Remembering Larry Reynolds, Fiddler: US Rep
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Christy Moore and the Irish Protest Ballad
“Ordinary Man”: Christy Moore and the Irish Protest Ballad MIKE INGHAM Introduction: Contextualizing the Modern Ballad In his critical study, The Long Revolution, Raymond Williams identified three definitions of culture, namely idealist, documentary, and social. He conceives of them as integrated strands of a holistic, organic cultural process pertaining to the “common associative life”1 of which creative artworks are an inalienable part. His renowned “structure of feeling” concept is closely related to this theoretical paradigm. The ballad tradition of popular and protest song in many ethnic cultural traditions exemplifies the core of Williams’s argument: it synthesizes the ideal aesthetic of the traditional folk song form as cultural production, the documentary element of the people, places, and events that the song records and the contextual resonances of the ballad’s source and target cultures. Likewise, the persistence and durability of the form over many centuries have ensured its survival as a rich source for ethnographic studies and an index of prevailing socio-political conditions and concerns. As twentieth-century commentators on the Anglophone ballad form, such as A. L. Lloyd, have observed, there is an evident distinction between the older ballad tradition, tending toward a more impersonal and distanced voice and perspective, and the more personal style of ballad composed after the anthropological research of ethnomusicologists such as Cecil Sharp, Alan Lomax, and others during the first half of the twentieth century. The former derives from a continuous lineage of predominantly anonymous or unattributed folk material that can be said to reside in the public domain, and largely resists recuperation or commodification by the music industry. -
Jun 2011 Shamrock Leaf
2 Shamrock Leaf June 2011 In this issue you will to become one of the nine I soon came to realize see a list of questions that members of the Bicentennial that the 50 Shamrock Leafs Bruce Driscoll sent to the Commission; results of a that have been printed and three Editors that the Sham- meeting of the Partridge Is- circulated during the past 28 rock Leaf had during the land Irish Historical Parks years, have a wealth of New past 29 years. Before I an- Committee to plan for the Brunswick Irish history, sto- swered my questions, I as- repair and rededication of ries and events that have sembled the 50 issues that I the Celtic Cross; our booth taken place since 1982. kept from 1983 to 2011. It at the 106th Johnville Picnic I came to the conclu- was not only time to contem- where we promoted the As- sion since I was the editor plate the past but to think of sociation and showed a short from 1983 to 1989 and from the future. film on Irish Immigration. 2001 to 2011, a total of 19 Our first newsletter Other articles in our years, and being involved in was printed in October 1983. first newsletter mentioned the magazine the other nine It was typed on a stencil and the meeting of the Book years that it was time that I run off by hand on a Gestet- Committee where plans were retire. sands of copies from our ner. Some of the topics cov- made to do an Early Irish I want to especially dining room table. -
Junior Cycle Reform: Motion
Junior Cycle Reform: Motion Senator Marie-Louise O'Donnell: I move: That Seanad Éireann----- notes the proposals developed by the National Council for Curriculum and Assessment in "Towards a Framework for Junior Cycle - Innovation and Identity", and "A Framework for Junior Cycle" subsequently published by the Department of Education and Skills, and calls on the Minister for Education and Skills to give his assurance that history will be reinstated as a core subject for the Junior Certificate. I will not call for a quorum on this very important subject, although I have that right. What do we need to know? That is the real question. Does it matter that we do not have a quorum? Acting Chairman (Senator Imelda Henry): The sitting can continue without a quorum but if the Senator wishes to call one she may do so. Senator Marie-Louise O'Donnell: I think I will call a quorum, yes. Notice taken that 12 members were not present; House counted and 12 Members being present, Senator Marie-Louise O'Donnell: The real question surrounding this Private Members' motion is what do we or, in particular, what young people need to know in order to understand how the world became what we perceive it to be today. They will not learn this through technology or the "X Factor". One of the most radical and extraordinary thinkers in education was Neil Postman. He believed that for education to be meaningful, young people, their parents and teachers must have a common narrative. The question I put to those Senators who have turned up for this debate is "Do we have a common narrative?" If we do, how could the Department of Education and Skills, when the History Teachers Association disagrees so vehemently, change history from a core subject to a discrete subject in the junior cycle? There are many false gods of modern education lurking around and trying to get attention. -
Seanad Éireann
Vol. 240 Tuesday, No. 10 16 June 2015 DÍOSPÓIREACHTAÍ PARLAIMINTE PARLIAMENTARY DEBATES SEANAD ÉIREANN TUAIRISC OIFIGIÚIL—Neamhcheartaithe (OFFICIAL REPORT—Unrevised) Insert Date Here 16/06/2015A00100Business of Seanad 621 16/06/2015B00150Commencement Matters 622 16/06/2015B00200Community Policing 622 16/06/2015D00250Nursing Staff Recruitment 624 16/06/2015E00400Appointments to State Boards ������������������������������������������������������������������������������������������������������������������������������626 16/06/2015G00250Private Rented Accommodation Provision 628 16/06/2015O00100Deaths of Irish Students in California: Expressions of Sympathy 632 16/06/2015O00350Order of Business 632 16/06/2015EE00400Health (General Practitioner Service) Bill 2015: Committee and Remaining Stages ������������������������������������������649 SEANAD ÉIREANN Dé Máirt, 16 Meitheamh 2015 Tuesday, 16 June 2015 Chuaigh an Cathaoirleach i gceannas ar 230 pm Machnamh agus Paidir. Reflection and Prayer. 16/06/2015A00100Business of Seanad 16/06/2015A00200An Cathaoirleach: I have received notice from Senator Catherine Noone that, on the mo- tion for the Commencement of the House today, she -
Blas International Summer School of Irish Traditional Music and Dance
Blas International Summer School of Iris h Traditional Music and Dance Iris h World Academy of Music and Dance University of Limerick FIDDLE TUTORS JOHN CARTY John Carty is one of Ireland’s finest traditional musicians having been awarded the Irish Television station, TG4’s Traditional Musician of the Year in 2003. He joins previous acclaimed winners Matt Molloy (Chieftains flautist), Tommy Peoples (Master Fiddler), Mary Bergin (whistle player, Dordan), Máire Ní Chathasaigh (Harpist) and Paddy Keenan (Uilleann Piper), all of whom are considered to be the leading exponents of their instruments within the Irish tradition. Carty already has three solo fiddle albums, two banjo albums, two group albums and a sprinkling of recorded tenor guitar and flute music recordings under his belt so it’s little wonder he should have joined such elusive ranks. John is a tutor at the Irish World Academy. www.johncartymusic.com Blas International Summer School of Iris h Traditional Music and Dance Iris h World Academy of Music and Dance University of Limerick EILEEN O’BRIEN Eileen is the bearer of a musical dynasty which can be traced back through generations on both sides of her family, the legendary, O’Brien family from Newtown, Nenagh and her mother’s family, the Seerys from Dublin who were founder members of C.C.E. Eileen’s father, Paddy O’Brien established the B/C accordion-playing style in the 1950’s. His innovative style both as a musician and a prolific composer continues to have a profound influence on Irish traditional music. Eileen carries this musical tradition forward through performance, teaching and composition. -
2014, Annual Report
ABBEY THE ABBEY at RE AMH A RCL A NN N A Ma INIS T RE A CH 2014 Annual Report 2014 ABBEY THEatRE AMHARCLANN NA MaINISTREACH 2014 Annual Report www.abbeytheatre.ie ABBEY THEatRE AMHARCLANN NA MAINISTREACH 2014 Annual Report Annual Report 2014 CONTENTS Chairman’s Welcome 6 Director's Report 10 Financial Overview 20 Our Impact 22 Artistic Programme 24 Awards 36 Literary Programme 38 Community & Education Programme 40 Talks 42 Artistic Development Programme 44 Abbey Theatre Archive 46 Celebrating 110 Years of the Abbey Theatre 47 Moments 48 Staff 62 Board of Directors 64 Supporters & Members 68 Gallery & Reviews 70 Financial Statements Extract 93 Annual Report 2014 As Ireland’s national theatre, our mission is to create a world class national theatre that actively engages with and reflects Irish society. The Abbey Theatre invests in, nurtures and promotes Irish theatre artists. We do this by placing the writer and theatre-maker at the heart of all that we do, commissioning and producing exciting new work and creating discourse and debate on the political, cultural and social issues of the day. Our aim is to present great theatre art in a national context so that the stories told on stage have a resonance with audiences and artists alike. The Abbey Theatre produces an ambitious annual programme of Irish and international theatre across our two stages and on tour in Ireland and internationally, having recently toured to Edinburgh, London, New York and Sydney. The Abbey Theatre is committed to building the Irish theatre repertoire, through commissioning and producing new Irish writing, and re-imagining national and international classics in collaboration with leading contemporary talent. -
2012, Annual Report
ABBEY THEATRE AMHARCLANN NA MAINISTREACH 2012 Annual Report ABBEY THEATRE AMHARCLANN NA MAINISTREACH 2012 Annual Report Annual Report 2012 CONTENTS Director's Report 8 Financial Overview 14 Our Impact 16 Artistic Programme 18 Awards 28 Literary Programme 30 Abbey Theatre Archive 34 Community & Education Programme 36 Talks 40 Artistic Development Programme 44 Abbey Theatre Staff 46 Supporters & Members 48 Gallery & Reviews 50 Financial Statements Extract 65 5 Annual Report 2012 As Ireland’s national theatre, our mission is to create a world class national theatre that actively engages with and reflects Irish society. The Abbey Theatre invests in, nurtures and promotes Irish theatre artists. We do this by placing the writer and theatre-maker at the heart of all that we do, commissioning and producing exciting new work and creating discourse and debate on the political, cultural and social issues of the day. Our aim is to present great theatre art in a national context so that the stories told on stage have a resonance with audiences and artists alike. The Abbey Theatre produces an ambitious annual programme of Irish and international theatre across our two stages and on tour in Ireland and internationally, having recently toured to Edinburgh, London, New York and Sydney. The Abbey Theatre is committed to building the Irish theatre repertoire, through commissioning and producing new Irish writing, and re-imagining national and international classics in collaboration with leading contemporary talent. Over the years, the Abbey Theatre has premiered the work of major Irish playwrights such as J.M. Synge and Sean O’Casey as well as contemporary classics from Sebastian Barry, Marina Carr, Bernard Farrell, Brian Friel, Frank McGuinness, Thomas Kilroy, Tom MacIntyre, Tom Murphy, Mark O’Rowe and Billy Roche. -
Tradition Label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Tradition Label Discography
Tradition label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Tradition Label Discography The Tradition Label was established in New York City in 1956 by Pat Clancy (of the Clancy Brothers) and Diane Hamilton. The label recorded folk and blues music. The label was independent and active from 1956 until about 1961. Kenny Goldstein was the producer for the label during the early years. During 1960 and 1961, Charlie Rothschild took over the business side of the company. Clancy sold the company to Bernard Solomon at Everest Records in 1966. Everest started issuing albums on the label in 1967 and continued until 1974 using recordings from the original Tradition label and Vee Jay/Horizon. Samplers TSP 1 - TraditionFolk Sampler - Various Artists [1957] Birds Courtship - Ed McCurdy/O’Donnell Aboo - Tommy Makem and Clancy Brothers/John Henry - Etta Baker/Hearse Song - Colyn Davies/Rodenos - El Nino De Ronda/Johnny’s Gone to Hilo - Paul Clayton/Dark as a Dungeon - Glenn Yarbrough and Fred Hellerman//Johnny lad - Ewan MacColl/Ha-Na-Ava Ba-Ba-Not - Hillel and Aviva/I Was Born about 10,000 Years Ago - Oscar Brand and Fred Hellerman/Keel Row - Ilsa Cameron/Fairy Boy - Uilleann Pipes, Seamus Ennis/Gambling Suitor - Jean Ritchie and Paul Clayton/Spiritual Trilogy: Oh Freedom, Come and Go with Me, I’m On My Way - Odetta TSP 2 - The Folk Song Tradition - Various Artists [1960] South Australia - A.L. Lloyd And Ewan Maccoll/Lulle Lullay - John Jacob Niles/Whiskey You're The Devil - Liam Clancy And The Clancy Brothers/I Loved A Lass - Ewan MacColl/Carraig Donn - Mary O'Hara/Rosie - Prisoners Of Mississippi State Pen//Sail Away Ladies - Odetta/Ain't No More Cane On This Brazis - Alan Lomax, Collector/Railroad Bill - Mrs. -
Black 47 & CELTIC CRUSH Newsletter
Black 47 & CELTIC CRUSH Newsletter Almost March Madness 2014 LAST CALL is Black 47's final album. It will be released and available on all digital platforms (iTunes, Amazon, etc.) on March 4th but YOU can NOW buy the CD or download the 13 tracks at http://www.theconnextion.com/black47/black47_index.cfm You can also find the lyrics, chord charts, stories, pictures of players and guests at www.thereelbook.com/lastcall/ LAST CALL is on sale at all Black 47 gigs. ★★★★ On "Last Call," Black 47 serves a 200 proof cocktail made with a shot of funk and two fingers of Irish malarkey thrown in for good measure. Larry Kirwan saves the best for last, using roots, rock, and reggae to bring the final curtain down on the most influential Irish American band in history." Mike Farragher/Irish Voice This is a combined B47/CC newsletter to alert you to LAST CALL and let you know the St. Patrick's Day season dates for the band. We're especially highlighting BB Kings on March 17th. as this will be our 25th St. Patrick's Day appearance in NYC and our last. In fact many of the upcoming shows will be our last in many venues so we'd love to see you all out enjoying yourselves and raising the rafters one more time in the coming months. All the best, larry kirwan Celtic Crush - SiriusXM The Spectrum, Ch. 28, Saturdays 7-10amET, Tuesdays 11pmET & ON DEMAND BLACK 47 25th. and FINAL ST. PATRICK'S DAY SHOW IN NYC BB KING's, 42nd Street/Times Square March 17th - Show 7pm, Doors 5pm (Right after the Parade) Tickets on sale now at the club or http://www.bbkingblues.com/bio.php?id=3374 ALL AGES - BRING THE KIDS "I'll love you forever on St. -
The New Interculturalism Mcivor Final Final
The New Interculturalism: Race, Gender and Immigration in post-Celtic Tiger Ireland by Charlotte McIvor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Performance Studies and the Designated Emphasis in Women, Gender and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, co-chair Professor Shannon Steen, co-chair Professor Paola Bacchetta Professor Eric Falci Spring 2011 The New Interculturalism: Race, Gender and Immigration in post-Celtic Tiger Ireland Copyright © 2011 by Charlotte McIvor Abstract The New Interculturalism: Race, Gender and Immigration in post-Celtic Tiger Ireland by Charlotte McIvor Doctor of Philosophy in Performance Studies and Designated Emphasis in Women, Gender and Sexuality University of California, Berkeley Professor Peter Glazer, Co-Chair Professor Shannon Steen, Co-Chair “There are wonders that I want to perform” says the name of Ireland’s first African-Irish theatre company, Arambe Productions, which derives from the Nigerian saying ara m be ti mo fe da. The company performs stories of the African-Irish community, yet their dramatizations ponder a larger reality of an Ireland that has gone from a country of emigrants to a nation re-shaped by inward-migration. The sudden shifts brought on by the mid-1990s Celtic Tiger economic boom and unprecedented immigration have plunged the Irish population at large into a state of wondering. What does it mean that the non- Irish born population -
An Comhchoiste Um Chomhshaol, Iompar, Cultúr Agus Gaeltacht
AN COMHCHOISTE UM CHOMHSHAOL, IOMPAR, CULTÚR AGUS GAELTACHT 31Ú DÁIL ÉIREANN / 24Ú SEANAD ÉIREANN TUARASCÁIL AR SHOLÁTHAR UISCE MEITHEAMH 2012 JOINT COMMITTEE ON ENVIRONMENT, TRANSPORT, CULTURE AND THE GAELTACHT 31ST DÁIL ÉIREANN / 24TH SEANAD ÉIREANN REPORT ON WATER PROVISION JUNE 2012 1 2 INDEX 1. PREVIEW AND RECOMMENDATIONS.............................................................................7 1.1 Status of New Irish Water Utility .....................................................................8 1.2 The Principle of Metering ................................................................................9 1.3 Metering: Mechanisms, Etc ............................................................................9 1.4 Charges and Tariffs ......................................................................................10 1.5 Upgrade of Infrastructure – Key Performance Indicators, Mandatory Leakage Rates, Capital Works, etc. ...........................................10 1.6 Water Conservation and Planning Regulations............................................10 1.7 Poverty Proofing ...........................................................................................11 1.8 Outstanding Water Rates .............................................................................11 1.9 North / South Basis for River Basin Management ........................................11 1.10 Regulation.....................................................................................................11 1.11 Consumer Representation............................................................................12 -
The New Interculturalism Mcivor Final Final
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The New Interculturalism: Race, Gender and Immigration in Post-Celtic Tiger Ireland Permalink https://escholarship.org/uc/item/0k75g3rv Author McIvor, Charlotte Ann Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The New Interculturalism: Race, Gender and Immigration in post-Celtic Tiger Ireland by Charlotte McIvor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Performance Studies and the Designated Emphasis in Women, Gender and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, co-chair Professor Shannon Steen, co-chair Professor Paola Bacchetta Professor Eric Falci Spring 2011 The New Interculturalism: Race, Gender and Immigration in post-Celtic Tiger Ireland Copyright © 2011 by Charlotte McIvor Abstract The New Interculturalism: Race, Gender and Immigration in post-Celtic Tiger Ireland by Charlotte McIvor Doctor of Philosophy in Performance Studies and Designated Emphasis in Women, Gender and Sexuality University of California, Berkeley Professor Peter Glazer, Co-Chair Professor Shannon Steen, Co-Chair “There are wonders that I want to perform” says the name of Ireland’s first African-Irish theatre company, Arambe Productions, which derives from the Nigerian saying ara m be ti mo fe da. The company performs stories of the African-Irish community, yet their dramatizations ponder a larger reality of an Ireland that has gone from a country of emigrants to a nation re-shaped by inward-migration. The sudden shifts brought on by the mid-1990s Celtic Tiger economic boom and unprecedented immigration have plunged the Irish population at large into a state of wondering.