing...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Patrick O'Sullivan<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">August 2022<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-12154812873137194392022-06-30T13:14:00.008+01:002022-07-05T15:00:14.971+01:00A shipowner was about to send to sea an emigrant-ship...<p><i>A shipowner was about to send to sea an
emigrant-ship. He knew that she was old, and not overwell built at the first;
that she had seen many seas and climes, and often had needed repairs. Doubts had been suggested to him that
possibly she was not seaworthy.</i></p>
<p class="MsoPlainText"><i>These doubts preyed upon his mind, and
made him unhappy; he thought that perhaps he ought to have her thoroughly overhauled
and refitted, even though this should put him to great expense.</i></p>
<p class="MsoPlainText"><i>Before the ship sailed, however, he
succeeded in overcoming these melancholy reflections. He said to himself that
she had gone safely through so many voyages and weathered so many storms
that it was idle to suppose she would not come safely home from this trip also. He
would put his trust in Providence, which could hardly fail to protect all these unhappy
families that were leaving their fatherland to seek for better times elsewhere. He would dismiss
from his mind all ungenerous suspicions about the honesty of builders and contractors.</i></p>
<p class="MsoPlainText"><i>In such ways he acquired a sincere and comfortable
conviction that his vessel was thoroughly safe and seaworthy; he watched her departure with a light heart, and
benevolent wishes for the success of the exiles in their strange new home that was to be; and he
got his insurance-money when she went down in mid-ocean and told no tales...</i></p><p class="MsoPlainText">I have made the line of thought more
visible with line breaks. But that is
the opening paragraph of William K. Clifford's essay THE ETHICS OF BELIEF,
first published in 1877<i>.</i></p>
<p class="MsoPlainText">Links to the text and to other material,
pasted in below...</p>
<p class="MsoPlainText">If our starting point is Irish Diaspora
Studies - and today it is - I think that it is difficult to read
that paragraph without thinking of the discourse of the emigrant ship, of the
Irish Famine migrations, and, of course, the 'Coffin Ships', now enshrined in
song and sculpture. All the elements are
there, the Emigrant Ship, the unhappy families leaving their 'fatherland' to
seek better times, exiles... Ungenerous suspicions. No
tales told...</p>
<p class="MsoPlainText">I will not unpack here my own line of thought,
which can appear a bit complex - but, for me, is fairly simple. One of the things that first interested me
about Irish Diaspora Studies was the notion that we had an ideal case
study of the nature of knowledge - the ways in which knowledge is created, is
used, and earns its living. When I first
started developing that line of thought, I fell among philosophers. Yes, yes, I know, but some of my best
friends... </p>
<p class="MsoPlainText">And it was suggested to me that what I
was doing belonged in the sub-section of philosophy called epistemology, the creation of knowledge. In fact I would argue that that is not correct
- I think that what I do is something
else, not epistemology. But I must
accept the steer, from my friends, and explore the suggestion. And I have become interested recently in
epistemology's evil twin, what we are learning to call agnotology, the creation
of ignorance.</p>
<p class="MsoPlainText">As have we all.</p>
<p class="MsoPlainText"><span lang="EN-GB">I recently found myself reading Scott Aikin
on the Straw Man... We have plenty of
straw persons in Irish Diaspora Studies.
And this led me back to that cluster of questions - called 'the ethics
of belief', after Clifford's title - where </span><span lang="EN-GB">epistemology, ethics, philosophy of mind, and psychology, meet. And back to my meditations on the founding text, Clifford's 1877
essay. </span></p><p class="MsoPlainText"><span lang="EN-GB">And the Emigrant Ship.</span></p>
<p class="MsoNormal">In discussion of Clifford's essay, the detail that Clifford himself had experienced a shipwreck
is mentioned, but is usually - and probably rightly - discarded as irrelevant. Clifford, himself, describes the wreck of the
survey ship, Psyche, 1870, as 'comfortably managed...' </p><p class="MsoNormal">Discussion of Clifford's essay also tends to
discard, without comment, the detail that he is describing an Emigrant Ship. And, I think, had in mind the discourses around the
Irish Famine migrations.</p>
<p class="MsoNormal">Now, how could we
unpack that?</p>
<p class="MsoNormal">Patrick O'Sullivan</p><p class="MsoNormal">June 2022</p>
<p class="MsoPlainText"><span lang="EN-GB"> </span></p>
<p class="MsoPlainText"><span lang="EN-GB">1 </span>William K. Clifford,</p>
<p class="MsoPlainText"><span lang="EN-GB">THE ETHICS OF BELIEF, I. THE DUTY OF
INQUIRY<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://people.brandeis.edu/~teuber/Clifford_ethics.pdf">https://people.brandeis.edu/~teuber/Clifford_ethics.pdf</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Originally published in Contemporary
Review, 1877; reprinted in William K. Clifford, Lectures and Essays, ed. Leslie
Stephen and Frederick Pollock (London: Macmillan and Co., </span>1886). The author (1845–1879) was an
English mathematician</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">2 In the Stanford Encyclopedia of Philosophy, Clifford's shipowner and his Emigrant Ship become a 'shipowner who, once upon a time, was inclined to sell tickets for a transatlantic voyage...'</p><p class="MsoPlainText">
</p><p class="MsoPlainText"><span lang="EN-GB"><a href="https://plato.stanford.edu/entries/ethics-belief/">https://plato.stanford.edu/entries/ethics-belief/</a><o:p></o:p></span></p>
<p class="MsoPlainText">The Ethics of Belief</p>
<p class="MsoPlainText"><span lang="EN-GB">First published Mon Jun 14, 2010;
substantive revision Mon Mar 5, 2018<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">The “ethics of belief” refers to a
cluster of questions at the intersection of epistemology, ethics, philosophy of
mind, and psychology.<o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">3 Two useful books...</p>
<p class="MsoPlainText"><span lang="EN-GB">Chisholm, M. (2002) Such Silver
Currents: The Story of William and Lucy Clifford, 1845-1929. 1st edn. The
Lutterworth Press. doi: 10.2307/j.ctv1pdrr4p.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Madigan, T. (2008) W.K. Clifford and
‘The ethics of belief’. Newcastle: Cambridge Scholars. <o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">4 Scott Aikin and colleagues on the Straw
Man - plenty to find out there. See for
example...</p>
<p class="MsoPlainText"><span lang="EN-GB">Aikin, S. and Casey, J. (2022) Straw Man
Arguments: A Study in Fallacy Theory. London: Bloomsbury Academic.<o:p></o:p></span></p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">5 Searching for 'The wreck of the Psyche'
will take you to many strange places. But, staying with the survey ship, 'Psyche'... The
best account of the wreck I have found is in Science and Controversy, A Biography of Sir
Norman Lockyer, Founder Editor of Nature By A. Meadows, 2016.</p>
<p class="MsoPlainText">Pasted in below, photo from The
Correspondence of Charles Darwin: Volume 18, 1870, by Charles Darwin, Frederick
Burkhardt, Sydney Smith, Cambridge University Press, 1985...</p><p class="MsoPlainText"> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEgCKxlPPbnOq46wGGpxgzh9-EJMsP9exxjYRyoxva1VMyfYprF8rDNco6xlKXAePTe70TZIEGYlIDbjpa23v_08p1NxaP0CFRhTWg8tZJFnAmI2XZIQRqhm258kMjN5TmBIz8xDCWIYYkqCE1Iu8ULzhK6SV2PwNVYcjV-s9g17ZVfhE1gqDMIGkPV_" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img data-original-height="1920" data-original-width="1280" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgCKxlPPbnOq46wGGpxgzh9-EJMsP9exxjYRyoxva1VMyfYprF8rDNco6xlKXAePTe70TZIEGYlIDbjpa23v_08p1NxaP0CFRhTWg8tZJFnAmI2XZIQRqhm258kMjN5TmBIz8xDCWIYYkqCE1Iu8ULzhK6SV2PwNVYcjV-s9g17ZVfhE1gqDMIGkPV_=w427-h640" width="427" /></a></p><p></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-44059971228794627892022-06-20T14:53:00.009+01:002022-06-20T14:53:58.574+01:00It has been a quiet day in Irish Diaspora Studies...<p>We still have alerts in place - left
over from the time of the Irish Diaspora List (see my notes about the Ir-D List,
somewhere below).</p>
<p class="MsoPlainText">So, we still monitor items of interest
to Irish Diaspora Studies, books, articles, lectures, exhibitions, conferences,
as they appear in the media - and some items I can share with Irish
Diaspora Studies colleagues...</p>
<p class="MsoPlainText">In recent years, of course, in the
background, we have been negotiating Irish History's Decade of Centenaries. There has been much to mull over.</p>
<p class="MsoPlainText"><span lang="EN-GB">Today alerts came in as usual - and, on
one day, I shared these three links with colleagues...<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoPlainText">We see... Decisions within the diaspora affecting the
course of Irish History... Creativity
re-shaping an identity for independent Ireland - disparaged women's work
re-shaping identity... Independent
Ireland still tidying up its untidy legislative legacy, proving of interest to
the investigative journalists at Bellingcat....
And structures for three discussions within Irish Diaspora Studies.</p>
<p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB">1.</span></p><p class="MsoPlainText">London assassination a landmark in Irish
history</p>
<p class="MsoPlainText"><a href="https://www.irishpost.com/history/london-assassination-a-landmark-in-irish-history-235941">https://www.irishpost.com/history/london-assassination-a-landmark-in-irish-history-235941</a></p>
<p class="MsoPlainText">The gunning down of a British army
officer had far-reaching consequences for Ireland</p>
<p class="MsoPlainText">This article by Ronan McGreevy concludes...</p>
<p class="MsoPlainText">'The Wilson shooting was Ireland’s
Sarajevo moment. Without it, there would have been no British ultimatum, no
shelling of the Four Courts, no Civil War. Michael Collins would have lived,
and the history of the new Irish state would have been different.</p>
<p class="MsoPlainText"><span lang="EN-GB">The impact of the Wilson assassination
has been underestimated, because of the assumption that the Civil War would
have happened anyway and his death only hastened the inevitable, but no war is
inevitable.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">From Collins’ perspective, Wilson was a
dangerous enemy of Irish nationalism. Collins was in the visitors’ gallery of
the House of Commons in late May 1922 when Wilson declared that the British
government should have no hesitation in crossing the Border to secure order.
Collins also held Wilson responsible for the “worse than Armenian atrocities”
in Belfast.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Wilson had made enemies too within the
British government. Yet Collins miscalculated the depth of unhappiness in
Britain about the toleration afforded to the anti-Treaty side by the fledging
Irish state.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">The shots that killed Wilson would lead
on exactly two months later to the shot that killed Collins at Béal na Bláth,
leaving Ireland immeasurably the poorer for his passing.'<o:p></o:p></span></p>
<p class="MsoPlainText">Ronan McGreevy is the author of ‘Great
Hatred: the Assassination of Field Marshal Sir Henry Wilson MP’, published by
Faber (€16.99). He is a former Irish Post journalist.</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">2.</p>
<p class="MsoPlainText"><span lang="EN-GB">The forgotten ‘weird sisters’ of WB
Yeats who helped forge Irish identity<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Overlooked except for a scornful
reference in Ulysses, Elizabeth and Lily ran a vibrant women-only arts and
crafts enterprise</span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.theguardian.com/world/2022/jun/20/the-forgotten-weird-sisters-of-wb-yeats-who-helped-forge-irish-identity">https://www.theguardian.com/world/2022/jun/20/the-forgotten-weird-sisters-of-wb-yeats-who-helped-forge-irish-identity</a></span></p>
<p class="MsoPlainText"><span lang="EN-GB">'...They ran an arts and craft
enterprise, Cuala Press, from 1908 to 1940, but Elizabeth and Lily were chiefly
known as the sisters of two famous brothers – the poet William Butler Yeats and
the painter Jack Yeats. They lived in the shadow of their male siblings, and
the jibe in Ulysses, before fading into obscurity...'</span></p>
<p class="MsoPlainText"><span lang="EN-GB">This Guardian article links to the
emerging Cuala Press archive, visible on the TCD web site...</span></p>
<p class="MsoPlainText"><span lang="EN-GB">'The Cuala Press ceased operation in
1986, and in October that same year Anne and Michael Yeats presented the
remaining business archive (IE TCD MS 11535) and printing equipment to the
Library of Trinity College Dublin. The print collection (IE TCD MS 11574) was
gifted to the Library by Vin Ryan of the Schooner Foundation in 2017. Funding
provided by the Schooner Foundation in 2020/2021 has enabled the conservation,
metadata creation, and digitisation of the Cuala Press collection.'</span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://digitalcollections.tcd.ie/collections/ms35tg81f?locale=en">https://digitalcollections.tcd.ie/collections/ms35tg81f?locale=en</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">3.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Inside the Secretive World of Irish
Limited Partnerships</span></p>
<p class="MsoPlainText"><span lang="EN-GB">'In early June 2019, the Bitsane
cryptocurrency platform was a hive of activity.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">According to CoinMarketCap, a
price-tracking website for crypto-assets, it had a trading volume worth $7
million a day. Bitsane itself boasted of users in over 200 countries.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Within a few weeks, however, the
platform, its social media sites and the deposits of close to 250,000
registered users had vanished.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Bitsane customers took to social media,
first to question whether there was a temporary issue, then to panic about
their deposits, then to angrily compare losses.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Some had invested tens of thousands of
dollars into a variety of cryptocurrencies that were offered on the platform.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">But from one day to the next, all that
was gone...'</span></p>
<p class="MsoPlainText"><span lang="EN-GB">'... What Exactly is an Irish Limited
Partnership?<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">ILPs came into existence as part of the
United Kingdom’s 1907 Limited Partnerships Act. At this time, Ireland was still
a part of the UK.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">The same act brought into existence
Scottish Limited Partnerships (SLPs), a corporate vehicle exclusive to
Scotland.<span style="mso-spacerun: yes;"> </span>Bellingcat has previously
produced a number of reports concerning the alleged misuse of SLPs after a
series of high-profile money laundering schemes came to light...</span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.bellingcat.com/news/2022/06/18/inside-the-secretive-world-of-irish-limited-partnerships/">https://www.bellingcat.com/news/2022/06/18/inside-the-secretive-world-of-irish-limited-partnerships/</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-51800877993727044462022-03-17T09:11:00.005+00:002022-03-19T17:04:11.973+00:00House of Commons Library - The Irish diaspora in Britain, Research Briefing<p>Well, the most interesting thing about
this is that it has happened at all...</p>
<p class="MsoPlainText">And, yes, what about George Canning,
Prime Minister in 1827 - who described himself as 'an Irishman born in
London'...</p><p class="MsoPlainText">P.O'S.</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><span lang="EN-GB">The Irish diaspora in Britain<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">House of Commons Library<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Research Briefing<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Published Wednesday, 16 March, 2022<o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://commonslibrary.parliament.uk/research-briefings/cdp-2022-0055/">https://commonslibrary.parliament.uk/research-briefings/cdp-2022-0055/</a></p>
<p class="MsoPlainText">A Backbench business debate on the Irish
diaspora in Britain will take place in the House of Commons Chamber scheduled
for Thursday 17 March 2022.</p>
<p class="MsoPlainText">Documents to download</p>
<p class="MsoPlainText"><span lang="EN-GB">The Irish diaspora in Britain (154 KB ,
PDF)<o:p></o:p></span></p>
<p class="MsoPlainText">This debate pack was prepared in advance
of a debate on the contribution of the Irish diaspora to Britain.</p>
<p class="MsoPlainText">Irish people in Britain have contributed
hugely to life here across a wide range of sectors, and the lives of Irish and
British people have been intertwined for millennia.</p>
<p class="MsoPlainText"><span lang="EN-GB">Niall Gallagher, chairman of Irish
Heritage, an organisation that celebrates the work of Irish writers, composers,
singers and musicians who are trying to build careers in Britain and beyond,
has described the contribution of the Irish to the cultural life of Britain as
“incalculable”.<o:p></o:p></span></p>
<p class="MsoPlainText">For decades Irish labour was
“indispensable” to the British construction industry, with Irish workers part
of the teams that built the earliest tunnels for the London Underground
network, as well as more modern works such as the Victoria Line.</p>
<p class="MsoPlainText"><span lang="EN-GB">Irish people have also contributed
greatly to the National Health Service, and Irish President Michael Higgins
paid tribute to their service during his 2014 State Visit to the UK. As of
September 2021, 13,971 members of NHS staff in England reported their
nationality as Irish, this includes just under 2,400 doctors, and over 4,500
nurses.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span>Two British Prime Ministers, William
Petty, 2nd Earl of Shelburne, and Arthur Wellesley, 1st Duke of Wellington,
were born in Ireland. Ireland was part of the United Kingdom of Great Britain
and Ireland when both held office.</p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-65548144356959191352022-02-07T14:51:00.006+00:002022-02-18T14:53:28.874+00:00Feedback: we became a 'suggested video' on YouTube...<p> A 'suggested video' on YouTube...</p>
<p class="MsoPlainText">I do not know if this is interesting or
not. But my musician friends tell me
that this counts as Feedback, and should be shared...</p>
<p class="MsoPlainText"><span lang="EN-GB">It can be a footnote to my standard
lecture, the rich comedy of:<span style="mso-spacerun: yes;"> </span>'How the
lockdown turned a lyricist into an ersatz record producer', or 'Learn from my
mistakes.'<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoPlainText"><span lang="EN-GB">I made so many mistakes...</span></p>
<p class="MsoPlainText"><span lang="EN-GB">But at least once - it turns out - I did
something right. But what?</span></p>
<p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><span lang="EN-GB">1.</span></p><p class="MsoPlainText">In 2018 Stephanie Hladowski and I worked
on the lyric I had written to sit comfortably on the melody by Ennio Morricone,
Jill's theme, from the Sergio Leone movie, Once upon a Time in the West (1968).</p>
<p class="MsoPlainText">As part of... Exploration of Song. Exploration of Lyric. Exploration of the Recording Studio - the
recording studio as a working tool, rather than a rite of passage.</p><p class="MsoPlainText">There is more about this on my blog, below,
at...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://fiddlersdog.blogspot.com/2018/11/the-train-jills-theme.html">https://fiddlersdog.blogspot.com/2018/11/the-train-jills-theme.html</a><o:p></o:p></span></p>
<p class="MsoPlainText">In the background are all those
questions that lyricists get asked.
Like, Music First or Words First?
Problems and Answers. The
answers, by the way, always involve Structure.</p>
<p class="MsoPlainText"><span lang="EN-GB">Also, in the background, is my long study of a
specific genre of song - but I won't go into that now.<o:p></o:p></span></p>
<p class="MsoPlainText">I thought, in 2018, Ok, we have taken a
step. To acknowledge that, I will make a
little video to fit the audio, and stick it on YouTube.</p>
<p class="MsoPlainText">The idea behind the video was: take stills, screen grabs, from the movie,
Once Upon a Time in the West, and show Jill's story in reverse order. So that my video ends with the first time we
see the character Jill - Claudia Cardinale, in her cute little hat, peers out
of the train.</p>
<p class="MsoPlainText">The video is clumsy. It suggests the idea, rather than completes
the idea. Nothing here is perfect. </p>
<p class="MsoPlainText">But we had finished something - and that
encouraged us to go on and finish other things...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://hladowskisingsosullivan.hearnow.com/">https://hladowskisingsosullivan.hearnow.com/</a></span></p><p class="MsoPlainText"><br /></p>
<p class="MsoPlainText"><span lang="EN-GB">2.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">In the middle of January 2022 our song +
video, The Train (Jill's Theme), became a 'suggested video' on YouTube.<o:p></o:p></span></p>
<p class="MsoPlainText">Video link</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/yt29GzVKGRU">https://youtu.be/yt29GzVKGRU</a><o:p></o:p></span></p>
<p class="MsoPlainText">We had not done anything clever - we put
the video up in November 2018. I did
pause to make sure that the right data was visible to search engines.</p>
<p class="MsoPlainText">I made clear my work's relationship with
the work of Ennio Morricone, and with the movie. I wrote to Mr. Morricone's agent, drawing
attention to the song and to our YouTube video, saying... 'the emotion I hear
when I listen to the melody is, above all else, compassion...'</p>
<p class="MsoPlainText">I made no attempt to 'monetize' the
song. I did not want to pick a quarrel
with Mr. Morricone or the Morricone
Estate.</p>
<p class="MsoPlainText">In any case the video very quickly
collected a 'copyright claim' on YouTube - which, I think, was simply the
content recognition software doing its work.</p>
<p class="MsoPlainText">I will not explore technicalities of
what else we might have done with our song, The Train (Jill's Theme) - except
to note that technically it is not a 'cover song', it is a 'derivative work'.</p>
<p class="MsoPlainText">You will find online much advice about
ways you might become a 'suggested video' - very little about what to do if you
do become 'a suggested video'.</p>
<p class="MsoPlainText">Pump out more product, is the advice...</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">3.</p>
<p class="MsoPlainText"><span lang="EN-GB">YouTube gives us a grotesque amount of
data behind the scenes.<span style="mso-spacerun: yes;"> </span>They all do this,
Spotify, CD Baby, Amazon.<span style="mso-spacerun: yes;"> </span>Do not get
bogged down... <o:p></o:p></span></p>
<p class="MsoPlainText">The two main visualisations offered by
YouTube are 28 days and 48 hours...</p>
<p class="MsoPlainText">As of today, February 7 2022... 'In the
last 28 days, videos on your Official Artist Channel got 5.6K views'</p>
<p class="MsoPlainText">The Train (Jill's Theme) has had 5,578
views.</p>
<p class="MsoPlainText">Where are our visitors coming from? The bulk of the traffic is following an Ennio
Morricone sequence. The Danish National
Symphony Orchestra, 22 million views, the Dulce Pontes version, 10 million -
and so on.</p>
<p class="MsoPlainText">Our visitors are overwhelmingly male,
92% - mostly over 50 years old.</p>
<p class="MsoPlainText">The peak viewing time is after 1800
hours - between 6 and 9 pm in the English evening. Which suggests that we are mostly being found
by Europe - NOT the USA or China. Main
countries are...</p>
<p class="MsoPlainText">Views · Last 28 days: Germany 7.8%. Italy 6.6%. France
6.4%.</p><p class="MsoPlainText">And more and more from Brazil, 8.9% - this has not affected the time pattern. I suppose that Brazil does stick out, to the east.</p>
<p class="MsoPlainText"><span lang="EN-GB">There is some suggestion that a SMALL
number of visitors go on to find our other tracks on YouTube, the lockdown
rescue that became our Album, Hladowski sings O'Sullivan...<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoPlainText"><span lang="EN-GB">To encourage this I have made The Train
part of the Album Playlist on YouTube.<span style="mso-spacerun: yes;"> </span>And
I have made the link to our Hearnow site visible in the YouTube text... <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://hladowskisingsosullivan.hearnow.com/">https://hladowskisingsosullivan.hearnow.com/</a><o:p></o:p></span></p>
<p class="MsoPlainText">And we have picked up a small number of
new 'Subscribers'.</p>
<p class="MsoPlainText">YouTube works by trying to please the user,
and keep him (in this case HIM) looking.
YouTube brings eyes to adverts. Because
this video is not 'monetized', there are no adverts.</p>
<p class="MsoPlainText">This is Search Engine Journal's comment...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.searchenginejournal.com/youtube-algorithm-facts/403984/#close">https://www.searchenginejournal.com/youtube-algorithm-facts/403984/#close</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><o:p> </o:p></span>My little video does none of the things
that the 'advice' suggests that a YouTube video should do - it has quite a slow
burn start. Part of the homage to the
movie..</p>
<p class="MsoPlainText">Can I not expect patience? In the movie, how long is it before Harmonica shoots Woody Strode, Jack Elam and Al Mulock?</p>
<p class="MsoPlainText"><br /></p><p class="MsoPlainText">4.</p>
<p class="MsoPlainText"><span lang="EN-GB">To our new Subscribers...<o:p></o:p></span></p>
<p class="MsoPlainText">Gentlemen, you are welcome. Thank you for your interest in our work. But, I have to tell you, that, for the time
being, we have little more to offer you...</p><p class="MsoPlainText"><br /></p><div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql" style="background-color: #f0f2f5; color: #050505; font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; font-size: 18.75px; margin: 0px; overflow-wrap: break-word;"><div dir="auto" style="font-family: inherit;"><p class="MsoPlainText"><span lang="EN-GB"><b>The Train (Jill's Theme) - update Feb 18
2022</b><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">'This video got 10,083 views in the last
28 days'<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">'This video has gotten 10,960 views
since it was uploaded'<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">'In the last 28 days, videos on your
Official Artist Channel got 10K views'<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Video link<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://youtu.be/yt29GzVKGRU">https://youtu.be/yt29GzVKGRU</a><o:p></o:p></span></p></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle" style="background-color: #f0f2f5; color: #050505; font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; font-size: 18.75px; margin: 0.5em 0px 0px; overflow-wrap: break-word;"></div>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-68444728575958303922022-01-08T12:37:00.016+00:002022-01-18T13:02:28.394+00:00No Irish, no blacks, no dogs - lace curtains and iconography<p><b>No Irish, no blacks, no dogs.</b></p><p class="MsoPlainText">This is a note for Bill Mulligan's Irish
Diaspora Studies Facebook group - there has recently been (yet more) newspaper
comment on that iconographic sign. And I
want to make some images available to the Facebook group.</p><p class="MsoPlainText">I might return to this note at a later
date, if I find it needs tidying...</p><p class="MsoPlainText">Tony Murray, who is quoted in the
recent Irish Post article about the sign, tells me that the image displayed
with that article - and in the 2015 Guardian article - is NOT the image stored
within the Archives of the Irish in Britain at London Metropolitan University.</p><p class="MsoPlainText">London Metropolitan University would
charge a fee for the use of the image. Tony Murray thinks that someone constructed a version of the image to avoid paying a
fee. It is this doctored image that is
now widespread.</p><p class="MsoPlainText">Nowadays it is possible to search the
web for images... I have found 4
versions...</p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>1 IRISH, BLACKS, DOGS Window and Lace</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">Now very hard to find. This is the original Archives of
the Irish in Britain version - I have checked this with Tony Murray. Note the fuller view of the window, the IRISH,
BLACKS, DOGS sign, and above that the little Bed & Breakfast sign.<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">IRISH, BLACKS, DOGS a mixture of upper case and lower case lettering - note the lower case g in DOgS.</span></p><p class="MsoPlainText"><span lang="EN-GB">Note the version of the plus sign used
as an ampersand in </span>Bed & Breakfast.</p><p class="MsoPlainText"><span lang="EN-GB">Note especially the lace curtain - an
important part of the iconography.<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhC-rgHvIA7uAilktJaQCudljt1QtOO4186e44GuMZ2ed43dAmTmcAgDrgH59QiBwta7jEN-Sgo9e3rxLGQtyUceU5_txaxHVKOhZ_WpPDC40Aq46MKhvVjXLjwMKd9YSqEjglc4jrIKhQyioxvAFwXbujL2v-s5KZkg1smNOCjLTRE8_JUH3ePcWOO=s211" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="211" data-original-width="201" height="211" src="https://blogger.googleusercontent.com/img/a/AVvXsEhC-rgHvIA7uAilktJaQCudljt1QtOO4186e44GuMZ2ed43dAmTmcAgDrgH59QiBwta7jEN-Sgo9e3rxLGQtyUceU5_txaxHVKOhZ_WpPDC40Aq46MKhvVjXLjwMKd9YSqEjglc4jrIKhQyioxvAFwXbujL2v-s5KZkg1smNOCjLTRE8_JUH3ePcWOO" width="201" /></a></div><br /><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><span lang="EN-GB"><b>2 IRISH, BLACK, DOGS, Window no Lace</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">This version I discovered through the search. I have not seen this before. It must put Image 1 into a new context.<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">Again, a fuller view of a window - a window set into a
pebbledash wall. Similar but not identical
IRISH, BLACKS, DOGS sign. All upper case lettering, I think. Different layout
Bed & Breakfast sign - but similar ampersand.<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">No lace curtain.<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgYXIWZRh2852KLQUuuJUBq_nkfla2x_u2L74PW4ch1mLrvlTp2t4qKmiozPqVjGPOj5-FHQEooY0UAyJYU3DVR_rVHyzNba_glPCik56BtR-gPuArfLh_Z-V0xngr0TehKNnVhwNtl52kOLTqp-kKBKNrkSyV0EDt2iElc8lZqAjZbJjuF45G1gZiA=s453" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgYXIWZRh2852KLQUuuJUBq_nkfla2x_u2L74PW4ch1mLrvlTp2t4qKmiozPqVjGPOj5-FHQEooY0UAyJYU3DVR_rVHyzNba_glPCik56BtR-gPuArfLh_Z-V0xngr0TehKNnVhwNtl52kOLTqp-kKBKNrkSyV0EDt2iElc8lZqAjZbJjuF45G1gZiA=s320" width="212" /></a></div><br /><p></p><p class="MsoPlainText"><span lang="EN-GB"><b>3 IRISH, BLACKS, DOGS Lace no Window</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">This is the widespread version, believed
to be a doctored version of Image 1. <o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">No wider image of the window, no Bed
& Breakfast sign.<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">The same PATTERN lace curtain as in Number
1. But there is distortion and modification. Note the three half stars to the left of the sign - there is nothing like that in Image 1.</span></p><p class="MsoPlainText"><span lang="EN-GB">A different IRISH, BLACKS, DOGS
sign - all upper case lettering. Note the extra white space underneath NO DOGS.<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi6t3qbPZHBECINNzsuuBNLC6idUpYbhfWJh-EFIbGPqMOkmMBHssBf-ftZWtbzqo_dKhi-WndMpYA951NI_KOAj35BUPVi7ozvkHtBOPLLvXYsI2FKrtK630ryuwXYBQ3T9Jc05R6f0jJHIlWQg3YbnA8M3t6J-riSSlExjHHf-3L9-STHeuvCh1xH=s1240" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="744" data-original-width="1240" height="192" src="https://blogger.googleusercontent.com/img/a/AVvXsEi6t3qbPZHBECINNzsuuBNLC6idUpYbhfWJh-EFIbGPqMOkmMBHssBf-ftZWtbzqo_dKhi-WndMpYA951NI_KOAj35BUPVi7ozvkHtBOPLLvXYsI2FKrtK630ryuwXYBQ3T9Jc05R6f0jJHIlWQg3YbnA8M3t6J-riSSlExjHHf-3L9-STHeuvCh1xH=s320" width="320" /></a></div><br /><p></p><p class="MsoPlainText"><span lang="EN-GB"><b>4 IRISH, BLACKS, DOGS Industrial</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">This turned up in the searches. I believe it to be a recent do-it-yourself
version to illustrate an online article.
Easy enough to do. I am digging.<o:p></o:p></span></p><p class="MsoPlainText"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgTS4PJ9MViGPI9wgD1Oz5dl3mdMru4kB6Q1UBz67fg5W8R4D-VfBWw5tq70G8DFXSPPxLViICW_rKRjDiYTZmJRwdKtwHdR2BvSY8v5yVrj9rPCsbEZ_6uAxFbSgC09YCuW99MSSCXgFAqxeueoLl-0TBQYHj3eUolTwPLgSquIEC1MaoDqdXt3RdA=s600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgTS4PJ9MViGPI9wgD1Oz5dl3mdMru4kB6Q1UBz67fg5W8R4D-VfBWw5tq70G8DFXSPPxLViICW_rKRjDiYTZmJRwdKtwHdR2BvSY8v5yVrj9rPCsbEZ_6uAxFbSgC09YCuW99MSSCXgFAqxeueoLl-0TBQYHj3eUolTwPLgSquIEC1MaoDqdXt3RdA=s320" width="320" /></a></div><br /><span lang="EN-GB"><br /></span><p></p><p class="MsoPlainText">There are lots of questions you can ask
of these images...</p><p class="MsoPlainText">Versions 1 and 2 look so similar, and so
posed. Was a photographer given an
assignment? </p><p class="MsoPlainText">Is that paper size A4? Look at the bricks to the left of the window. It has been pointed out to me that the piece of paper is the same height as two and a half
London house bricks. So maybe height 182 mm, much smaller that A4 paper, 297 mm.</p>
<p class="MsoPlainText">Black marker pens?</p><p class="MsoPlainText">All that being said, people whose word I
trust tell me that they saw such signs in real life, as young people in
London...</p><p class="MsoPlainText">Now, my own comments...</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><b>Comment 1 - Search</b></p><p class="MsoPlainText">We needed somewhere where we
could display the images in sequence, and make comparisons. This blog entry is the best I can find - and
it works...</p><p class="MsoPlainText">I have not given any specific source for
each image. There is a convention, that we give a web address and the date a
web site was accessed. But that is
unhelpful here.</p><p class="MsoPlainText"><span lang="EN-GB">What you can do now, because I have
brought the images together, is do your own web search, see context and make
comparisons.<o:p></o:p></span></p><p class="MsoPlainText">It will depend on how you have your own
computer set up, and on what your system allows. But, in Google Chrome, if you RIGHT CLICK on
an image, there is usually a way to search the Web for that image. You can test that now, here on this blog - RIGHT CLICK on the 4 photos that I have collected, above.</p><p class="MsoPlainText">If you have Google Lens in place you can
click through to search in Google Images.
These are the hits through Google Images...</p><p class="MsoPlainText">Searching again, January 11 2022, I
found</p><p class="MsoPlainText"><span lang="EN-GB"><b>Image 1 (the original) </b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">4 hits <o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>Image 2 (the discovery)</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">3 hits<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>Image 3 (the image that we know is
doctored)</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">309 hits<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>Image 4 (the recent do-it-yourself)</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">1 hit<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">But Google Images also tries to link Image 4 with Image 3.<o:p></o:p></span></p><p class="MsoPlainText">That is searching through Google Images
- other search systems create different patterns, and I am experimenting. But the overall pattern is clear.</p><p class="MsoPlainText">Reaching Images 1 and 2 sometimes needs
a bit if digging into old blogs, which will test your ingenuity.</p><p class="MsoPlainText">So the known phoney, Image 3, dominates. As we have seen - now that we have a context
- it is obviously a doctored image. </p><p class="MsoPlainText">Amongst those 300 and more sightings of
Image 3 you will see many established newspapers and journals - it is very odd,
to put it mildly, that this image has been circulated and reproduced so widely
without anyone ever stopping to examine it.</p><p class="MsoPlainText">Examine it and search for a
context. It is not hard. You have just done it.</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText"><span lang="EN-GB"><b>Comment 2 - 'posed'</b><o:p></o:p></span></p><p class="MsoPlainText">Dealing with the images in reverse
order...</p><p class="MsoPlainText"><b>4 IRISH, BLACKS, DOGS Industrial</b></p><p class="MsoPlainText"><span lang="EN-GB">This, I deduce, is a very recent do-it-yourself
effort, created to illustrate a legal article.
There is no attempt to set the scene, no B & B sign - it looks like
someone's office or factory.<o:p></o:p></span></p><p class="MsoPlainText">I must include this image because it
will turn up in the search. It does show
the image search working well. And it
shows how much the IRISH BLACKS DOGS sign has indeed become an icon.</p><p class="MsoPlainText"><span lang="EN-GB"><b>3 IRISH, BLACKS, DOGS Lace no Window</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">This is the widespread doctored version. I think that it is obviously a mock-up - I think that
there are clear signs of Cut & Paste.</span></p><p class="MsoPlainText"><span lang="EN-GB"><b>2 IRISH, BLACK, DOGS, Window no Lace</b><o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">This one is very interesting because -
as I say - I had not seen it before. Its
existence was revealed to me by the search.<o:p></o:p></span></p><p class="MsoPlainText">It has all the elements of Image 1, the
two signs, the framing window. Note that
it is a casement window, in a pebble-dashed house - and you can just see some
stained glass in the lower part of the window above.</p><p class="MsoPlainText">Trees are reflected in the window.</p><p class="MsoPlainText"><b>1 IRISH, BLACKS, DOGS Window and Lace</b></p><p class="MsoPlainText"><span lang="EN-GB">The important image, the image that is stored
in the Archives of the Irish in Britain at LMU.
I was first shown this image many decades ago - and when I was first
shown it I said that it looked posed.</span></p><p class="MsoPlainText"><span lang="EN-GB">Why do I think that Image 1 looks
'posed'?</span></p><p class="MsoPlainText"><span lang="EN-GB">It is too perfect. It tells the story too perfectly.<o:p></o:p></span></p><p class="MsoPlainText">I had worked for <i>Time Out</i>
magazine in the 1970s - this is just the sort of thing a photographer sent out
to bring back an illustration would come back with.</p><p class="MsoPlainText">It displays all the elements of the
narrative. It reads down within the
framing window frame.</p><p class="MsoPlainText">First the Bed & Breakfast sign. The eye takes in the lace curtain
background. Then the No Irish sign</p><p class="MsoPlainText">This is a B & B, this is a
respectable B & B - we don't want Irish, blacks or dogs.</p><p class="MsoPlainText">What I have listed as Image 2, the new
discovery, is so similar - I think a good working assumption must be that the
same photographer was responsible for both Image 1 and Image 2.
But, if I were a picture editor choosing between 1 and 2, the lace
curtain would sell Image 1 to me.</p><p class="MsoPlainText">The same reasoning, I guess, guided
whoever doctored Version 3. The lace
curtain sells it.</p><p class="MsoPlainText">Note that this is a sash window, in a
London brick house. We feel we already
know that window - we have walked past it many times, a North London terrace.</p><p class="MsoPlainText">The trees are clearly reflected in Image
2. Can we see something white reflected
in the window in Image 1? Some people think they can make out the white signage of a London bus.</p><p class="MsoPlainText"><span lang="EN-GB">Images 1 and 2... Two very similar photographs, telling the
same story in the same way, possibly by the same photographer. Are there more out there, is there a portfolio? Can we identify the photographer?<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><span lang="EN-GB"><b>Conclusion</b><o:p></o:p></span></p><p class="MsoPlainText">I think that I have taken this
discussion as far as is appropriate in a blog entry. Obviously the discussion could go in many
different directions. One direction
would be to explore the gaps and distortions in the research record of the
Irish in Britain, and of the Irish Diaspora more widely. This we are doing.</p><p class="MsoPlainText">Previous discussion of these images has
spiralled in strange directions. Doubts
about a Robert Capa photograph do not lead to the suggestion that no one died
in the Spanish Civil War. Doubts about an
Alexander Gardner or a Matthew Brady photograph do not lead to the suggestion
that no one died in the American Civil War.
In the age of mechanical reproduction we really should not be sucked in
to defending the authenticity of any particular image.</p><p class="MsoPlainText">In the 1970s and 1980s I worked with the
creative photographers of that period.
My home, in Bradford, Yorkshire, is not far from the National Science
and Media Museum - we spend a lot of time looking at photographs,</p><p class="MsoPlainText">As I have said, the discovery of Image 2
must change the discussion. Images 1 and
2 are very interesting. As photographs
they are efficient. Perhaps someone did
wander the streets of London, camera at the ready.</p><p class="MsoPlainText">Or perhaps someone, with appropriate
prayers, made an icon.</p><p class="MsoPlainText"><b>Patrick O'Sullivan</b></p><p class="MsoPlainText"><b>January 2022</b></p><p class="MsoPlainText"><span lang="EN-GB"> </span></p><p class="MsoPlainText"><span lang="EN-GB"> </span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjJY6esy6gFXtuRLLLt6Q-1uxtJ7J8QhhbF_D_PKdOISkkAqF3KUYv64R0jRuyPJgoqsbnDAsrPSMcLKpSUNjVSDusTBQtq5zJklT9Ci1WbOvvG6rPz35sYpKbU9o0q66brug_EJE_Z5tRe2WOENNEy2FJ54ufyev2qCECr-aZVP-NmHt5BfTmlUjbj=s444" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="165" data-original-width="444" height="190" src="https://blogger.googleusercontent.com/img/a/AVvXsEjJY6esy6gFXtuRLLLt6Q-1uxtJ7J8QhhbF_D_PKdOISkkAqF3KUYv64R0jRuyPJgoqsbnDAsrPSMcLKpSUNjVSDusTBQtq5zJklT9Ci1WbOvvG6rPz35sYpKbU9o0q66brug_EJE_Z5tRe2WOENNEy2FJ54ufyev2qCECr-aZVP-NmHt5BfTmlUjbj=w511-h190" width="511" /></a></p><br /><div class="separator" style="clear: both; text-align: center;"><p class="MsoPlainText" style="text-align: left;"><span lang="EN-GB">Niall O'Leary writes...<o:p></o:p></span></p>
<p class="MsoPlainText" style="text-align: left;"><span lang="EN-GB">Image 3 is immensely interesting. As you point out this is a modification of
Image 1. What has been done is that the
fold of the curtain containing the single half star to the left of the sign
has, for whatever reason, been cloned three times, with artefacts from the
(clumsy) cloning especially visible in the first fold. See the attached graphic where I have lined
up the star from the original, Image 1, and the three stars from image 3 side
by side behind a grid To my eyes they
are clearly the same star. Perhaps this is
just to obscure the copyrighted nature of the original as you say. Interesting all the same. </span></p><p class="MsoPlainText" style="text-align: left;"><a href="https://www.nialloleary.eu/" style="text-align: center;">https://www.nialloleary.eu/</a></p></div><br /><br /><p></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-39057627663185523972021-12-07T13:13:00.013+00:002022-02-25T13:37:58.961+00:00Autoharp + Stephen Foster + Hard Times <p>When the UK Autoharp Association
announced its 2021 Advent Calendar project, I was determined to offer a
contribution...</p>
<p class="MsoPlainText">Partly because, after a struggle,
I had finally got my health into a better place, and I wanted a project that
was visible and achievable.</p>
<p class="MsoPlainText">And...<span style="mso-spacerun: yes;">
</span>I am a loyal member of the Autoharp Association.</p>
<p class="MsoPlainText">So, the UK Autoharps Advent Calendar -
24 songs and tunes played and sung by Autoharp Association Members, one song a
day in the count-up to Christmas.</p>
<p class="MsoPlainText">And my contribution appeared on Day 6,
December 6.</p>
<p class="MsoPlainText">Hard Times by Stephen Foster, performed
by Patrick O'Sullivan<span style="mso-spacerun: yes;"> </span>- here we are on
YouTube....</p>
<p class="MsoPlainText"><a href="https://youtu.be/roMCM8wZeds">https://youtu.be/roMCM8wZeds</a></p>
<p class="MsoPlainText">This note on my blog addresses some questions
that I have been asked, and addresses, very briefly, some background<span style="mso-spacerun: yes;"> </span>issues...</p>
<p class="MsoPlainText"><b>1. Stephen Foster - background and comment...</b><span style="mso-spacerun: yes;"> </span>Fairly easy to pick up on the web nowadays...</p>
<p class="MsoPlainText">Library of Congress</p><p class="MsoPlainText">Stephen Collins Foster, 1826-1864</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.loc.gov/item/ihas.200035701/">https://www.loc.gov/item/ihas.200035701/</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">'...Although penniless when he died on
10 January 1864, Foster bestowed on America a rich legacy of memorable
songs...'<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">He was 37 years old when he died.<o:p></o:p></span></p>
<p class="MsoPlainText">This is the NY Times Review of</p>
<p class="MsoPlainText"><span lang="EN-GB">Ken Emerson, </span>DOO-DAH!<span style="mso-spacerun: yes;">
</span>Stephen Foster and the Rise of American Popular Culture</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.nytimes.com/1997/09/03/books/stephen-foster-s-world-truly-was-sad-and-dreary.html">https://www.nytimes.com/1997/09/03/books/stephen-foster-s-world-truly-was-sad-and-dreary.html</a><o:p></o:p></span></p>
<p class="MsoPlainText">But lots out there...<span style="mso-spacerun: yes;"> </span>You can see a number of themes...<span style="mso-spacerun: yes;"> </span>Stephen Foster's part in the creation of
'Americana', including blackface minstrelsy, and his place in the record of
slavery...</p>
<p class="MsoPlainText"><b>2. Research and thinking about Stephen
Foster</b> is now aided by the online Stephen Foster Collection at the University
of Pittsburgh...</p>
<p class="MsoPlainText"><a href="https://digital.library.pitt.edu/collection/stephen-foster-collection">https://digital.library.pitt.edu/collection/stephen-foster-collection</a></p><p class="MsoPlainText"><a href="https://www.library.pitt.edu/foster-faq">https://www.library.pitt.edu/foster-faq</a></p><p class="MsoPlainText">We can certainly pick up there everything
we need about our song, Hard Times Come Again No More.<span style="mso-spacerun: yes;"> </span></p>
<p class="MsoPlainText">This is the first sketch, June 26, 1851,
in Fosters note book...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://digital.library.pitt.edu/islandora/object/pitt%3A20050812-foster-111">https://digital.library.pitt.edu/islandora/object/pitt%3A20050812-foster-111</a><o:p></o:p></span></p>
<p class="MsoPlainText">This, by the way, puts aside the suggestion
that Foster's title and the song were inspired by Hard Times, the novel by
Charles Dickens, first instalment published 1854.</p>
<p class="MsoPlainText">But the 'Hard Times' idea is certainly
around.<span style="mso-spacerun: yes;"> </span>From 1854 onwards the song is in
print...</p>
<p class="MsoPlainText"><span lang="EN-GB">Christy Minstrels Sheet Music...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://digital.library.pitt.edu/islandora/object/pitt%3A31735061825232/viewer#page/2/mode/2up">https://digital.library.pitt.edu/islandora/object/pitt%3A31735061825232/viewer#page/2/mode/2up</a><o:p></o:p></span></p>
<p class="MsoPlainText">Arranged for guitar...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://digital.library.pitt.edu/islandora/object/pitt%3A31735061825190/viewer#page/2/mode/2up">https://digital.library.pitt.edu/islandora/object/pitt%3A31735061825190/viewer#page/2/mode/2up</a><o:p></o:p></span></p>
<p class="MsoPlainText"><b>3. Discussion on the
web...</b></p>
<p class="MsoPlainText"><span lang="EN-GB">Paul Campbell<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Old music: Stephen Foster – Hard Times
(Come Again No More)<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">'A song written nearly 160 years ago
still resonated down American history. And you don't need to be American to be
blown away...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.theguardian.com/music/musicblog/2013/feb/07/old-music-hard-times-come-again-no-more">https://www.theguardian.com/music/musicblog/2013/feb/07/old-music-hard-times-come-again-no-more</a><o:p></o:p></span></p>
<p class="MsoPlainText">The helpful Mainly Norfolk web site -</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://mainlynorfolk.info/folk/songs/hardtimescomeagainnomore.html">https://mainlynorfolk.info/folk/songs/hardtimescomeagainnomore.html</a>
<o:p></o:p></span></p>
<p class="MsoPlainText">But note that both those web sites are
wrong - we now know that the song was not 'written' in 1854.<span style="mso-spacerun: yes;"> </span>For we have seen the note book...</p>
<p class="MsoPlainText">The song has special resonances for the McGarrigle/Wainwright
family...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.youtube.com/watch?v=4YrfLnlrquo">https://www.youtube.com/watch?v=4YrfLnlrquo</a></span></p><p class="MsoPlainText"><span lang="EN-GB"><o:p>A</o:p></span>nd became a 2020 lockdown project for
Rufus Wainwright...</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.youtube.com/watch?v=Ya0I2UT8w4Y&list=RDYa0I2UT8w4Y&start_radio=1">https://www.youtube.com/watch?v=Ya0I2UT8w4Y&list=RDYa0I2UT8w4Y&start_radio=1</a><o:p></o:p></span></p>
<p class="MsoPlainText"><a href="https://www.spin.com/2020/05/rufus-wainwright-recruits-family-and-friends-for-hard-times-cover/">https://www.spin.com/2020/05/rufus-wainwright-recruits-family-and-friends-for-hard-times-cover/</a></p>
<p class="MsoPlainText"><b>4. The autoharp communities</b> have
a special relationship with the work of Stephen Foster.<span style="mso-spacerun: yes;"> </span>There is a relationship with 'Americana', and
its history - it was in the United States that the autoharp became a 'folk'
instrument.</p>
<p class="MsoPlainText">There is a relationship with 'country music'
- a complex relationship.<span style="mso-spacerun: yes;"> </span>See, for
example...</p>
<p class="MsoPlainText"><span lang="EN-GB">Jackson, M. A. (2018) The Honky Tonk on
the Left: Progressive Thought in Country Music. Edited by M. A. Jackson.
University of Massachusetts Press. <o:p></o:p></span></p>
<p class="MsoPlainText">And the autoharp communities have a special
relationship with this song, Hard Times.</p>
<p class="MsoPlainText">See from 2012...</p>
<p class="MsoPlainText"><span lang="EN-GB">Hard Times Come Again No More - The
Cyberpluckerpotluck <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">An international, online collaboration<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Organised and edited by Catherine
Britell</span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.youtube.com/watch?v=Jof-4H-tY-U">https://www.youtube.com/watch?v=Jof-4H-tY-U</a><o:p></o:p></span></p>
<p class="MsoPlainText">You can just hear me, in 2012 - guided
by Stephanie Hladowski - determined, as ever, to make a contribution.</p>
<p class="MsoPlainText">I have dedicated my 2021 version to Cathy
Britell.</p>
<p class="MsoPlainText">See also...</p>
<p class="MsoPlainText"><span lang="EN-GB">Bryan Bowers and Friends perform Hard
Times<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">California Autoharp Gathering </span>2019</p>
<p class="MsoPlainText"><span lang="EN-GB">Music starts at 3.20...<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.youtube.com/watch?v=qMLPV8dzCkk">https://www.youtube.com/watch?v=qMLPV8dzCkk</a><o:p></o:p></span></p>
<p class="MsoPlainText">The melody sits comfortably on the
standard autoharp.<span style="mso-spacerun: yes;"> </span>I sing it in F - we
have chorded it very simply, F C Bb.</p>
<p class="MsoPlainText"><b><span lang="EN-GB">5. </span>Is it a Christmas song? </b>Paul
Campbell, in that Guardian article, tells us that Foster would sing this song
often, in his last days - before his death in January 1864.<span style="mso-spacerun: yes;"> </span>It is certainly a song to be sung at
Christmas.<span style="mso-spacerun: yes;"> </span>In any case the Autoharp
Association guidelines for the 2021 Advent Calendar project did say that the
chosen song does not have to be a Christmas song.</p>
<p class="MsoPlainText"><b>Is it an Irish Famine song?</b><span style="mso-spacerun: yes;"><b> </b> </span>The text has resonances - the troubled wave,
and the wail along the shore, puts Foster's song alongside Irish Famine
narratives, like Thoreau's account of the wreck of the brig St. John, bound for
Boston, from Galway, full of emigrants - wrecked in Cohasset Bay, October
1849.<span style="mso-spacerun: yes;"> </span>Thoreau's 'The Shipwreck' was published
in 1855 - it is in...</p>
<p class="MsoPlainText"><span lang="EN-GB">King, J. (2019) The History of the Irish
Famine, Volume II The Irish Famine Migration Narratives: Eye-Witness
Testimonies. London: Routledge.<o:p></o:p></span></p>
<p class="MsoPlainText">See also</p>
<p class="MsoPlainText"><span lang="EN-GB">Morgan, J. (2004) ‘Thoreau’s “The
Shipwreck” (1855): Famine Narratives and the Female Embodiment of Catastrophe’,
New Hibernia Review / Iris Éireannach Nua. University of St. Thomas (Center for
Irish Studies), 8(3), pp. 47–57. <o:p></o:p></span></p>
<p class="MsoPlainText"><b>6. Resonances with my academic work</b> - I am currently Visiting Professor of Irish Diaspora Studies,
London Metropolitan University...</p>
<p class="MsoPlainText">I have mentioned Stephen Foster's part
in the development of 'Americana', blackface minstrelsy and the record of
slavery...<span style="mso-spacerun: yes;"> </span>There is a complex knot of
issues around Irish and Irish-American involvement in the creation of and the
performance of the blackface minstrel stereotype, the exploitation of that stereotype
for humour - to be put alongside, perhaps, the comic exploitation of
stereotypes of the Irish.</p>
<p class="MsoPlainText">The first substantial meditation on this
is Peter Quinn's sombre novel...</p>
<p class="MsoPlainText"><span lang="EN-GB">Quinn, P. (1995) Banished children of
Eve. New York: Penguin.<o:p></o:p></span></p>
<p class="MsoPlainText">Robert Nowatzki 's articles are a good starting
point...</p>
<p class="MsoPlainText"><span lang="EN-GB">Nowatzki, R. (2007) ‘“Blackin’’ up is us
Doin’ White Folks Doin’ Us”: Blackface Minstrelsy and Racial Performance in
Contemporary American Fiction and Film”’, Lit: Literature Interpretation
Theory, 18(2), pp. 115–136. <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Nowatzki, R. (2006) ‘Paddy jumps Jim
Crow: Irish-Americans and Blackface minstrelsy’, Éire-Ireland. Irish-American
Cultural Institute, 41(3), pp. 162–184.<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Greaves, M. (2012) ‘Slave Ships and
Coffin Ships: Transatlantic Exchanges in Irish-American Blackface Minstrelsy.’,
Comparative American Studies, 10(1), pp. 78–94. <o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Hughes, R. L. (2006) ‘Minstrel Music:
The Sounds and Images of Race in Antebellum America’, The History Teacher.
Society for History Education, 40(1), pp. 27–43.</span></p>
<p class="MsoPlainText"><span lang="EN-GB">And lastly...</span></p>
<p class="MsoPlainText"><b><span lang="EN-GB">7. </span>The credits</b></p>
<p class="MsoPlainText">UK Autoharp Association, Advent Calendar, December 2021</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.ukautoharps.com/">https://www.ukautoharps.com/</a><o:p></o:p></span></p>
<p class="MsoPlainText"><b>Song</b></p>
<p class="MsoPlainText"><span lang="EN-GB">Stephen Foster<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Hard Times, Come Again No More<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">First draft 1851<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Published 1854<o:p></o:p></span></p>
<p class="MsoPlainText"><b>Singer</b></p>
<p class="MsoPlainText"><span lang="EN-GB">Patrick O'Sullivan<o:p></o:p></span></p>
<p class="MsoPlainText"><b>Autoharp</b></p>
<p class="MsoPlainText"><span lang="EN-GB">Patrick O'Sullivan<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Oscar Schmidt 21 Chord Model B Autoharp,
1975-77<o:p></o:p></span></p>
<p class="MsoPlainText"><b>Guitar</b></p>
<p class="MsoPlainText"><span lang="EN-GB">Danny Yates</span></p>
<p class="MsoPlainText"><span lang="EN-GB"><b>Audio & Video Production</b><o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">Danny Yates<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">City Sound Studios<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.citysoundstudios.com/">https://www.citysoundstudios.com/</a></span> </p><p class="MsoPlainText">As I say, I was determined, determined, to make a contribution.</p>
<p class="MsoPlainText">In a funding bid recently I spoke of our
new ability to exploit the recording studio, and recording studio technology, as
a working tool - rather than a rite of passage.</p>
<p class="MsoPlainText">We took recording studio, first draft, short
cuts.<span style="mso-spacerun: yes;"> </span>First we built a spine.<span style="mso-spacerun: yes;"> </span>We chose a key, comfortable for me and the
autoharp.<span style="mso-spacerun: yes;"> </span>A simple guitar structure for
Verse 1.<span style="mso-spacerun: yes;"> </span>There are 5 Verses.<span style="mso-spacerun: yes;"> </span>Copy and paste 4 times.</p>
<p class="MsoPlainText">That is the structure to support my
singing.<span style="mso-spacerun: yes;"> </span>And that is why the guitar part
is so simple - we might return and work on that again.</p>
<p class="MsoPlainText"><span lang="EN-GB">Autoharp.<span style="mso-spacerun: yes;">
</span>It is an Autoharp Association project.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>The autoharp follows the guit</span><span lang="EN-GB" style="mso-ascii-font-family: Calibri; mso-bidi-font-size: 10.5pt; mso-hansi-font-family: Calibri;">ar structure for Verse 1.<span style="mso-spacerun: yes;"> </span>Chords F C Bb.<span style="mso-spacerun: yes;"> </span>There are 5 Verses.<span style="mso-spacerun: yes;"> </span>Copy and paste 4 times.</span></p>
<p class="MsoNormal">Add another layer
of autoharp.<span style="mso-spacerun: yes;"> </span>Add a bit of colour and autoharp
variation. <span style="mso-spacerun: yes;"> </span>We should return and work on
that again.</p>
<p class="MsoNormal">The inevitable technical
glitch - one video card failed.<span style="mso-spacerun: yes;"> </span>Redo some
video, and blend it in as best we can.<span style="mso-spacerun: yes;">
</span>No one will ever notice.</p>
<p class="MsoNormal">(Of course you did notice.<span style="mso-spacerun: yes;"> </span>But we got our submission
in, in time...)</p>
<p class="MsoNormal"><b>Patrick O'Sullivan</b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ascii-font-family: Calibri; mso-bidi-font-size: 10.5pt; mso-hansi-font-family: Calibri;"><b>December 7 2021<o:p></o:p></b></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ascii-font-family: Calibri; mso-bidi-font-size: 10.5pt; mso-hansi-font-family: Calibri;"><o:p><b> </b></o:p></span></p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-89748080968640415842021-07-18T12:03:00.003+01:002021-07-18T12:20:21.250+01:00Hladowski Sings O'Sullivan: 3 Godfathers<p> <b>Hladowski Sings O'Sullivan: 3 Godfathers...</b></p><p><img alt="3 Godfathers" src="https://ocdviewer.files.wordpress.com/2013/07/3-godfathers.jpg?w=610&h=452" /></p><p>It is more than a year now since we launched the 'album', Hladowski Sings O'Sullivan... The songs are visible, and selling, throughout the world...</p><p class="MsoPlainText"><span lang="EN-GB">And I can do a little presentation...</span></p><p class="MsoPlainText"><span lang="EN-GB">Working Title: An album in a time of crisis.<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB">Sub-title: How a lyricist accidentally became a
record producer, when the virus lockdown intervened.<o:p></o:p></span></p><p class="MsoPlainText">Alternative Title: Learn from my mistakes.</p><p class="MsoPlainText"><br /></p><p class="MsoPlainText">1.</p><p class="MsoPlainText">The presentation allows me to acknowledge the 3 Godfathers of the project...</p><p class="MsoPlainText">They rescued the baby...</p><p class="MsoPlainText">Danny Yates, City Sound Studios, Clayton...</p><p class="MsoPlainText"><a href="http://www.citysoundstudios.com" target="_blank">http://www.citysoundstudios.com</a><br /></p><p class="MsoPlainText">
</p><p class="MsoPlainText"><span lang="EN-GB">Peter Smith - </span>Pete Dublab (Inspirational Sound), Shipley</p><p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.facebook.com/InspirationalSound">https://www.facebook.com/InspirationalSound</a><o:p></o:p></span></p><p class="MsoPlainText">Gene Dunford, <span lang="EN-GB">Rav</span>enswood Sounds, Bristol</p><p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.facebook.com/ravenswoodsounds">https://www.facebook.com/ravenswoodsounds</a><o:p></o:p></span></p><p class="MsoPlainText"><a href="https://soundcloud.com/ravenswood-sounds">https://soundcloud.com/ravenswood-sounds</a></p><p class="MsoPlainText">Without Danny, Peter and Gene... there would have been nothing to rescue...</p><p class="MsoPlainText">Gene has already been thanked a number of times on this blog...</p><p class="MsoPlainText">See for example...</p><p class="MsoPlainText"><a href="https://fiddlersdog.blogspot.com/2012/07/love-death-and-whiskey-hollywood-movie.html" target="_blank">https://fiddlersdog.blogspot.com/2012/07/love-death-and-whiskey-hollywood-movie.html</a><br /></p><p class="MsoPlainText"> </p><p>2.</p><p>If you are looking for a starting point, I have made this web site...</p><p><a href="https://hladowskisingsosullivan.hearnow.com/">https://hladowskisingsosullivan.hearnow.com/</a></p><p>It is a service called Hearnow, linked to CD Baby, the distributor...</p><p>From there you can see our songs, and our distinctive cover designs, visible on the major platforms...</p><p>This is Spotify...</p><p><a href="https://open.spotify.com/album/2dfJV4cTKjiTs0rcpv9nbC" target="_blank">https://open.spotify.com/album/2dfJV4cTKjiTs0rcpv9nbC</a><br /></p><p>This is Apple...</p><p><a href="https://music.apple.com/gb/album/hladowski-sings-osullivan/1527689437" target="_blank">https://music.apple.com/gb/album/hladowski-sings-osullivan/1527689437</a><br /></p><p>On Apple - scrowl down - you can see more clearly the coming together of the 'incremental album'...</p><p>Visibility varies from platform to platform.</p><p>There are oddities. For example, if you click on the Pandora link, and you are outside the USA, Pandora will not let you through. But we did negotiate access to Pandora - a curated service - and do quite well there...</p><p>There are many, many other platforms - and CD Baby puts us on all of them...</p><p>We have just had out first sale on Tidal...</p><p><a href="https://tidal.com/" target="_blank">https://tidal.com/</a></p><p>...which shows, I think, that the work we put into delivering our good quality audio files to CD Baby paid off.</p><p>So, thanks again to the 3 Godfathers...</p><p><br /></p><p>3.</p><p>The 'Learn from my mistakes' bit? So many, so many...</p><p>For example CD Baby sends out marketing emails encouraging the creation of an 'incremental album' - build to an album by releasing singles one by one. Hladowski Sings O'Sullivan is a model. It is an expensive way of doing things - but this was a rescue in a time of crisis.</p><p>As I carefully placed our files within the CD Baby platform, and let our team see the tracks accumulate and spread... It just never occurred to me that I would not be able to go click click click inside the CD Baby platform, transfer the tracks across, and create the album there. Nah. The explanation from CD Baby amounted to the usual gookspeak meaning: No one thought of that when we were designing the software... </p><p>But that is software now... You have to work with the software to find out how the software works. And it has worked.</p><p>In another part of my life, in my work for my trade union, the Writers' Guld of Great Britain, we have been looking again at the self-publishing of books - there are obvious connections with the self-publishing of music. Oddly, the self-publishing of text took off before the self-publishing of audio - when the technology of audio ought to make it easier. We would have to explore further the nature of the industries... Which is what CD Baby - bless them - have been doing...</p><p>Patrick O'Sullivan</p><p>July 2021</p>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0tag:blogger.com,1999:blog-1704228089480687495.post-59312802938899091132021-06-20T14:52:00.005+01:002021-06-24T19:20:14.609+01:00Chicago, Theory, and the Discourse of the Irish Emigrant Letter<p></p><div class="separator" style="clear: both; text-align: left;"><b>Patrick O'Sullivan</b></div><div class="separator" style="clear: both; text-align: left;"><b>Chicago, Theory, and the Discourse of the Irish Emigrant Letter</b></div><div class="separator" style="clear: both; text-align: left;"><span lang="EN-GB"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span lang="EN-GB">...a paper I gave at...</span> </div><div class="separator" style="clear: both; text-align: left;">
<p class="MsoPlainText"><span lang="EN-GB">Chicago: an Irish-American Metropolis? Politics, Ethnicity, and Culture from 1830s
to the Present Time”<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">An International and Multidisciplinary
Conference<o:p></o:p></span></p>
<p class="MsoPlainText"><span lang="EN-GB">June 21-23, 2021<o:p></o:p></span></p>
<p class="MsoPlainText">Below, I have pasted in the illustrations and references to accompany the paper...</p>
<p class="MsoPlainText"><span lang="EN-GB">1. </span>This international and multidisciplinary
conference was a partnership between the universities of Chicago, Caen
Normandie and Paris.</p>
<p class="MsoPlainText">The conference was brought to our
attention by our friends in Caen.
The conference was to have taken place in Paris, but in the end had to move
to Zoom...</p>
<p class="MsoPlainText"><a href="https://www.londonmet.ac.uk/news/articles/chicago-theory-and-the-discourse-of-the-irish-emigrant-letter/">https://www.londonmet.ac.uk/news/articles/chicago-theory-and-the-discourse-of-the-irish-emigrant-letter/</a></p>
<p class="MsoPlainText">A good conference, a good survey of
the present state of Irish Diaspora Studies - as seen from Chicago and Paris...</p>
<p class="MsoPlainText">2. As ever, I moved forward with these
things, cautiously, step by step - I want to get back into the habit of giving
papers, and I wanted to give a coherent paper.</p>
<p class="MsoPlainText">And spend no time quarrelling with technology.</p>
<p class="MsoPlainText">So, I put the illustrations and
references here on my blog... With a
Tinyurl ready to put into Chat in Zoom.
It worked.</p>
<p class="MsoPlainText">This has revealed that many of the references
in my database are a bit untidy - but I knew that. I tend to catalogue a resource quickly, get
it done - and then tidy the reference in the database as it is called up.</p>
<p class="MsoPlainText">So, here you see me halfway through that
task...</p>
<p class="MsoPlainText">3. The three paintings accompany some brief sections in my paper, as presented at this conference - where I look at
the wider research literature on 'the letter', how letters appear, in theatre,
literature and art - and life - and the place of the 'Emigrant Letter' in that research
literature. Which, you will appreciate,
is a big subject on its own...</p>
<p class="MsoPlainText">These are my three favourite paintings
of the 'Emigrant Letter' in action - in England, Ireland and Spain. Why are these three my favourites? You will see that in all three paintings the
task of reading and writing is given to the child. Very telling, about the ways in which our people
embrace and harness the technologies of the word.</p>
<p class="MsoPlainText"><span lang="EN-GB">4. </span>Note that two of the important books I
reference are Open Access - I am trying as much as possible to reference Open
Access research material...</p>
<p class="MsoPlainText">Briody, M. (2007) The Irish Folklore
Commission 1935-1970: History, Ideology, Methodology. Helsinki: Finnish
Literature Society.</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://library.oapen.org/bitstream/id/66cac5d0-4aa2-4395-a8de-b384db4efc1f/617192.pdf">https://library.oapen.org/bitstream/id/66cac5d0-4aa2-4395-a8de-b384db4efc1f/617192.pdf</a><o:p></o:p></span></p>
<p class="MsoPlainText">Vaughan, L. (2018) Mapping Society: The
Spatial Dimensions of Social Cartography. London: UCL Press</p>
<p class="MsoPlainText"><span lang="EN-GB"><a href="https://www.uclpress.co.uk/products/108697">https://www.uclpress.co.uk/products/108697</a><o:p></o:p></span></p>
<p class="MsoPlainText">Two fine books... And entry points as Irish Diaspora Studies
thinks about 'the peasant' and 'the city'...</p>
<p class="MsoPlainText"><span lang="EN-GB">5. </span>My thanks to the organisers of the
Conference - and to the friends, rediscovered and new, who appeared on my screen,
here in my attic in Yorkshire. Special
thanks to Thierry Dubost and Alexandra Slaby, Caen Normandie.</p>
<p class="MsoPlainText"><span lang="EN-GB"> </span></p></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div><span style="font-size: small;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIxspY7gbgAQ2GrtPUhxeg4R9iMozcLNc4SorHQ9t5ccPvrA6TQ02Vw2JJYnApWD6pN4ee54xoFBDxhqZzhn1W4XH32dNsZ4XOWUjPtdNLq6vUF0vuMt4ybUqIW5cPLYKQtEIcjWRgAbI/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1337" data-original-width="1725" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIxspY7gbgAQ2GrtPUhxeg4R9iMozcLNc4SorHQ9t5ccPvrA6TQ02Vw2JJYnApWD6pN4ee54xoFBDxhqZzhn1W4XH32dNsZ4XOWUjPtdNLq6vUF0vuMt4ybUqIW5cPLYKQtEIcjWRgAbI/" width="310" /></a></div><br /></span><p class="MsoPlainText"><span lang="EN-GB">James Collinson, Answering
the Emigrant's Letter, 1850<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><span lang="EN-GB"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqGH3-d0UJDIkk9Wi1wvtOJFOs55yLgL9fM3oia36VEBx9B3YndELsHPVygjj1xFCN6kkRz69yx4dWK5l9SVQlUf4wpi4drrfl2RF9U7Jgql05kvHum-m9upw2ntifiJG1hyphenhyphenPq27DguKI/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="898" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqGH3-d0UJDIkk9Wi1wvtOJFOs55yLgL9fM3oia36VEBx9B3YndELsHPVygjj1xFCN6kkRz69yx4dWK5l9SVQlUf4wpi4drrfl2RF9U7Jgql05kvHum-m9upw2ntifiJG1hyphenhyphenPq27DguKI/" width="274" /></a></div><br /><p></p><p class="MsoPlainText"><span lang="EN-GB">James Brennan, Letter from America, 1875<o:p></o:p></span></p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p></div><div><span style="font-size: small;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjGRe9bm4wNQUSplGj9bvc3-dHRswFtLMs_-HYtRSu9muCoDer8yknOVKhyphenhyphenpxuubUq_xgI1CzLwqJ_4ne6VfTYp6pfMxpXSYfXoMwiZ4oQgF3iPCeQ8-1FAuXQgZYp5vbh6iH1QikF1c/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1920" data-original-width="1248" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjGRe9bm4wNQUSplGj9bvc3-dHRswFtLMs_-HYtRSu9muCoDer8yknOVKhyphenhyphenpxuubUq_xgI1CzLwqJ_4ne6VfTYp6pfMxpXSYfXoMwiZ4oQgF3iPCeQ8-1FAuXQgZYp5vbh6iH1QikF1c/" width="156" /></a></div><br /></span><p class="MsoPlainText"><span lang="EN-GB">Maximino Peña Muñoz, La carta del hijo
ausente, 1887 - <o:p></o:p></span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Letter from an absent son...</span></p><p class="MsoPlainText"><span lang="EN-GB"><br /></span></p><p class="MsoPlainText"><span lang="EN-GB">References</span></p><p class="MsoNormal" style="line-height: normal; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><!--[if supportFields]><span lang=EN-GB
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Available at: https://books.google.co.uk/books?id=G_xuDwAAQBAJ.</span><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-bidi-font-size: 11.0pt; mso-no-proof: yes;"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><!--[if supportFields]><span lang=EN-GB
style='font-size:12.0pt;font-family:"Times New Roman",serif'><span
style='mso-element:field-begin;mso-field-lock:yes'></span>ADDIN Mendeley
Bibliography CSL_BIBLIOGRAPHY <span style='mso-element:field-separator'></span></span><![endif]-->
</p><p class="MsoNormal"><!--[if supportFields]><span lang=EN-GB style='font-size:
12.0pt;line-height:115%;font-family:"Times New Roman",serif'><span
style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;"> </span></p><span style="font-size: small;"></span></div>Patrick O'Sullivanhttp://www.blogger.com/profile/13721687410927452954noreply@blogger.com0