Showing posts with label Scotland. Show all posts
Showing posts with label Scotland. Show all posts

Thursday, April 26, 2012

Saint Columba and the White Horse

by Jenny Schroedel

St Columba's Farewell to the White Horse by Alice Boyd



St. Columba was born in Ireland on December 7521. He was of a royal line and his life was characterized by missionary zeal. He was also the founder of the monastery on the famed Holy Island of Iona in Scotland which remains a popular pilgrimage sight to this day.

According to one legend St. Columba handwrote 300 books during his lifetime. Two of the books which he may have transcribed, The Book of Durrow and a Psalter called The Cathachare still intact to this day. St. Columba is the patron saint of bookbinders.

One of the most beautiful legends of St. Columba involves his white horse. When he was very old and tired he made his way to visit his brother monks who were working in a field. He was so weak that he could not walk but had to be carried in a cart. When he saw his brother monks he explained that during the recent Easter celebration he had felt a great longing in his soul to go and be with Jesus. He understood that he could go and be with his Lord if he wished but he decided to linger a little longer on this earth as he did not want to grieve his brother monks during the Easter season.

Saint Columba Bidding Farewell To The White Horse
By John Duncan


At these words the monks were deeply grieved because they knew that Columba did not have much more time on earth. He turned to the east and blessed the island and islanders who dwelt there as well as the monastery that he had founded and nurtured.

As his death drew near St. Columba shared this secret with his companion Diarmid — it was soon to be his day of rest this own Sabbath. He was tired from the toil of this life and his Lord had invited him to be with him. Columba understood that he would die around midnight following the footsteps of his fathers in the faith. At this Diarmid wept. Columba tried to comfort him as well as he could.

Columba then headed back to his monastery one last time but he was so weary that he stopped to take a rest by the side of the road. As he was sitting beside the road his white horse ran up to him and leaned his head against the holy man's chest drenching his shirt with his tears which poured into his lap.
Diarmid rose to push the horse away from his beloved friend but Columba stopped him saying “Allow this lover of mine to shed his tears on my chest. For this horse being an animal understood instinctively that I was going to be with my Lord yet you as a man could not foretell this.”


At this St. Columba blessed the white horse that had faithfully served him for so many years and the grieving horse continued on his way. St. Columba then returned to the monastery for his final Vespers (or evening prayer) service. Later that night when the bell tolled for the midnight service Columba returned to the monastery church but collapsed before the altar surrendering his soul to God. St. Columba died in 597 when he was seventy-seven years old. He is commemorated on June 9.

Written by Jenny Schroedel  

Saturday, November 5, 2011

Christopher Delaney plays Banjo in Scotland



Christopher Delaney of Dunkeld, Perthshire, Scotland Plays banjo.

Saturday, October 29, 2011

Folk Festival this weekend, Dunfermline, Fife, Scotland



Mouth Music Lennox Family Folk Festival Dunfermline Fife Scotland


DUNFERMLINE Folk weekend kicks off tomorrow (Friday) and will celebrate the town's musical history.


Big names, including Dunfermline's Barbara Dickson (pictured) along with Archie Fisher, will be performing with friends at the Saturday Gala Concert in the Glen Pavilion on Saturday.


Both will be singing and reflecting on their experiences of folk music in Dunfermline and beyond.


The concert will also feature performances by Pete Shepheard and Tommy Bonnar, Jack Beck who was a co-founder of the Dunfermline Howff with John Watt, Clutha from Glasgow who performed at the Howff, Adam MacNaughton who has been part of the Glasgow Folksong scene since the 1960s, and the Lennox Family, a young harmony group from Banff who will be performing the songs of Jimmy McBeath, a traditional singer from Portsoy who performed at the Dunfermline Howff in the 1960s.


After the concert there is an open stage with songs and tunes from Riley Briggs and Kirsten Adamson and others into the night.


The Folk Weekend opens tomorrow with a Celebration Family Ceilidh with the Dollarfield Ceilidh Band on Friday night.


On Saturday afternoon The Glen Pavilion hosts an open stage which has attracted some extraordinarily fine musicians - Oakfield, Clydebuilt, Watt Nicol, Lennox Family, Jack Beck, Big River, Weekend Singers, Robin Campbell, Albanach Guitar Duo.


Families can also enjoy a Halloween songs and games with The Linties for a scarily enjoyable experience!


On Sunday the celebrations continue with a chance for musicians and listeners to spend an afternoon making and appreciating folk music in the Thistle Tavern, Bardridgeburn.


The weekend finishes with a concert in the Thistle Tavern with Alistair MacDonald.


All details and online tickets can be found at www.visitdunfermline.com. Tickets will be available at the Glen Pavilion on Saturday.


DUNFERMLINE FOLK WEEKEND 2011

FRIDAY 28th

7.30pm: Celebration Ceilidh Dance with The Dollarfield Ceilidh Band and The Travelling People.

Glen Pavillion. Adult £10; child £5.


SATURDAY 29th

10am: Exhibition - Remembering the Dunfermline Howff - an exhibition of photos from the Howff taken from John Watt's collection, along with a painting specially created for the event by award-winning local artist Ian Moir plus Greentrax stall.

Glen Pavilion. Entrance free.


12pm: Lunchtime Session in Glen Pavilion. All singers and musicians welcome to fill the Glen Pavilion with music. Bar and lunch available.

Entry free.


2pm: Open Stage with Oakfield, Clydebuilt, Watt Nicol, Lennox Family, Jack Beck, Big River, Weekend Singers - Dave and Anne Reekie, Robin Campbell formerly of the Lomond Folk.

Entry free.


2pm: Family Halloween Event with the Linties. Fancy dress optional.

Glen Pavilion Dining Room. All children must be accompanied by an adult. Tickets: £5 adult with child free.Early evening food available in Glen Pavilion.


7pm: Gala Concert in Glen Pavilion. Barbara Dickson and Archie Fisher go back to their roots, along with Tommy Bonnar, Pete Shepheard, Clutha, Jack Beck, Adam MacNaughton and The Lennox Family from Portsoy.

Tickets: £20 including entrance to late night open stage.

After the concert - open stage in the Glen Suite. Songs and Tunes into the night. Bar shuts 12pm.


SUNDAY 30th October

12.30pm: Lunchtime and afternoon session in Thistle Tavern. Bar lunches available.

Entry free.


7pm: Folk Club Night with Alistair MacDonald.

Thistle Tavern, Baldridgeburn £10.


For further information: www.dunfermlinefolkclub.co.uk; Facebook 'Dunfermline Howff' or 'Dunfermline Folk Club'; phone Jeanie Gardiner 01383 725872, or Gifford Lind on 01383 729673.


Tickets available from Carnegie Hall box office on 602302 or online at www.visitdunfermline.com.


http://www.dunfermlinepress.com/news/roundup/articles/2011/10/27/419013-dunfermline-ready-for-folk-festival/




Unst Boat Song by Lennox Family, Folk Festival Dunfermline Fife Scotland

Monday, September 26, 2011

Dupplin Cross, Dunning, Scotland



he Dupplin Cross is a carved, monumental Pictish stone, which dates from around 800A.D. It was first recorded by Thomas Pennant in 1769, on a hillside in Strathearn, a little to the north (and on the opposite bank of the river Earn from) Forteviot and Dunning. In 2002 it was placed in the care of Historic Scotland, and was placed for preservation under the 12th century tower of St Serf's church in Dunning (also in the care of Historic Scotland). Open to the public April-September.

The Dupplin Cross is a high cross, that is a free-standing stone cross. While relatively common in Ireland, Northumbria and in Dál Riata, such crosses are rare survivals in the lands of the Picts, though fragments of shattered crosses (probably cast down during the 16th century Reformation) show that a number once existed. Early records report that a second cross, 'Cross of Dronachy', stood on the lands of Invermay, south of Forteviot and also overlooking Forteviot, but this is now lost. The cross base survives in situ, but the records do not provide details of its exact form.

The cross is carved from Old Red Sandstone, the cross stands about 2.5 metres tall, 1 metre broad over the arms of the cross. It is carved with various scenes, religious, martial and traditional Pictish animal carvings. The cross contains a partially legible inscription, of which only the name CUSTANTIN FILIUS FIRCUS can be read. This name is taken as the Latin form of the early 9th century Pictish king's Gaelic name Caustantín son of Fergus (fl. 793–820).

Since the inscriptio implies that the Cross was carved either during, or shortly after, the reign of Caustantín, it is particularly important as giving a fixed point in the chronology of Pictish sculpture. It also indicates that Gaelic was spoken at the time as it uses the Gaelic personal name of his father in Latin.

http://www.dunning.uk.net/news/1to36/mag15.html

Friday, September 16, 2011

A History of Govan to the 12th Century

As I posted before, Govan and Gorbals is where my family immigrated from to America. It is now a part of Glasgow but Govan was at one time its own burgh. Many of my ancestors are listed as living on Uries Row which no longer exists but was a row of houses that were rented out to mining families working for Govan collieries and Dixons Iron Works. For more on Govan look back three posts.

We know that people were in the Govan area c. 3, 000 BC because of the evidence of a Stone-Age canoe found at Kingston Dock. We also know from the (now gone) Iron-Age mound at Govan Cross, and the name ‘Govan’ itself (old Welsh, meaning ‘place of the ironworkers’), i that pagan Celts lived and worked there c. 1, 000 BC. ii The Romans reached this district of the ‘Damnonii’ in AD 81 iii and, after building a wall from the Clyde to the Forth (AD 142),iv they withdrew c. AD 190 and left Govan to its own devices.

After the Romans left Britain for good (AD 410), 5 separate groups began to fight for territory in what came to be known as Scotland. These were the Britons of Strathclyde, who lived in the Clyde valley and further south; the Scots (or Gaels), who had come over from Ireland and now inhabited Dal Riata (West Scotland); the Anglians (Saxons) who had migrated from Germany, and who lived in the south east of England; the Picts (an amalgamation of various tribes v), who lived in north and east Scotland, and finally the Scandinavians (or Vikings) from Norway, Sweden and Denmark. As Christianity slowly replaced these peoples’ pagan worship, they built their first churches upon the same spot as Druidic colleges and sacred places vi which is probably what happened at the site of Govan’s Old Church where Druidic remains have been seen. Christianity arrived late to the Govan area because the earliest written record near this site is a note on the death of Glasgow’s patron saint St. Kentigern or ‘Mungo’ in AD 612. vii

When the King of Scots (Constantine 1) allied himself to the Viking King of Dublin, this helped lead to the capture of the Strathclyde Britons capital at Dumbarton Rock c. AD 860. At this time Govan was not just the pre-eminent religious centre of the area, but also held the King of Strathclyde’s royal church and palace – across the river from the royal estate in Partick. This was also the time when the Scots took over the Strathclyde kingdom and it is almost certain that the property at Govan was Constantine’s reward. Another reason for thinking this is that it was from this time that Govan blossomed into the largest centre in Europe for the production of stone carved Celtic Crosses and carved memorial tombstones – Christian and Viking. The church that stands on the site today, Govan Old Parish Church, contains an extraordinary collection of 27 Celtic crosses, a sarcophagus (see below) and 5 hogback tombstones, which were all carved c. AD 800-1100. When the Vikings had first arrived in Scotland (c. AD 800) they brought with them their longhouses, which rose in a curve like a hog’s back – just like their stone memorials (‘Hogbacks’) which are little houses to contain the souls of the dead. Many of them have Christian connections and they are the largest and the heaviest of any type of hogback known. Their sculptural styles show connections with Cumbrian, British, Scottish, Pictish, Irish, Saxon and Scandinavian art – in fact, they can be seen as the first expression of a truly national style. viii

Although ‘Saint Constantine’s Sarcophagus’ (at Govan Church) is thought to date from the 550’s, this may in fact be King Constantine’s own coffin from the late 800’s ix for while the Saint’s identity remains uncertain, the sarcophagus shows an armoured horseman out hunting stags with his dogs, which are well known symbolry for Royal hunting scenes. When King David 1 shifted cult patronage in the 12th century to St. Kentigern in Glasgow, he did so because Govan held too many memories of the old royal house, and Govan’s production of crosses and hogbacks ceased. x

© Brian Thom McQuade MA, First Draft (for GalGael), 1/7/2004

http://www.citystrolls.com/people/govan-history.htm

Thursday, September 15, 2011

Gorbals and Govan, West Glasgow, Scotland



Govan and Gorbals is where my family immigrated from to America. It is now a part of Glasgow but Govan was at one time its own burgh. Many of my ancestors are listed as living on Uries Row which no longer exists but was a row of houses that were rented out to mining families working for Govan collieries and Dixons Iron Works

Early history

Recent studies of the archeology of old Govan have revealed the presence of an ancient Christian church. Two associated Christian burials are radiocarbon dated to the 5th or 6th centuries, making Govan the earliest known Christian site in the region. Govan is believed to have then been part of a kingdom ruled from Dumbarton Rock, known as Alt Clut, the rock on the Clyde. During the Viking Age, perhaps following the sack of Dumbarton Rock in 878, Govan is believed to have been one of the major centres of the Kingdom of Strathclyde. According to John of Fordun, Constantine, a 7th-century king of Strathclyde, founded a monastery at Govan, where he died and was buried.[citation needed] In 1855, an elaborately carved sandstone sarcophagus was found during digging in the churchyard.It is now kept inside the church. It may have been used to contain the body or relics of Constantine, although the style of carving indicates an origin in the 10th or 11th centuries.[citation needed] This King Constantine is first mentioned in the 12th-century Life of St. Kentigern by Jocelyn of Furness, where he is said to have been son of Riderch Hael. He is likely a literary invention. The early church in Govan is dedicated to a Saint Constantine, about whom nothing else is known.

Govan's earliest recorded name may be found in the Historia Regnum Anglorum attributed to Symeon of Durham. This is a 12th-century Latin source, but one believed to be based on much earlier materials; it records a place near Dumbarton Rock named Ouania. Based on this, Govan's Cumbric language name has been reconstructed as *(G)uovan. Govan is Bàile Ghobhainn (smith's town) in Scottish Gaelic. Bishop Leslie in his Scotia Descriptio of 1578 says it got its name from the excellence of its ale (God-win), whereas Chalmers in his Caledonia says it is derived from Scottish Gaelic, Gamhan (a ditch).

The earliest references to Govan are found in connection with the Christian church. In 1136, when Glasgow Cathedral was formally consecrated, King David I (1124–53) gave to the See the lands of Partick and also of the church at Govan (on opposite sides of the River Clyde), which became a prebend of Glasgow. The Govan Old Parish Church was rebuilt in 1762, 1826, and again 1884-1888. Within it and its roughly circular churchyard is one of the finest collections of Early Christian stones in the United Kingdom, dating from the 10th and 11th centuries.

By the 16th century, extensive coal mine workings had been developed around Craigton and Drumoyne. As the village grew, new trades and crafts, such as weaving, pottery and agriculture, were established.

A part of Blaeu's 1654 map of Scotland. Modern Govan is at the site labeled Mekle Gouan. The small town of Glasgow is on the north bank of the Clyde, across from Litle Gouan.

There is an oddity whereby part of eighteenth-century parish of Govan (which was in Lanarkshire) is counted as being within Renfrewshire. There existed a hospital in the area, and as quasi-religious foundations were not taxed, it had never been assigned to a sheriffdom. Thus, when Renfrewshire was created out of a sheriffdom of Lanarkshire in the early fifteenth century, the lands associated with the hospital (Polmadie) were not technically in the newly created shire, as they were not part of the sheriffdom. They were, however, very much a part of the physical landscape that became Renfrewshire. A similar uncertainty existed regarding the nearby lands of Pollokshields and Westends. People lived with the inconsistency in the records. When the railroad was to be built in the late nineteenth century, however, the confusion over proper descriptions in the land titles made necessary legal transactions difficult and had to be reconciled. The county added to the description of these lands, the phrase: "but now by annexation in the County of Renfrew."

By the early part of the 19th century, Govan was rapidly losing its rural appearance and assuming the character of a town with the development of new industries and factories, including Reid's Dye Works and Pollok's Silk Mill. Town officials arranged for the deepening of the Clyde in 1759, the reclamation of the channels between the islands (The Whyte Inch, The Black Inch, and The King's Inch), and the construction of quays and docks. This facilitated the development of shipbuilding as a major industry. By the 1860s, the village needed a higher order of administration and it was made a burgh in 1864, under the General Police (Scotland) Act 1862. At the time, it was the fifth largest burgh in Scotland.

With Morris Pollok as its first Provost, the Burgh and its Commissioners ensured that during the next 48 years Govan became a well-equipped, modern town. During the late 19th century, the population of Govan increased more than tenfold: from 9,000 in 1864 to 95,000 by 1907. In 1901 Govan was the 7th largest town in Scotland. In 1912, Glasgow annexed Govan.

A prominent feature of the Govan landscape was the Doomster or Moot Hill, which stood near the river, north of the present Govan Cross. It was removed in the early 19th century and Reid's Dyeworks was [[erected on the site. The origins of the Doomster Hill are a mystery. One hypothesis is that it was a prehistoric burial mound. In 1996, a team from Channel 4's Time Team programme carried out an archeological excavation at the site. They suggested that the hill may have been a 12th-century Norman motte.

A useful reference source for this period is given below.

20th century to the present

Traditionally viewed as a working-class area, Govan has typically supported the Labour Party, but the Scottish National Party (SNP) has also been strong there. In 1973 SNP won a by-election with Margo MacDonald as their candidate. The SNP won another by-election victory in 1988, this time with Jim Sillars as candidate. The latest victory for the SNP was in the 2007 Scottish parliamentary elections, when Nicola Sturgeon became the MSP for the constituency.

The area has had a reputation for deprivation and poverty, partly due to the construction of housing estates in the 1930s to relieve the overcrowded slum district of The Gorbals, Glasgow. The most famous of these housing estates is Moorpark, sometimes referred to jocularly as "The Wine Alley". It was parodied by the BBC sitcom Rab C. Nesbitt. Although Govan the stated setting for the show, episodes were seldom filmed there. In the post-war years, many Govanites were relocated from the town, often reluctantly, to outlying areas such as Drumchapel, Pollok, Darnley, Priesthill and Penilee by the Corporation of Glasgow.

Despite these developments, there were numerous older buildings around Govan until quite recently, most notably the terraces and tenements situated around Govan Road. These were not cleared until well into the 1970s.

Due to boundary changes, Govan in the early 1960s incorporated some surrounding more prosperous areas at its boundaries. Although technically part of Govan, residents of these areas have maintained a distinct identity separate from the area.

The Govan Fair is celebrated on the first Friday in June each year.

Economy

Govan was at one stage the centre of the world-renowned Clydeside shipbuilding industry, although few yards remain today. One of Govan's original yards remains one of two large shipyards to survive on the Upper River Clyde, the other being Yarrow Shipbuilders Limited based in Scotstoun. Both of these yards form a large part of BAE Systems Surface Ships.

In 1841, Robert Napier first began iron shipbuilding in Govan, and in 1843 produced its first ship, the Vanguard. He also procured a contract with the Royal Navy to produce vessels, notably the Jackal, the Lizard, and the Bloodhound. He also allowed naval officers in training to visit at the shipyard to familiarise themselves with the new vessels. Napier's Shipyard in Govan was later acquired by William Beardmore and Company in 1900 before being sold on to Harland & Wolff in 1912. Napier's shipyard finally closed in 1962 and most of the site redeveloped into housing.

Govan's other major shipbulding firm was founded in the 1860s as Randolph, Elder and Company, later John Elder and Company. In 1885 the yard moved further west to its present site and was reorganised as the Fairfield Shipbuilding and Engineering Company Ltd. This company continued until 1965 when it filed for bankruptcy. In response, the yard was again reorganised in 1966 as Fairfields, which was guaranteed by the government. The following year Fairfields and the other major Clydeside yards (Stephens, Connels, Yarrows and John Browns) were merged to form Upper Clyde Shipbuilders (UCS).

In 1971 the Upper Clyde Shipbuilders went into receivership and the Tory government under Edward Heath refused it a £6m loan. Rather than go on strike, which was the traditional form of industrial action, the union leadership of the yards decided to have a work-in and complete the orders that the shipyards had in place. In this way they dispelled the idea of the workers being 'work-shy' and also wanted to illustrate the long-term viability of the yards. The work-in was successful in the short-term. YSL withdrew from UCS in 1971 and Govan was sold off in 1973 as Govan Shipbuilders.

In 1977 the Labour government of James Callaghan passed the Aircraft and Shipbuilding Industries Act which nationalised Govan and grouped it with other major British shipyards as British Shipbuilders. In May 1979 Margaret Thatcher was elected as Prime Minister and her administration soon began its privatisation programme. British Aerospace, established by the same act, was privatised in 1981. British Shipbuilders' road to privatisation was not as swift, and the group was sold piece by piece throughout the decade.

Kværner of Norway, as part of a planned development of a large international shipbuilding group, took over Govan. British Shipbuilders' sale of Govan to the Norwegian firm was completed in 1988 and the yard was renamed Kvaerner Govan.

In 1999, GEC's Marconi Marine division purchased the yard when Kværner announced its exit from the shipbuilding industry. GEC's Marconi Marine division already owned YSL (purchased in 1985) and VSEL (purchased in 1995). Marconi Electronic Systems and its Marconi Marine unit were sold to British Aerospace in 1999 to form BAE Systems. The shipbuilding operations became BAE Systems Marine, which subsequently became part of BVT Surface Fleet, a naval shipbuilding joint venture between BAE Systems and VT Group, which became BAE Systems Surface Ships in 2009.

Alexander Stephen and Sons also established a Shipyard in nearby Linthouse in 1870. The yard eventually closed in the wake of the collapse of the Upper Clyde Shipbuilders consortium in 1971.

The Gorbals (Scottish Gaelic: Na Gorbals) is an area on the south bank of the River Clyde in the city of Glasgow, Scotland. By the late 19th century, it had become over-populated and adversely affected by local industrialisation. It became widely known as a dangerous slum and was subject to efforts at redevelopment, which contributed to more problems. In recent decades, some buildings have been demolished for a mixture of market and social housing; others are being refurbished and restored to a higher standard.

The Caledonia Road Church, one of the finest examples of architecture in Glasgow, is located in the Gorbals. Designed by Alexander 'Greek' Thomson and built in the 1850s, the former Presbyterian church was gutted by fire in 1965. It is now an impressive ruin.



Meaning of placename

The name is first documented in the 15th and 16th centuries as 'Gorbaldis', and its etymology is unclear. It may be related to the Latin word garbale (sheaf), found in the Scots term garbal teind (tenth sheaf), a tithe of corn given to a parish rector. The taking of garbal teind was a right given to George Elphinstone in 1616 as part of his 19-year tack (lease). The placename would therefore mean "the Sheaves". The name is remarkably similar to a Lowland Scots word gorbal/gorbel/garbal/garbel (unfledged bird), perhaps a reference to lepers who were allowed to beg for alms in public. Any Gaelic form of the name is conjectural, since none survives from medieval times. Gort a' bhaile (garden of the town) conforms with certain suggestions made by A.G. Callant in 1888, but it is possible to produce a list of other interpretations.

In the 19th and 20th centuries, the area was home to large numbers of immigrants from Italy and Ireland, attracted by the industrial jobs and leaving social problems and poverty in their homelands. In particular, huge numbers of Irish Catholic immigrants from County Donegal in Ulster poured into the Gorbals from the mid-nineteenth-century onwards. This huge immigration from County Donegal continued for most of the twentieth-century. The area also housed the new wave of Jewish immigrants from eastern and central Europe, and housed the great majority of Scotland's Jewish population. The Jewish population moved out of the area as it rose in educational and social class; although the Irish Catholic population has diminished to an extent, many have remained since the area's redevelopment.

History

Govan parish was one of the oldest possessions of the church in the region. The merk land of "Brigend and Gorbaldis" is referred to in several sources. The village of Brigend was named after the bridge which Bishop William Rae had built in 1345 over the River Clyde; it lasted until the 19th century. Lady Marjorie Stewart of Lochow was said to have had a hospital built for lepers and dedicated to St Ninian in 1350, although this year is contested by current historians' estimates dating her life and activities. The lands on which the hospital was built were named St Ninian's Croft, and they were later to be incorporated into Hutchesontown.



Gorbals has been redeveloped, and it now has a modern library and learning centre. Some tower blocks remain but the city plans to redevelop some and demolish others.

After the Protestant Reformation, in 1579 the church granted the land for ground rents (feued the land) to Sir George Elphinstone, a merchant who was Provost of Glasgow (1600–1606). The barony and regality of the Gorbals was confirmed in 1606 by a charter of King James VI, which vested Elphinstone and his descendants. These powers descended to Sir Robert Douglas of Blackerstone, who in 1650 disponed (legally transferred) the Gorbals to Glasgow's magistrates for the benefit of the city, the Trades' House, and Hutchesons' Hospital. The magistrates from then on collected the rents and duties and divided them: one fourth to the city, one fourth to the Trades' House, and the remaining half to Hutchesons' Hospital.

In 1790 the lands were divided into lots for development; the City acquired the old feus of Gorbals and Bridgend, and also the Kingston portion of the Barony of Gorbals; the Trades' House obtained a western section; and the remaining section lying to the east and south was allocated to Hutchesons' Hospital. The Hutcheson's Trust then sub-feud a portion of their lands to an ambitious builder, James Laurie. (His grave, along with those of many other builders of Gorbals, is marked with well-carved masons' implements, indicating his Master status. The gravestones are visible at the Burial Ground, established in 1715 and now called the Gorbals Rose Garden). Laurie built the first house in St Ninian's Street in 1794.

The districts are now known as the Gorbals, Laurieston, Tradeston, Kingston, and Hutchesontown. What was once known as Little Govan to the east is now known as Polmadie. It was a successful industrial suburb in the late 19th century, and attracted many Catholic immigrants from Ireland and Italy, as well as Jewish immigrants from Russia and eastern Europe. At one time this area had the great majority of all Jews in Scotland. Industrial decay and over-population overwhelmed the area, which became a center of poverty. The Gorbals railway station opened on 1 September 1877. Changes in the area meant a decrease in business, and it closed to passengers permanently on 1 June 1928.


The Gorbals has long had a reputation as a gritty and rough area of Glasgow. The City Improvement Trust first cleared some slum tenements in 1866. Industrial restructuring meant a loss of jobs, while old factories and support buildings fell into ruin. The Glasgow Corporation's replacement of old, outdated and crowded housing with new high-rise towers in the 1960s did little to improve the area. In the twentieth century, the problems of concentrated poverty and lack of jobs contributed to high levels of crime. Those people who managed to advance in education and economic status left the area for newer housing and work elsewhere.

Throughout the 1980s, the Gorbals was often referred to as the most dangerous place in the UK, as street gangs and casual violence were rife. The poor design and low-quality construction of the concrete, 20-storey flats led to innumerable social and health problems in the area; many of the blocks developed mold and structural problems, and the design prevented residents from visually controlling their internal and external spaces, adding to the social issues. The most infamous of the towers, the Queen Elizabeth Square flats designed by Sir Basil Spence, was demolished in 1993 to make way for a new generation of housing development. In 2004, Glasgow Housing Association announced plans to demolish more of the decaying high-rise blocks, and to comprehensively refurbish and re-clad others.

Much of the area, particularly Hutchesontown, has now been comprehensively redeveloped for the third time, providing a mix of private and social housing. Earlier phases of this recent redevelopment tended toward yellow-brick reinterpretations of traditional tenements, in a post-modern style. More recent phases, masterplanned by Piers Gough, have employed noted modern architects such as Page/Park, Elder & Cannon and CZWG, resulting in more bold and radical designs, accompanied by innovative street plans and high-quality landscaping. They incorporated many pieces of public art. The Gorbals Leisure Centre opened in January 2000 and the number of shopping facilities in the area is on the rise. In 2005, fire destroyed the Catholic church of Blessed John Duns Scotus as a result of a fallen candle. The church was restored and reopened for worship in September 2010.

Since 1945, the well-known Citizens Theatre has been based in the area at the former Royal Princess's Theatre, an historic Victorian building. The area also has a local newspaper Local News for Southsiders. The area is served by Bridge Street and West Street subway stations and numerous bus routes. Plans were unveiled in March 2007 to provide another subway station, in the heart of the redeveloped Hutchesontown.

A famous (and controversial) pub in the district is The Brazen Head, located at the northern end of Cathcart Road. The pub (formerly a railway pub known as The Granite City) is particularly associated with Irish Republicanism. The pub is very near the famous Caledonia Road Church, a now derelict mid-Victorian structure.



Sir Thomas Lipton came from Gorbals (1848 – 1931) He was the famous grocery mogul, perennial America's Cup contender and founder of Lipton's Tea. Also Allan Pinkerton (1819–1884), who achieved fame in the United States by establishing Pinkerton's detective agency was born in the Gorbals.

http://www.glasgowwestend.co.uk/people/gorbalsgoven.php

http://en.wikipedia.org/wiki/Gorbals

http://en.wikipedia.org/wiki/Govan

Thursday, August 18, 2011

The Knitter



I knit to keep death away

For hame will dae me.

On a day like this the fine mist

Is a dropped stitch across the sky.



I knit to hold a good yarn

For stories bide with me

On a night like this, by the peat fire;

I like a story with a herringbone twist.



But a yarn aye slips through your fingers.

And my small heart has shrunk with years.

I couldn’t measure the gravits, the gloves, the mittens,

The jerseys, the cuffs, the hose, the caps,



The cowls, the cravats, the cardigans,

The hems and facings over the years.

Beyond the sea wall, the waves unfurl.

I knitted through the wee stitched hours.



I knitted till my eyes filled with tears,

Till the dark sky filled with colour.

Every spare moment. Time was a ball of wool.

I knitted to keep my croft; knitted to save my life.



When my man was out at sea; I knitted the fishbone.

Three to the door, three to the fire.

The more I could knit; the more we could eat.

I knitted to mend my broken heart



When the sea took my man away, and by day

I knitted to keep the memories at bay.

I knitted my borders by the light of the fire

When the full moon in the sky was a fresh ball of yarn.



I knitted to begin again: Lay on, sweerie geng.

Takkin my makkin everywhere I gang.

Een and een. Twin pins. My good head.

A whole life of casting on, casting off



Like the North sea. I watch wave after wave,

plain and purl, casting on, casting off.

I watch the ferries coming back, going away.

Time is a loop stitch. I knit to keep death away.

By Jackie Kay


Wednesday, August 17, 2011

The Lamplighter


My tea is nearly ready and the sun has left the sky;
It's time to take the window to see Leerie going by;
For every night at teatime and before you take your seat,
With lantern and with ladder he comes posting up the street.
Now Tom would be a driver and Maria go to sea,
And my papa's a banker and as rich as he can be;
But I, when I am stronger and can choose what I'm to do,
O Leerie, I'll go round at night and light the lamps with you!
For we are very lucky, with a lamp before the door,
And Leerie stops to light it as he lights so many more;
And O! before you hurry by with ladder and with light,
O Leerie, see a little child and nod to him tonight!





by Robert Louis Stevenson. This poem is about the days when "Leerie" the lamplighter went round to lignite the gas lamps in the streets of Edinburgh. Stevenson was a sickly child (hence the reference to "when I am stronger) and looking out of the window to see the lamplighter would be a frequent occurrence for the lonely child.





This is a sweet little song about the lamp lighter. It is not Scottish but it fits.






.

Glendevon



©
John Bearcat-Redmond
Fife, Scotland
1960's

Ther's a wee place in Perthshire, it's nae far frae thi Forth
Glendevon Castle is its name ain its nae thit far north.
It stauns oon a hull, nae veri hi, ais ye'll see,
Bit a beautifil place ye hae evir clapped ain eee.

Oh thi castle, thi Castle, in this a glorius Glen
Its donor wis a Douglas, a man amongst men.
Be ye rich, be ye pair or humble, ye wull ken,
Thir's room fer ye aw in thi glorius Glen

Ave bin doon tae Edinbury, ain Glesca ais weel,
Ain ave bin doon in England ait thi big birlin wheel.
Bit gie mi thi land o'Red Douglas ain his men,
Ain thi strength in ma legs fer a waulk up thi Glen.

Oh thi castle, thi Castle, in this a glorius Glen
Its donor wis a Douglas a man amongst men.
Be ye rich, be ye pair or humble, ye wull ken,
Thir's room fer ye aw in thi glorius Glen.

Whin ye gan up Glendevon, which a hope ye intend,
Hae a look ait thi church ais ye waulk rooned thi bend,
Thin gaze yer een roond ye and see fer yersel,
Thit that jaunt up Glendevon his paid ye richt weel.

Oh thi castle, thi castle, in this a glorius Glen
Its donor wis a Douglas a man amongst men.
Be ye rich, be ye pair or humble, ye wull ken,
Thir's room fer ye aw in thi glorius Glen.

So whaur er ye mite be in yer journey throo life,
Wi its ups ain its doons, ain struggles ain strife,
Jist stop fer yin minute, ain yer thochts ye kin sen,
Tae thit beautifil dae thit ye spent in thi Glen.

Oh thi castle, thi castle, in this a glorius Glen
Its donor wis a Douglas a man amongst men.
Be ye rich, be ye pair or humble, ye wull ken,
Ther's room fer ye aw in thi glorious Glen.

Rural Drive North Fife Scotland August 17th



This is for you Haggis. I can dream of Fife and watch this little clip! This is about the time of year I visited in 2007 so it looks so familiar with the corn fields turning golden. Fife ([ˈfəif]; Scottish Gaelic: Fìobha) is a council area and former county of Scotland. It is situated between the Firth of Tay and the Firth of Forth, with inland boundaries to Perth and Kinross and Clackmannanshire. It was originally one of the Pictish kingdoms, known as Fib, and is still commonly known as the Kingdom of Fife within Scotland.

Friday, August 5, 2011

Mare-Stane


(Johann Heinrich Füssli 1741–1825)


The belief that the nightmare was caused by a wicked hag or ogress named "Mara" crushing or trampling on a person during sleep was common among the Teutonic races, and is only recently extinct in Scotland,—if indeed it really be so. The Mara was also in the habit of taking horses out of their stables during the night and riding them about; and horses so ridden were found in the morning with tangled manes and bodies dripping with sweat. A "self-holed" stone, or naturally perforated pebble, known as a “hag-stone“ in England and as a “mare-stane” in Scotland, hung about the bed or in the stable was sufficient to keep the Mara at a distance.

Pennant mentions his having been told by a farmer at Pentonlins, Dumfriesshire, “that a pebble naturally perforated was an infallible cure, hung over a horse that was hag-ridden, or troubled with nocturnal sweats.” The same custom was followed in Nithsdale in 1766. In Angus the stone was one such as is “often found by the sea-side or on the banks of a river, with one or more natural holes in it.” There is no specimen of a mare-stane, so called, in the National Museum, such as has been used to protect horses from being mare-ridden, but there is a naturally perforated pebble of greenstone which was hung up in a byre at Cumbernauld, Dumbartonshire, to protect the cattle from witchcraft.

(Johann Heinrich Füssli 1741–1825)



A small pebble of greenish sandstone, with two perforations, and with the name William H Scott scratched on one face, found in the ruins of an old cow-byre in Dumfriesshire, is also in the National Museum.

In the Ynglinga Saga is an account of King Yanland, who was bewitched by a Finnish sorceress (seidkonu) named Hulda, who caused him to be trampled to death by a “mara.” Three “mare-stanes” formerly used at Marykirk, near Montrose, were exhibited at a meeting of the Anthropological Institute, in June 1877, and described as follows:-

“One of the stones has two human teeth inserted and fixed in the natural holes in the stone. It was known to have been seventy years in one house, and was given to Mr A—, of Marykirk, by an old lady. She had used it to ward off bad dreams.




“The other two are thus described by the person who procured them:— ‘Mare-Stanes were very common in this district (Marykirk), and many are used yet, but those who are in possession of them do not like to own it. They are still common in the fishing villages along our coast. “‘The old grandfather of Mrs N. sometimes comes to Marykirk on a visit, brings his mare-stane in his pouch, and hangs it in his bed. He comes from Stonehaven, and is an old fisherman.

“‘Sandy M.’s wife, while she stayed at B., always kept the mare-stane in the bed; and a Mrs G., of Edinburgh, a lady who came to B., many years, always liked that stone in her bed.

“Old Susan S. assures me that when the females of a house had all the work, and were ‘stinted’ to do a given amount of work at the spinning-wheel before they got any supper, and so much before they went to bed, they were very liable to take the ‘mare’ (i.e., nightmare) owing to anxiety connected with their stints, and the ‘stane’ was a regular preventative. Married ladies, she says, when in an interesting condition, were very particular in having the mare-stane in the proper place, and she has known ‘stanes’ hung in byres, behind cows expected to calve, to ensure safety.”

A “mare-stane” now in the Museum was obtained a few years ago by Sergeant M’Millan of the Wigtownshire Constabulary, who found it in actual use at Gordieston Mill, Dalry, Galloway. It is a small naturally-perforated concretion of flint, and was kept hung within the bed for the purpose of keeping away the nightmare and evil dreams. A second “ mare-stane” found in use in Penninghame Parish was, after a good deal of persuasion, secured by Sergeant M’Millan for a number of jubilee coins. In a letter to me Sergeant

M’Millan says, the old woman in whose possession it then was, stated that her mother, her grandmother, and herself kept it hanging at the bed head “for luck.” The day after the stone was sold, its late owner walked a distance of six miles to the sergeant’s house to get it back again, stating that “she had not got one single wink of sleep the previous night, and that she could account for it in no other way than by the fact of her having parted with the charm. Being assured that she should have it returned to her, she set off on her six mile journey home, and no doubt she has the charm doing duty in her bed at the present day.”

http://www.electricscotland.com/history/articles/charms4.htm

Saturday, June 11, 2011

Donovan

Donovan was born in Maryhill, Glasgow, the son of Winifred (née Phillips), a factory worker, and Donald Leitch, a Rolls Royce factory employee. He contracted polio as a child and the disease, and subsequent treatment, left him with a limp. In 1956, his family moved to Little Berkhamsted near Hertford, England.

Influenced by his family's love for Scottish and English folk music, he began playing guitar at 14. He enrolled in art school but dropped out soon afterwards, determined to live out his beatnik aspirations by going out on the road. In 1963, he took a trip to St Ives with Gypsy Dave and other friends from Hertfordshire.



1960s

Returning to Hatfield, he spent several months playing in local clubs, absorbing the music of the British folk scene around his home in St Albans, learning the crosspicking guitar technique from such local players as Mac MacLeod and Mick Softley and writing his first songs.

In 1964, he travelled to Manchester with Gypsy Dave, then spent the summer in Torquay, Devon. In Torquay he stayed with his old friend and guitar mentor from St Albans, Mac MacLeod, and took up busking (street performing), studying guitar, and learning traditional folk and blues songs.

In late 1964, he was offered a management and publishing contract by Peter Eden and Geoff Stephens of Pye Records in London, where he recorded a 10-track demo tape (recently rediscovered and released on iTunes), which included the original recording of "Catch the Wind", his first single, and "Josie". The first song revealed the influence of Woody Guthrie and Ramblin' Jack Elliott, who had also influenced Bob Dylan. Dylan comparisons followed him for some time. In an interview with KFOK radio in the US on June, 14th 2005, MacLeod stated: "The press were fond of calling Donovan a 'Dylan Clone' as they had both been influenced by the same sources: Ramblin' Jack, Jesse Fuller, Woody Guthrie, and many more."

While recording the demo, Donovan befriended Brian Jones of The Rolling Stones, who was recording in a nearby studio. Coincidentally, he had also recently met Jones's ex-girlfriend Linda Lawrence. The on-off romantic relationship that developed over the next five years was a pivotal force in Donovan's career. Linda exerted a huge influence on Donovan's music but she initially refused to marry him and moved to the US for several years in the late 1960s. She eventually relented however and they married on 2 October 1970 at Windsor Registry Office. Although Donovan had other relationships—one of which resulted in the birth of his first two children, Donovan Leitch, Jr., and Ione Skye Leitch—he remained strongly drawn to Linda, and she became his muse. His confused feelings about her inspired dozens of songs, including "Legend Of A Girl Child Linda", "Sunshine Superman" and many others.

In the first week of May 1965, Donovan met Bob Dylan, then touring the UK, in Dylan's suite at the Savoy Hotel in London. The music press had made much of the supposed rivalry between the two, and of Donovan's alleged aping of Dylan (similarities also noted by Brian Jones of the Rolling Stones), but the meeting went well and Dylan later told Melody Maker: "He played some songs to me ... I like him ... He's a nice guy." The Melody Maker report also noted that Dylan had mentioned Donovan in his song "Talking World War Three Blues" but that the crowd had jeered when Donovan's name was mentioned, to which Dylan had responded backstage: "I didn't mean to put the guy down in my songs. I just did it for a joke, that's all."

The meeting was captured in a documentary by D.A. Pennebaker, who was filming Dylan's Spring 1965 tour, and part of the event was included in the documentary Don't Look Back, although Donovan's management reportedly refused to allow journalists to be present, stating that they did not want "any stunt on the lines of the disciple meeting the messiah".The director later recalled an embarrassing encounter:“
Of course, when Donovan met him he was very excited and decided to play something for him. Dylan said he liked Catch The Wind, but Donovan said, I've written a new song I wanna play for you. So he played a song called My Darling Tangerine Eyes. And it was to the tune of Mr Tambourine Man! And Dylan was sitting there with this funny look on his face, listening to Mr Tambourine Man with these really weird words, trying to keep a straight face. Then Dylan says, Well, you know, that tune ... I have to admit that I haven't written all the tunes I'm credited with but that happens to be one that I did write! I'm sure Donovan never played the song again! ”


In an interview for the BBC in 2001 to mark Bob Dylan's 60th birthday, Donovan acknowledged Dylan as an important influence early in his career while distancing himself from the "Dylan clone" allegations:“ The one who really taught us to play and learn all the traditional songs was Martin Carthy—who incidentally was contacted by Dylan when Bob first came to the UK. Bob was influenced, as all American folk artists are, by the Celtic music of Ireland, Scotland and England. But in 1962 we folk Brits were also being influenced by some folk Blues and the American folk-exponents of our Celtic Heritage...Dylan appeared after Woodie [Guthrie], Pete [Seeger] and Joanie [Baez] had conquered our hearts, and he sounded like a cowboy at first but I knew where he got his stuff—it was Woodie at first, then it was Jack Kerouac and the stream-of-consciousness poetry which moved him along. But when I heard Blowing In The Wind it was the clarion call to the new generation – and we artists were encouraged to be as brave in writing our thoughts in music...We were not captured by his influence, we were encouraged to mimic him—and remember every British band from the Stones to the Beatles were copying note for note, lick for lick, all the American pop and blues artists—this is the way young artists learn. There's no shame in mimicking a hero or two—it flexes the creative muscles and tones the quality of our composition and technique. It was not only Dylan who influenced us—for me he was a spearhead into protest, and we all had a go at his style. I sounded like him for five minutes—others made a career of his sound. Like troubadours, Bob and I can write about any facet of the human condition. To be compared was natural, but I am not a copyist.

Monday, March 21, 2011

Snowdrop.


by Colin Campbell

Pretty little snowdrop,
show off while you can.
Beneath the melting snow
the bluebells wait in line.

http://www.colincampbell.org/index.html

Elegy - Written in Spring


'Tis past: the iron North has spent his rage;
Stern Winter now resigns the lengthening day,
The stormy howlings of the winds assuage,
And warm o'er ether western breezes play.

Of genial heat and cheerful light the source,
From summer climes, beneath another sky,
The sun, returning, wheels his golden course:
Before his beams all noxious vapors fly.

Far to the north grim Winter draws his train,
To his own clime, to Zembla's frozen shore;
Where, throned on ice, he holds eternal reign;
Where whirlwinds madden, and where tempests roar.

Loosed from the bands of frost, the verdant ground
Again puts on her robe of cheerful green,
Again puts forth her flowers; and all around
Smiling, the cheerful face of Spring is seen.

Behold! the trees new deck their withered boughs;
Their ample leaves, the hospitable plane,
The taper elm, and lofty ash disclose;
The blooming hawthorn variegates the scene.

The lily of the vale, of flowers the queen,
Puts on the robe she neither sewed nor spun;
The birds on ground, or on the branches green,
Hop to and fro, and glitter in the sun.

Soon as o'er eastern hills the morning peers,
From her low nest the tufted lark upsprings;
And, cheerful singing, up the air she steers;
Still high she mounts, still loud and sweet she sings.

Now is the time for those who wisdom love,
Who love to walk in virtue's flowery road,
Along the lovely paths of Spring to rove,
And follow Nature up to Nature's God.

Meaning of unusual words:
Zembla = Nova Zembla is an archipelago in the Arctic Ocean in the north of Russia



by Michael Bruce (1746-1767)

Friday, February 11, 2011

Mull Of Kintyre




Mull Of Kintyre

Mull of Kintyre, oh mist rolling in from the sea
my desire is always to be here
Oh, Mull of Kintyre

Far have I travelled and much have I seen
Darkest of mountains with valleys of green
Past painted deserts the sun sets on fire
as he carries me home to the Mull of Kintyre

Mull of Kintyre, oh mist rolling in from the sea
my desire is always to be here
Oh, Mull of Kintyre

Sweep through the heather like deer in the glen
Carry me back to the days I knew then
Nights when we sang like a heavenly choir
of the life and the times of the Mull of Kintyre

Mull of Kintyre, oh mist rolling in from the sea
my desire is always to be here
Oh, Mull of Kintyre

Smiles in the sunshine and tears in the rain
Still take me back where my memories remain
Flickering embers go higher and higher
as they carry me back to the Mull of Kintyre

Mull of Kintyre, oh mist rolling in from the sea
my desire is always to be here
Oh, Mull of Kintyre

Mull of Kintyre, oh mist rolling in from the sea
my desire is always to be here
Oh, Mull of Kintyre

Paul McCartney wrote this with Denny Laine, his band mate in Wings. The song is a tribute an island in Scotland where Paul and his wife Linda had a farm. The Mull of Kintyre island is known for its beautiful scenery and tranquil atmosphere. After a difficult breakup with The Beatles, McCartney went there to avoid a nervous breakdown.


In Britain it was the best-selling single of the '70s, selling in excess of 2 million copies, which was more than any Beatles record.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



This is dedicated to Donna Naylor who shared it with me tonight. May God's love carry her.


.

Saturday, November 27, 2010

Aileen Carr -This Is No' My Plaid (trad.)

This is a favorite song of mine sung here by Aileen Carr. The song is often said to be a Jacobite-era song. The lyrics are possibly coded speech about the exiled Charles Edward Stuart, better known as Bonnie Prince Charlie. After the 1745 Jacobite Uprising, much of the familiar trappings of Scottish culture were outlawed. To openly speak support for the Jacobite cause would have been folly, so this (and probably many other) songs were written to communicate love (that is, the love of a patriot, disguised as a romantic love in the song) for Bonnie Prince Charlie. The plaid is a symbol of the loss of an independent Scotland. After the 1707 Act of Union bound Scotland and England, many Scots were left feeling that their country was no longer their own. (...this is no ma plaid, bonnie though the colours be...)





MA PLAID (trad.)

This is no' my plaid, my plaid, my plaid
This is no' my palid, bonnie though the colour be

The ground o' mine was mixed wi' blue
I got it frae the lad I lo'e
He ne'er has gied me cause tae rue
And oh the plaid is dear to me
For mine was silky soft and warm
It wrapped me round frae arm tae arm
And like himself it bore a charm
And oh the plaid is dear to me

Although the lad the plaid wha wore
Is now upon a distant shore
And cruel seas between us roar
I'll mind the plaid that sheltered me
The lad that gie'd me it like me well
Although his name I duarna tell
He likes me just as weel's himself
And oh the plaid is dear to me

Oh may the plaidie yet be worn
By Caledonians still unborn
Ill fa' the wretch whae'er shall scorn
The plaidie that's sae dear tae me
Frae surly blasts it covers me
He'll me himself protection gie
I'll lo'e him 'till tha day I die
And oh the plaid is dear to me

I hope he'll no' forget me now
Each aften pledged aith and vow
I hope he'll yet return to woo me
In the plaid sea dear tae me
And may the day come soon my lad
When we will tae the kirk and wed
Weel happit in the tartan plaid
The plaidie that's sae dear to me

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



About Aileen Carr

Aileen is originally from Blairgowrie in Perthshire, and now lives in Auchtermuchty. She's been singing traditional songs since her teens - what else would you be doing coming from these places? During her long career she has sung by herself, with Coelbeg among others, and now with Palaver. Hers is the deep voice in Palaver's sound. Aileen has contributed tracks to a number of compilation albums.

The 1960's were exciting times for the folk revival in Scotland but it was hearing the likes of Belle Stewart at the 1967 Blairgowrie Festival that was a defining moment for Aileen - not to mention the day she was given, at teacher training college, a copy of Norman Buchan and Peter Hall's 1973 'Scottish Folksinger'. On her family moving to Goole in Yorkshire, Aileen became a floor singer at the South Cave folk club and at the Bluebell Club in Hull, where she met many performers such as Alison McMorland and Archie Fisher. In the 1970's she returned to Scotland and became a regular solo singer at St Andrews and other folk clubs, performing at Kinross Festival and throughout Britain and Ireland. During her long career she has sung by herself, with Coelbeg among others, and alongside Maureen Jelks and Chris Miles in the highly popular a capella group, Palaver

Aileen continues to sing solo, and over and above her clear, disciplined performances and her excellent, powerful singing voice, her most important attribute is the way she persistently searches out fresh and interesting material from both sung and printed sources, constantly researching texts, tunes and history. Although an eclectic singer in the true folk tradition, it is the great classical story ballads - especially Scottish - and their rich history that she enjoys most of all.

Friday, November 12, 2010

New Jeana Leslie and Siobhan Miller CD released on Greentrax



http://www.youtube.com/watch?v=ojt2ZlbEXgI

Jeana Leslie & Siobhan Miller are two of Scotland's talented young traditional musicians. Working together as a duo, they won the prestigious BBC Radio 2 Young Folk Award 2008

Jeana Leslie - fiddle, voice
Jeana hails from Deerness in Orkney. A member of the group Hadhirgann she has many varied influences and has visited the east coast of Canada (PEI & Cape Breton) many times where she has played with the local musicians. Jeana is a also a keen tune writer and has played at Orkney Folk Festival both as a soloist and band member. A student at RSAMD she received the Jimmy Shand Scholarship from the academy for promising musician with first study in fiddle or accordion. Jenna is also a senior teacher for the RSAMD YouthWorks programme, along with teaching for Glasgow Fiddle Workshops, Glasgow Cultural Enterprises and Celtic Connections workshops throughout the year.

Siobhan Miller - voice
Siobhan is 21 and from Penicuik near Edinburgh. She is a favourite at TMSA’s Auchtermuchty Festival since first appearing there at 13 and has won both the children’s and women’s singing competitions. She has appeared as a solo singer at several festivals including Celtic Connections and guested with Jock Tamson’s Bairns at Edinburgh’s Queen’s Hall last year. Siobhan is currently in her third year at the Royal Scottish Academy of Music and Drama in Glasgow studying a BA in Scottish Music.


The CD Shadows Tall, I believe is to be released officially on the 19th of Nov. on the Greentrax label. Jim met Siobhan Miller in Leadburn. She actually waited on my husband Jim at the Leadburn Inn as she works there. To make this all the more amazing she knows Ed Miller. I hear a strong Kate Rusby influence in her music only with a Scottish twist. Her fellow musician, Jeana Leslie is also excellent and the two of them make for an outstanding sound. They hope to tour in the US soon.

Greentrax Recordings
Specialising in traditional and contemporary Gaelic and Celtic music
from Scotland and beyond.






http://www.myspace.com/jeanalesliesiobhanmiller

Eilean Donan Castle on Skye







Photo by James Boyle

As one of the most iconic images of Scotland, Eilean Donan is recognised all around the world. Situated on an island at the point where three great sea lochs meet, and surrounded by some majestic scenery, it is little wonder that the castle is now one of the most visited and important attractions in the Scottish highlands.

Although first inhabited around the 6th century, the first fortified castle was built in the mid 13th century and stood guard over the lands of Kintail. Since then, at least four different versions of the castle have been built and re-built as the feudal history of Scotland unfolded through the centuries.

Partially destroyed in a Jacobite uprising in 1719, Eilean Donan lay in ruins for the best part of 200 years until Lieutenant Colonel John MacRae-Gilstrap bought the island in 1911 and proceeded to restore the castle to its former glory. After 20 years of toil and labour the castle was re-opened in 1932.

Today, you can explore nearly every part of the castle, and enjoy a journey through the history of the area.

The Castle now has its own visitor centre, which includes the Ticket Office, Coffee Shop, Gift Shop and toilets.

Isle of Skye







The Rams Horn

The Rams Horn on Facebook