1 20 249 https://corkfolklore.org/archivecatalolgue/files/original/f562ece7cc87e70b4c5d0d377c9e2bd6.jpg 1f03cbb120b155d41988136d73b090ae https://corkfolklore.org/archivecatalolgue/files/original/12489c95b7e4a60fa1b10904d3631197.wav 6977102c507d41b323da1f6221841576 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Con O’Callaghan Interviewer The person(s) performing the interview Kieran Murphy Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 106min 24sec Location The location of the interview Douglas Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td> 0.00.28 - 0.05.01 </td> <td> Con recalls his child hood growing up on fuller’s road in the Lough area of Cork city (shallow limestone lake south west of cork city). And how it was a lovely area to grow up in at the time he then mentions it was over 70 years ago since he was a child growing up in that area. And how his father had the first car in the area and how there house had a side garden and how his father would park the car in the side of the house. Con then mentions how as kids they would play on the road and how it was cul de sac (a street with only one inlet or outlet) and how there was no cars so they had the entire street to play on. Cons then mentions that it is not like 20022 were houses have two or three cars. Con explains were he went to school in Sullivan’s quay and how he started his schooling in saint Marys of the isle as child and then moved over to Sullivan’s quay secondary school. Con then recalls how his father wanted him to go to college but how he had no interest in going and how he always wanted to work with his hands and how he wanted to become a carpenter. Con then explains how at the age of 14 how he got his apprenticeship with a small builder called JJ O Connell and how he went out of business just as Con was finished his apprenticeship. And how he then went working for various builders he then mentions the building firms as been PJ Hegarty and sisks on Building sites and how he worked on housing schemes and big industrial concrete scheme were they would be building reservoir’s. He also remembers moving jobs at this time to the regional Technical college now (CIT Bishoptown) as trainee foreman Then meeting his wife of 49 years. And Con recalls how her mother who had Connections in the (OPW) (office of public works) were he then was Offered job as a carpenter and how he encountered architect who became a friend who had the Same interest as him in sailing and how he was a member of the Royal Cork Yacht club in Crosshaven. Con then recalls been offered a job as inspector with OPW Because people working on building sites had better money and Did not want to join the OPW so the commissioner of (OPW) at the time came up with a scheme to train people within The (OPW) to become inspectors so at 50 Con became an Inspector with (OPW). And he goes into detail on how he returned to do computer classes as he had no knowledge of computers and how he received his ECDL Certifications. </td> </tr> <tr> <td> 0.05.01 - 0.09.03 </td> <td> Con then goes into detail on how he returned to do computer classes as he had no knowledge of computers and how he received his ECDL Certifications. Con then mentions that he is a recovering alcoholic and goes into detail about this part of his life and his wife Been a student at UCC at this time and why he stopped drinking alcohol and Got Help in Tabor lodge ( addiction treatment service) and he is Active member of Alcoholics Anonymous and how his bosses were helpful to him in this period of his life and how he got opportunity for promotions within the OPW. CHECCK THIS WITH KEIRAN AND TOMAS. </td> </tr> <tr> <td> 0.09.03 - 0.19.06 </td> <td> Con then goes on to say how he got into the music scene as Drummer And percussionist as a African drummer with drum Village and when Martin Aherne a community health worker For the (HSE) (health service Executive) advertised in local newspaper looking for musicians for Martins (HAZ)( health action zone). He then joined the group called Shandon HAZ music group and they moved to Kerrigan Tyrell hall at tinkers cross (a suburb in Mayfield in north west of Cork city) Con then recalls that Martin dies and they rename the group to martin’s music. Con then mentions the covid 19 pandemic and how he set up a Zoom meeting (video conference platform) so the group could Still meet through these meetings when people were in lockdown and how it held the group together for the 2 years of the lockdown. Con then explains about playing a gig for women’s group in Farranree and how some members didn’t want women to be part Of the group as they saw themselves as men’s shed so those Members left and they now have women members in the Group. Con also explains how they have another gig for the lifelong learning festival in the local library and also mentions playing a tribute concert to Martin Aherne in the grounds of the orthopaedic hospital. </td> </tr> <tr> <td> 0.19.06 - 0.25.43 </td> <td> Con then recalls been raised on Fuller’s Road. And talks about his childhood fishing on the Lough. He then mentions about his children when they were Born and Buying a mobile home in Garrettstown. And how finding a Stray dog which began 15 year relationship with dog agility Shows. And how he went to classes to learn to train the dogs in Agility Courses he then goes onto say how he began building Courses For the organisation. He then refers to how he travelled all over the country with his family going to dog agility shows and winning trophy’s and how his children learned to handle The dog as well. Con then mentions when he met his wife how he was involved with racing motorbikes and how he had few bad accidents. He then mentions boats and how physically demanding racing Boats was. Con then recalls how he also had no time to give to racing at that period. Because of family commitments and his music although he does Go on to explain how he did go to the Mediterranean France Spain and Portugal. Helping people taking their boats there and bringing Boats back from these locations. He then goes onto describe how he is retired now and people contact him to bring boats back from Spain and they send him His airline ticket and he goes help them sail the boats back to Ireland as they would have no crews. Con them recalls that he now sails with an individual called Pat O Leary and how his boat is a cruiser rather than a thoroughbred Racing boat. And how he invited Con and his wife on a cruise to Bantry taken in the sights of Sherkin Island Schull Baltimore. And how the summer weather was beautiful and how the cruising is Easier than racing as you go in straight line for miles and how The yacht racing is more physical on your body and how cruising is great fun. He goes onto say how he loves where he lives now and how he loves music and sailing. </td> </tr> <tr> <td> 0.25.43 - 0.29.07 </td> <td> Con then returns back to growing up on Fullers road and how it Amazes him now that children in 2022. Are all indoors playing Computer games as to when he grew up he refers to how he Would have a sandwich and go out on the road and spend as Much time away from the home as possible playing football Hurling cricket cowboys and Indians. And how they had no technology at that time he goes onto say that sweets were a luxury and if they got some chocolate on Sunday you Considered it a great privilege. He then tells us were fuller’s road is situated by the Lough Church. And how earlwood estate a (suburb south west of Cork city) was only been constructed and beyond that you had open Country side. And how he and few friends had small terriers And would be out the country chasing rabbits and how healthy the Outdoor activities were. And how this generation only exercise Their two thumbs playing computer games and how they think They are great soccer players and can drive cars fast but they are Doing it all on screen were his generation were enjoying Themselves doing sport. He then describes how they were different times and how he loved living on fullers’ road. Con then give details about lighting bonfires And how the flames were as big as the two story houses and how he was getting small bit older and getting interest in women. He then give details of playing spin the bottle and kiss or torture with the girls and how there was no internet dating. </td> </tr> <tr> <td> 0.29.07 - 0.35.42 </td> <td> Con then goes into detail on how small the house was that he Grew up in with his parents and sisters. He goes onto mention contraception and total abstinence he then goes explains how a TV programme called ‘The Way We Were’ Presented by Mike Murphy from RTE (Raidió Teilifís Éireann) and how it mirrored his own childhood memories and how it was so similar to his own childhood. Con describes how his own father was sleeping in the spare room and how they were cramped conditions. He then mentions a clock that his father owned and how he would Wind it every day and how Con still has the clock to this day And how he now winds it every day. And how his father got the Clock out a house fire in Ballyclough (southwest of Cork city near Mallow). He also recalls how his father was clerk of Works with the council and how his father was raised by his Aunt as both his parents died at young age he then goes onto say How he bought the family home when his Father died and how he renovated the house. He goes onto say he had a very privileged upbringing and how He would go to work with his father as a teenager and been let Go to the rubbish dump with the drivers. As his father went to Meetings with council staff and how other workers did not like Having the boss’s son with them. And he describes how ironic That he went on to do the same work as his father in the OPW Rather than in the council like his father. He then recalls how his Father picked the house on Fullers road And that it had the most land plus how it paid dividends to Con when he went on to sell it in later Years before the boom time in the building industries collapsed And how he got planning for apartments on the land before he Sold it . </td> </tr> <tr> <td> 0.35.42 - 0.43.17 </td> <td> Con again speaks about his father and how he loved him and his Mother he then explains how his father was also a motorbike Enthusiast. And in 1970 how Con paid six hundred pounds for 750cc Norton commando motor bike and how he was part of the Influx of big bikes into Ireland. And how his friends were also into big bike like Honda 4 and Kawasaki 3. And how the side of Cons house became a garage for them to Fix their bikes and how His father would have only seen bikes like the BSA Norton’s And triumphs. And how His father was amazed to see the Japanese bikes And the latest technology and how his friends thought he had The coolest dad as the other fathers saw them as dangerous Equipment. Con then recalls how some friends died on road accidents and How lucky Con was to never to be in very serious accident. He Then describes how his father died at the age of 73 and his father Smoking 60 cigarettes a day. And how Con was only 20 years old When his father passed away and his father was 54 years old when con was Born and how he had only 20 years with him but packed so Much into those years. In addition to this Con recalls how his father was very enthusiastic Person and how he would have the family up at 8 AM for Sunday mass. And how They would drive to Youghal beach and how they would Spend the day down there swimming and making sand castles He also talks about to how his father got to know the Fisher men that Would take Con up the river black water on their boats to check For illegal fishing nets. And make sure they would not be blocking the salmon going up Stream. And how his father was aware of Cons interest in boats and as Con was only a child at that time and would not have had Access To boats as his father had no interest in boats. He then Goes back talking about his first motor bike at the age of 16. And how his father helped him purchase the Norton bike at price of five hundred and 95 pounds. This was a lot of money 50 years Ago and how you would pay 20 thousand euros for the same bike in 2022. In addition to this Con explains how he went to a finance company at first to get a loan of the money. But He explain how he would be paying 45% back on the loan Con goes onto Explain how his father bought the bike for him and he paid him Back On a weekly bases. Con then mentions how if he was going camping with his Friends to Mondello Park (International Race Circuit). His father wouldn’t take no money That week for his bike but Says when he got within 100 pound Of the final payment his father did not take the final payment From him. He goes onto say how it set him up to save money and how at 71 years of age Con is happy going sailing and playing Music. </td> </tr> <tr> <td> 0.43.17 - 0.56.57 </td> <td> The interviewer then ask Con about market gardens and he Explain how his father grew his own vegetables of potatoes and Cabbage and how they only lived 10 minute walk from Patrick Street (Cork city’s main street) and how his father let their Garden go into hay and using a scythe to cut it and making Haystacks in the middle of their garden and also keeping Chickens and how his father had apple and pear trees. Con then explains about going slogging apples and the fun of Doing it. He then describes about the cold weather and how they Made skating ring on the road and how different it is from kids Playing these days. He then goes into detail on cutting timber with a Cross saw Con then recalls on what his father’s job was straitening corners. He then mentions the road going up to Cork Airport and how it was only a boreen (a narrow country road). He then shows the interviewer a photo of the road been built and mentions a Mr Donovan who was an engineer. Con then mentions how his father Worked on three major road projects including the dual carriage Way in Tivoli and were it starts at silver springs hotel and finishes at Dunkettle Bridge and how it was the first road in Ireland to have a central reservation were traffic was going in two Different directions and compares it as major job at the time Comparing it to the likes of the link road Bypassing Cork city. Con then comments on Inchigaggin bridge and a Grand prix racing Before he was born and how it was an international circuit and How his father was of great personality and how the timber his Father cut was used for heating the house as that was the only Form of heating they had. Con then reverts back to his child hood and been bathed in a galvanised bath in front of open fire and How the heat coming out of the fire was the only heat in the House. And how they would light the fire in the bedroom only if You were sick and he then compared them to houses in 2022 Which would have better heating systems and how his own House now has double glazed and treble glazed windows. And How they would boil kettles of water to take a bath in his youth And he explains how it was like how they bathed in the cowboy films and that’s how he was raised and did not know anything better. </td> </tr> <tr> <td> 0.56.57 - 0.10.104 </td> <td> Con then recalls the food they were eating and were they Would buy this food in the local shop. Before the advent of big Supermarkets and how everything from Bread and meat was Sourced locally and how the food was set dinners for each day Of the week he then mentions fish was always Fridays dinner And that’s how people lived there lives. Con then mentions Covid 19 pandemic and how there was a Polio epidemic in cork And how it was only effecting children who were bound to wheelchairs and he explains what calliper’s were and how he Was sent to live with friends of his fathers in Mallow and how The epidemic was confined to Cork city and how his father’s Friends had no kids and were delighted to take him into their Home. And how he was treated like royalty and how his pocket Money increased from 6 pence a week to 3 pence a day and how He spent the full summer down there and it was magical as he Had Great freedom as they were not as strict as his parents and how He built rafts and go out on the river and would have no life jackets and how there was some kids were in tragic accidents. </td> </tr> <tr> <td> 0.10.0104 - 104.37 </td> <td> Con then returns to his childhood growing up in the lough and Going fishing and model boat racing in the lough and how he Was fascinated on how they sailed against the wind. He then Mentions how there was a gentleman in a Punt (flat bottomed Boat with square cut bow). And how this person thought him How to row and when he Became ill that Con took on the duty Of rowing the Punt to retrieve the model boats that became Entangled in the reeds. And how he was going to secondary School in (sully’s quay) (Sullivan’s quay secondary school) and How he would skip School on Wednesday afternoon to go Sailing on the Lough were he should have been up in Deer park Were the monastery was with the Christian brothers doing Athletes and GAA which He had no interest in. Con then mentions a Mr Corcoran who was in charge of the model boat club and he lived in Hartland’s avenue and how he Had Agreement with him to open the club on Wednesday afternoon In addition to making excuse to the Christian brothers why he did not go to Deerpark. Con goes into detail on what he did in the Rowing boat on the Lough he goes onto say how he fell in love With boats from that experience and from there he discovered Motorbikes women and alcohol and how he stopped the model Boat pastime. He then goes onto say that he then met his wife Clare and how He bought his first small sailing boat and how he Progressed to bigger sailing boats and how his last boat was 6 Berth and how Con bought it as a new boat and how expensive it Was but Himself and his wife travelled exclusively on it and had Great memory’s </td> </tr> <tr> <td> 1.04.37 - 1.06.12 </td> <td> Con then goes Into detail how he learned how to sail with Eddie English in Cobh (seaport town on the south coast of county Cork) and how he did a training course and was fascinated by The learning ability’s he got but had some idea how to sail Before taking the training course he then says that he took the Training course over 50 years ago, probably around 1972. </td> </tr> <tr> <td> 1.06.12 – 1.07:57 </td> <td> Con then goes onto explain how he loved every aspect of sailing Which included the repairing of boats he then goes onto explain How he had a bridging loan with the bank for an extension on His house and how he spent the money on his first sailing boat In county Limerick and went back to the bank for more money The following week and how it all worked out fine. </td> </tr> <tr> <td> 1.07.57 – 1.13.55 </td> <td> Con then explains what make a great sailor and how you need Passion for it which he still has at 71 years of age and how he loves everything involved with racing. Con then explains how he would Have sailed with people that He would never sail with again he Explains one episode of bringing a boat back from Spain with a very excitable person and his wife and they hit a storm at sea and how he was not Prepared enough with weather forecast and You have to be calm when you have problems at sea. And how a Three day trip took them five and half days because The person had the forecast wrong. And he goes onto explain how he did Another trip were the Person had everything you needed for a Cross channel trip and How Con made a mistake in the first Incident where he didn’t Read the forecast beforehand and how You need trust the people You are sailing with. And how people That would be in Baltimore a ( fishing village in western side of Cork county) for weekend and take a chance In bad weather because they wanted their boat back in its berth Because they would have work on a Monday and if left in west Cork they would need to retrieve it midweek. Con goes onto say that he Stayed in Baltimore for a week with His wife Clare because the Weather was not good for sailing and how his wife loved been On the boat. But she was not a sailor so Con was sailing single handily and His wife did the cooking on board and how above The deck was his concern and below deck was hers. Con explains He is very cautious when sailing because you had To think about others people life’s including the lifeboat people he then goes onto say how he looks at a series on TV called saving life at sea And the stupid things people do putting other Peoples life at risk to rescue them. </td> </tr> <tr> <td> 1.13.55 – 1.21.53 </td> <td> Con then returns to explain in detail about his trip back from Spain with bad weather and the problems they had and when They came out the other side of the storm by the Fastnet light House and how Anne the person wife was a lovely person and How they were 4 to 5 mile outside the old head of Kinsale (a head land near Kinsale county cork). Con then goes onto explain how the boat engine failed them and It would be a situation that he would never put himself in again and how he has done longer trips since on trips down to Greece and how all the crew had their own showers and toilets on board And how it was pure luxury. </td> </tr> <tr> <td> 1.21.53- 1.23.19 </td> <td> Con then goes onto tell when he joined the Yacht club and how He become a cruiser committee member and how he now Organises trips away and in the winter time he would organise To have Functions and talks in the yacht club and goes onto to Describe how one guy in the yacht club went sailing to Russia And documented his trip and then presented a after dinner talk About it In the yacht club and says you didn’t have to be a sailor To enjoy these events. </td> </tr> <tr> <td> 1.23.19 – 1.25.03 </td> <td> Con then goes onto explain the process of a laying up supper And how they happened at the end of the sailing season and There is different classes within the yachting club and how Prizes are given to different types of boats for example Dinghy’s Cruiser and Racers he then goes to say that he sailed For 20 years on a boat which they called a “1720” which is a Very High speed machine. And they would do up 20 to 22 knots and Con says it would be The same as doing the speed of 100 miles an hour in a car plus Con explains that all these boats are the Same size and shape And it’s all about the sailors on board because they are Physically demanding and says he’s gone a bit Too old for that type of sailing these days. </td> </tr> <tr> <td> 1.25.03 – 1.29.32 </td> <td> Con then explains the tradition of Stag night and how he would Go but he does not drink alcohol and how it’s different then a Stag that you would have before your Wedding. And how in the Yacht club it is very conducted event and how They would have A master of ceremonies and how he and Others would sing a Song or tell a story and recite poetry and There would be a Piano Player at this event and how it is done in a traditional way. Con then explains the traditional food they would eat for Instance Crubeens (from Irish crúibín, meaning pig's trotter) And how Messy they were to eat and how people in 2020 do not eat them. He also mentions Black pudding which (Is a blend of meat, oatmeal or barley herbs and spices and the Quintessential fresh Blood). And Tripe and Drisheen which Con Says he would not eat he Then explains what tripe and drisheen is and how popular it was To eat and how his father would have Eaten it he then goes onto Say how time have changed in the Yacht club especially the dress code of its members. And how it was because of people like Con joining the yacht club and Since he would not class himself as one of the doyens of Cork city. And how the Yacht club is open for everyone to join in 2022 And that it Would have been very difficult to join the yacht club Few years Previous and how they have changed practices and Put Initiatives in for new member to go sailing. </td> </tr> <tr> <td> 1.29.32-1.31.05 </td> <td> Con then describes how it was when he joined the yacht club And how he knew people in his situation that would not go into The yacht club because they felt intimidated by the high Powered business men who owned luxury yachts. And how Con Didn’t care what they thought of him as he just wanted to go Sailing and could not afford his own boat and how He broke Rules to just go sailing. Moreover he explains how eventually he got to own his own Boat. Con explains how the yacht club was good for him and others During the covid 19 pandemic as they had an open marquee With heaters so he could go with his wife for meals in the yacht Club and how he felt safe there as they were outdoors. </td> </tr> <tr> <td> 1.31.05 – 1.32.17 </td> <td> Con then goes into detail of the rules he broke in the yacht club He describes that he don’t like wearing long pants as he always wears shorts even in winter time and how other members would Have a more conservative dress code. </td> </tr> <tr> <td> 1.32.17 – 1.37.40 </td> <td> Con then goes into detail on how he got into music and how he Always had a passion for African drums and how his wife’s Aunt Sheila. was involved in African drumming and how she Gave him a Phone number for Eamonn Cagney who is one of The best percussionist in the country and was playing music With Niwel Tsumbu and they were giving classes in Cork and how Con bought his own drum after a week of playing with them. And has been playing for 20 years he also mentions a guy called Fergal O’Connor who Would have Indian heritage and he was Giving a workshop in Cork For beginners and how he asked Con to help him with the Classes. And how a lady arrived with a pair of Conga drums and Con Then bought his own set the following week he also says how he is very impulsive person and how he was coming close To retirement so he decided to start his own band. And how he Put notices up in the local library for members to Play in nursing Homes he then explains about the African drums And how he was involved in several gigs and how he played in 2011 for Charity gig for the Tsunami in Japan On Patrick Street in Cork City and raised six thousand euros and how people were very Generous and how they had people from the Red Cross (a global voluntary network, responding to conflicts, natural disasters) and how they got the general public to play on the drums for fun. </td> </tr> <tr> <td> 1.37.40 – 1.41.42 </td> <td> Con then explains how Martin’s Music works and how he Guides The group and details how they did the gig in farranree For Majela and how Con structured the group and how he would write up a list of tunes that they would play so that everybody in The group knows what they are playing he then Goes onto say That when the group gets back to normal after the Pandemic They can learn new songs and how they are planning a gig on the 7th (of April). And how they only play cover version of songs as a group the likes of Bob Dillon or Dickie Rock or Van Morrison. Con Explains what they get for these gigs is the feel good factor and How it is good to play to an audience he also say that they play For old folks home like St Luke’s and Ballyphehane which are Closed at the moments but is hoping to get back there shortly. </td> </tr> <tr> <td> 1.41.42 -1.43.16 </td> <td> Con then explains how the group has performed better every Time they play as practice is good for bringing a group together He then explains that they don’t play music the whole time they meet as they also have chats whit each other as social Interaction and putting a little bit back into the community and They giving people some bit of happiness he then describes Martins Music as very good. </td> </tr> <tr> <td> 143.16 – 1.46.24 </td> <td> Con then is ask by the interviewer what his party piece in the laying up super in the yacht club is and he explains that he sings The song the voyage about saint Brendan finding America and How He first heard the song Con also sings the rocky road to Dublin And ride on. Con then sings a verse of the voyage. INTERVIEW ENDS AT 16.10 PM </td> </tr> </tbody> </table> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Con O’Callaghan Date A point or period of time associated with an event in the lifecycle of the resource 14 March 22 Contributor An entity responsible for making contributions to the resource Cork Folklore Project Identifier An unambiguous reference to the resource within a given context CFP_SR00797_O'Callaghan_2022 Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource .wav Building Cars Cork Injury Music OPW Polio Roads Sailing Slogging Apples The Lough https://corkfolklore.org/archivecatalolgue/files/original/c0117c7b0ed5b74d355424f3311c2883.jpg a7bbb022b0b590f9b9c169fe7115de9f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Geraldine Healy Description An account of the resource Geraldine Healy Portrait Photograph Creator An entity primarily responsible for making the resource Gráinne Magee Rights Information about rights held in and over the resource Cork Folklore Project Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If the Stones Could Speak: More Stories of Cork’s Built Heritage (2015) Subject The topic of the resource Built Heritage: Description An account of the resource 9 interviews with 8 people This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’. 9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film. <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">The film is available on the Cork Folklore website</a> The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. The project was co-ordinated by CFP Project Manager Mary O’Driscoll. Support: This project was part-funded by Cork City Council. Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Interviewees: Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan: Interviewers: Mark Wilkins (9); Annmarie McIntyre (3): Identifier An unambiguous reference to the resource within a given context CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork: Ireland: 1700s-2010s: Relation A related resource If the Walls Could Talk: Stories of Cork's Built Heritage (2013) Links to: <a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener">Catalogue Collection</a> <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">Film</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource 9 Audio 3 Video Format The file format, physical medium, or dimensions of the resource .wav .mov Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Geraldine Healy Interviewer The person(s) performing the interview Mark Wilkins Annmarie Mclntyre Location The location of the interview Rathmore Park, Cork, Ireland Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav .mov Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Geraldine Healy Subject The topic of the resource Built Heritage: Date A point or period of time associated with an event in the lifecycle of the resource 30 October 2014 Contributor An entity responsible for making contributions to the resource Interviewee: Geraldine Healy Interviewer: Mark Wilkins Videographer: Annmarie Mclntyre Identifier An unambiguous reference to the resource within a given context CFP_VR00542_healy_2015 Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 2 .wav File 2 .mov File Relation A related resource For more from Geraldine. As Interviewee: <a href="http://corkfolklore.org/archivecatalolgue/document/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/15" target="_blank" rel="noreferrer noopener">CFP_SR00505_healy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/167" target="_blank" rel="noreferrer noopener">CFP_SR00510_healy_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/174" target="_blank" rel="noreferrer noopener">CFP_SR00523_healy_2014</a>; CFP_SR00700_healy_2019; CFP_SR00701_healy_2019; CFP_SR00709_healy_2019; CFP_SR00710_healy_2019: As Interviewer: CFP_SR00387_Sheehan_; CFP_SR00395_Speight; CFP_SR00421_Cronin. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1800s, 1900s Type The nature or genre of the resource Video https://corkfolklore.org/archivecatalolgue/files/original/929b5fa10c3e7231eaf00b37abc5f57d.jpg a9f30be16f393866053370ece956c42a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If the stones could sleep cover Rights Information about rights held in and over the resource Cork Folklore Project Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If the Stones Could Speak: More Stories of Cork’s Built Heritage (2015) Subject The topic of the resource Built Heritage: Description An account of the resource 9 interviews with 8 people This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’. 9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film. <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">The film is available on the Cork Folklore website</a> The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. The project was co-ordinated by CFP Project Manager Mary O’Driscoll. Support: This project was part-funded by Cork City Council. Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Interviewees: Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan: Interviewers: Mark Wilkins (9); Annmarie McIntyre (3): Identifier An unambiguous reference to the resource within a given context CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork: Ireland: 1700s-2010s: Relation A related resource If the Walls Could Talk: Stories of Cork's Built Heritage (2013) Links to: <a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener">Catalogue Collection</a> <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">Film</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource 9 Audio 3 Video Format The file format, physical medium, or dimensions of the resource .wav .mov Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Michael Lenihan Interviewer The person(s) performing the interview Mark Wilkins Annmarie Mclntyre Location The location of the interview Grange, Douglas, Cork Ireland Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav .mov Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Michael Lenihan Subject The topic of the resource Built Heritage: Date A point or period of time associated with an event in the lifecycle of the resource 21 January 2015 Contributor An entity responsible for making contributions to the resource Interviewee: Michael Lenihan Interviewer: Mark Wilkins Videographer: Annmarie Mclntyre Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File 1 .mov File Identifier An unambiguous reference to the resource within a given context CFP_VR00541_lenihan_2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1800s, 1900s Type The nature or genre of the resource Video https://corkfolklore.org/archivecatalolgue/files/original/3dd725a774b2e6fadac17a33c995c82e.jpg be19deee1ee7bb4878d224c6b13245d8 https://corkfolklore.org/archivecatalolgue/files/original/51405d73b3e08ce990e3426a19b1c9c3.mp3 5b61f893afe3120efc1a8ebe10655609 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cork 2005 Project Subject The topic of the resource Interviewing and radio project exploring migration, cultural contact and the social and physical landscape of Cork City in 2004 and 2005 and in the past, comprising of forty audio interviews and resulting in six half-hour radio programmes and a book. Description An account of the resource The Cork 2005 Project was carried out and funded as part of Cork’s tenure as European Capital of Culture in 2005. Building on the theme ‘City of Culture’, the project explored the questions: ‘What is the everyday culture of Cork City?’ and ‘Who are the people of the city?’, and aimed to broaden our archival holdings to reflect the increased numbers of migrants making their home in the city. 37 ethnographic interviews were carried out with Cork residents, more than two-thirds of whom had come to Cork from elsewhere, exploring their relationship with the cultural and social landscape of the city. The interviews include accounts of family life and growing up in Argentina, Australia, Bangladesh, Canada, China, England, Germany, India, Iraq, Israel, Kurdistan, the Netherlands, Nigeria, Poland, Slovakia, South Africa Ukraine, and the United States. A six-part radio series, entitled ‘How’s it goin’, boy?’ was broadcast on Cork Campus Radio in 2005, and a book of the same name was published in 2006. You can listen to the radio programmes on our website: How's it goin', boy? Radio Series. The interviews in this collection all have a similar structure. We asked all interviewees to describe their childhood neighbourhoods and communities and to discuss their relationship with Cork city in the present day. We also discussed experiences of migrancy, first impressions and cultural contact with those who had come to Cork from elsewhere and with Corkonians who had experience of migration. Interviewees came from diverse areas including Australia, the Marsh, Nigeria, Brittany, Gurranabraher, Russia, Evergreen Street, Spain, Poland and Kurdish Iraq. The collection project was carried out from March 2004 – June 2005. Interviewers on the project: Jennifer Butler; Lee Cassidy; Sean Claffey; Diane Hoppe; Dolores Horgan; John Mehegan; Clíona O’Carroll; Mary O’Driscoll; Noel O’Shaughnessy: Frances Quirke. Cork 2005 Special Project Co-ordinator: Clíona O’Carroll Project photography: Fawn Allen CFP Project Manager: Mary O’Driscoll CFP Research Director: Marie-Annick Desplanques ‘How’s it Goin’, Boy?’ radio series producer: Clíona O’Carroll ‘How’s it Goin’, Boy?’ radio series editor: Colin MacHale Support: the post of Special Project Co-ordinator and production costs were funded by Cork 2005. Ongoing support was from Northside Community Enterprises, Foras Áiseanna Saothair (FÁS) and University College, Cork. For further description of the Cork 2005 project, see: O’Carroll , Clíona and Desplanques, Marie-Annick (2006) ‘Cultures of Cork: Community, Ethnicity and Broadcasting’, in: Sociedade da Información en Espacios Periféricos, Novas Formas de Exclusión Social. Santiago de Compostela: Servizo de Edición Dixital da Universidade de Santiago de Compostela. O'Carroll, Clíona (2013) 'Public folklore operating between aspiration and expediency: The Cork Folklore Project'. Irish Journal of Anthropology, 16 (1): 23-30. For the dissemination content see: ‘How’s it Goin’, Boy? radio series (six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website) O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Catalogue project description written by: Clíona O’Carroll Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Date A point or period of time associated with an event in the lifecycle of the resource 2004-2005 Contributor An entity responsible for making contributions to the resource Interviewees: Billy McCarthy; Mary O'Driscoll; Eileen Claffey; Noreen Hanover; Marie-Annick Desplanques; Marcus Bale; Isabelle Sheridan; Liz Steiner-Scott; Avreimi Rot; Rob Stafford; Balaska O Donoghue; Andy Hawkins; Kay O'Carroll; Emeka Ikebuasi; Mícheál Ó Geallabháin; Noreen Geaney; Stefan Wulff; Karina Abdoulbaneeva; Musa Gunes; Robert Fourie; Tony Henderson; Yossi Valdman; Brigid Carmody; Mary O'Sullivan; Vitaliy Mahknanov; Michael O'Flynn; Dr. Mahbub Akhter; David Walker; Dearbhla Kelleher; Patricia Manresa; Stephen Wimpenny; Adam Skotarczak; Lode Vermeulen; Owen (homeless); Geoffrey D'Souza; Aimee Setter; Tim O'Brien; Alan Botan: Interviewers: Jennifer Butler; Lee Cassidy; Sean Claffey; Diane Hoppe; Dolores Horgan; John Mehegan; Clíona O’Carroll; Mary O’Driscoll; Noel O’Shaughnessy: Frances Quirke. Rights Information about rights held in and over the resource Cork Folklore Project <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/"></a> This work is licensed under a <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>. Relation A related resource Published Material; ‘How’s it Goin’, Boy? radio series <a href="http://corkfolklore.org/radio-series/">(six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website)</a> O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Catalogue project description written by: Clíona O’Carroll Format The file format, physical medium, or dimensions of the resource 37 MiniDisc Language A language of the resource English Type The nature or genre of the resource Audio Identifier An unambiguous reference to the resource within a given context Cork 2005 Collection Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/5">CFP_SR00329_mccarthy_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/18">CFP_SR00330_odriscoll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/19">CFP_SR00331_claffey_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/20">CFP_SR00332_hanover_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/21">CFP_SR00333_desplanques_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/22">CFP_SR00334_bale_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/23">CFP_SR00335_sheridan_1996</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/24">CFP_SR00336_steiner-scott_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/25">CFP_SR00337_rot_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/26">CFP_SR00338_stafford_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/27">CFP_SR00339_odonoghue_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/28">CFP_SR00340_hawkins_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/29">CFP_SR00341_ocarroll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/30">CFP_SR00342_ikebuasi_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/54">CFP_SR00343_ogeallabhain_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/31">CFP_SR00344_geaney_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/32">CFP_SR00345_wulff_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/33">CFP_SR00346_abdoulbaneeva_2004</a>; CFP_SR00347_gunes_2004; <a href="http://corkfolklore.org/archivecatalolgue/items/show/35">CFP_SR00348_fourie_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/36">CFP_SR00349_henderson_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/37">CFP_SR00350_valdman_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/38">CFP_SR00351_carmody_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/39">CFP_SR00352_osullivan_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/40">CFP_SR00353_mahknanov_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/41">CFP_SR00354_oflynn_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/42">CFP_SR00355_akhter_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/43">CFP_SR00356_walker_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/44">CFP_SR00357_kelleher_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/45">CFP_SR00358_manresa_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/46">CFP_SR00359_wimpenny_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/47">CFP_SR00360_skotarczak_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/48">CFP_SR00361_vermeulen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/49">CFP_SR00362_owen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/50">CFP_SR00363_dsouza_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/51">CFP_SR00364_setter_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/52">CFP_SR00365_obrien_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/53">CFP_SR00366_botan_2005</a>: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 37 ethnographic interviews carried out with Cork residents, more than two-thirds of whom had come to Cork from elsewhere, exploring their relationship with the cultural and social landscape of the city in 2004/2005 and in the latter half of the twentieth century. The interviews include accounts of family life and growing up in Argentina, Australia, Bangladesh, Canada, China, England, Germany, India, Iraq, Israel, Kurdistan, the Netherlands, Nigeria, Poland, Slovakia, South Africa Ukraine, and the United States. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview John Mehegan Interviewee The person(s) being interviewed Yossi Valdman Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30m 25s Location The location of the interview Summer Hill North, Cork City, Ireland Original Format The type of object, such as painting, sculpture, paper, photo, and additional data MiniDisc Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 16bit / 44.1kHz Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com J.M.: Very good, Ok. So do you have any stories about misunderstandings that might have occurred because of the difference in language or because people do things differently here, when you arrived first? Y.V.: I used to have when I came… when I came to Ireland; you know my English was eh… quite bad (laughs), and em… I could speak English like, quite flatly, but I mean, it was expressions, that eh… expression, Irish expression that eh…I kind of didn’t know. Em… yeah, it used to be barrier of culture barriers, but eh, when I came here I was very, eh, if you like, very open, very, do you know, em…. I was very fast in many things. People didn’t like it, or people were afraid of it, em… em, I used to call to peoples’ houses and kind of, do you know, where in Israel people have to call to peoples’ houses. Eh, there is a lot of things where, em, like if we had a packet of cigarettes here on the table, you know, I’ll take a cigarette because knowing that you are my friend and eh, there is no problem. Do you know, a lot of things like in the bars, for instance, where in Israel, bars open all night until the last customers leave really. Eh, and there is things, eh… like they are in the bar like the cigarettes, tapas, tapas which is peanuts and stuff like that to put in bar and eh… for people just to pick up. People do that without questioning or anything, em… Lot of specially we talking about the bar, eh, we ordering our drinks and we pay as we leave. You know in Ireland I found it very em, do you know pay now you know. And eh…you know, most of things like that em… do you know, I find it quite, you know, eh… it used to make me angry, but eh, do you know like the Irish people kind of advanced me that’s the way we live, and you know ‘there is nothing we can do about that now’ (laughs). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yossi Valdman: Israel, Jaffa, Jews, Customs, Subject The topic of the resource Life History; Israel; Jaffa; Cork; Description An account of the resource Yossi talks about Israel and his Jewish heritage, and describes coming to Cork and how he experienced life in the city. Yossi’s father lived in Israel and then moved to Jaffa where he opened a shop. Yossi lived in Jaffa and Israel and then travelled and met his wife, Margaret, who is an Irish woman. He came to Ireland in 1991, and to Cork in 2001. He talks about his impressions of Cork and Ireland. He recounts cultural differences he encountered, and comments on drink culture. He talks about the historic nature of the city’s Jewish community. Note; This interview was conducted as part of the Cork 2005 Project Date A point or period of time associated with an event in the lifecycle of the resource 23 November 2004 Contributor An entity responsible for making contributions to the resource Interviewee: Yossi Valdman Interviewer: John Mehegan Identifier An unambiguous reference to the resource within a given context CFP_SR00350_valdman_2004 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; Ireland; Israel; Jaffa; 1960s - 2000s; Relation A related resource Cork 2005 Collection Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/5">CFP_SR00329_mccarthy_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/18">CFP_SR00330_odriscoll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/19">CFP_SR00331_claffey_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/20">CFP_SR00332_hanover_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/21">CFP_SR00333_desplanques_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/22">CFP_SR00334_bale_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/23">CFP_SR00335_sheridan_1996</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/24">CFP_SR00336_steiner-scott_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/25">CFP_SR00337_rot_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/26">CFP_SR00338_stafford_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/27">CFP_SR00339_odonoghue_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/28">CFP_SR00340_hawkins_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/29">CFP_SR00341_ocarroll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/30">CFP_SR00342_ikebuasi_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/54">CFP_SR00343_ogeallabhain_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/31">CFP_SR00344_geaney_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/32">CFP_SR00345_wulff_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/33">CFP_SR00346_abdoulbaneeva_2004</a>; CFP_SR00347_gunes_2004; <a href="http://corkfolklore.org/archivecatalolgue/items/show/35">CFP_SR00348_fourie_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/36">CFP_SR00349_henderson_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/38">CFP_SR00351_carmody_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/39">CFP_SR00352_osullivan_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/40">CFP_SR00353_mahknanov_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/41">CFP_SR00354_oflynn_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/42">CFP_SR00355_akhter_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/43">CFP_SR00356_walker_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/44">CFP_SR00357_kelleher_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/45">CFP_SR00358_manresa_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/46">CFP_SR00359_wimpenny_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/47">CFP_SR00360_skotarczak_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/48">CFP_SR00361_vermeulen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/49">CFP_SR00362_owen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/50">CFP_SR00363_dsouza_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/51">CFP_SR00364_setter_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/52">CFP_SR00365_obrien_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/53">CFP_SR00366_botan_2005</a>: Published Material: ‘How’s it Goin’, Boy? radio series <a href="http://corkfolklore.org/radio-series/">(six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website)</a> O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1.wav File Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Type The nature or genre of the resource Sound 1970s 1980s 1990s 2000s Cork 2005 Customs Israel Jaffa Jews https://corkfolklore.org/archivecatalolgue/files/original/7f544e066937365493ee2393c81d4528.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/ed67ed0daffd2053227cd1adfc33012b.mp3 c396d544cf622b8cf9d231b9921859e1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Life Journeys: Living Folklore in Ireland Today Subject The topic of the resource Life history interviews from the inhabitants of Cork city's Northside. Description An account of the resource 27 oral history interviews focusing on the life of Cork city's Northsiders. This interviews in this collection were used in the Cork Folklore Project's (then the Northside Folklore Project) first book; Life Journeys: Living Folklore in Ireland Today. The book, published in 1999, was compiled and edited by former Cork Folklore Project researcher Stephen Hunter. Date A point or period of time associated with an event in the lifecycle of the resource 1996-2001 Contributor An entity responsible for making contributions to the resource Interviewees: Willy Good; Margaret Farmer; Eileen O'Sullivan; Tina Noonan; Michael Murphy; Sheila Dalton; Eibhlis deBarra; Denis P. Long; Catherine McCarthy; Helen Donovan; Billy McCarthy; Maria Lopez; Nicholas Hennessy; John Connolly; Liam Foley; John Collins; Jack Byrne; Thomas McCarthy; Rev John Farris; Brother Higgins; Mary Healy; Helen Prout; Eddie Daly; Alan Kennefick; Kay Dunne; George Glendon; Colin Rynne: Interviewers: Stephen Hunter (16); Caroline Crowley (4); Caroline Cronin (3); Lorraine Cahalane (1); Catherine Fray (1); Valarie Kelly-Curtain (1); Liam Hurley (1); Martin O'Mahony (1): Identifier An unambiguous reference to the resource within a given context CFP_SR00002_good_1996; CFP_SR00104_farmer & osullivan_1997; CFP_SR00127_mccarthy_1998; CFP_SR00134_noonan_1998; CFP_SR00140_murphy_1998; CFP_SR00154_dalton_1998; CFP_SR00176_debarra_1997; CFP_SR00177_long_1998; CFP_SR00181_farmer,mccarthy & donovan _1997: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland: 20th Century Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource .wav Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Willy Good Interviewer The person(s) performing the interview Caroline Cronin Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 34min 47sec Location The location of the interview The Cottage, Parklands, Commons Road, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cassette Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript relating to the audio extract above. Copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com C.C: What about superstitions was there superstitions about Halloween? W.G: Well there would be a bit about witches and that you would be a bit scary now. C.C: Scared to go out? W.G: That time ya.. Especially now when it would be getting a bit late in the evening. There was a lot more scare around then than then now. Frightening stories would have been told. C.C: Would you be sitting down telling stories now that night? W.G: Well we would like, the father would have plenty of those haunted house stories, we would be running into the corners. C.C: And all about ghosts and spirits? W.G: Oh ya, ya we believed quite a lot about the ghosts around that time. C.C: Was there any particular ones around here, was there any ghost stories? W.G: Ah! There’s one down there in the Boreen, that’s a well know place. It used to be called “The Style”, it was halfway down to the old barracks and going a way back. A lady used to tell me there was a priest seen there on numerous occasions…. praying late by night as we witnessed ourselves later on. I had a horse on the road at the time and the horse would be shying, scared you know, around to one side of the road, and it happened a couple of years later with a second horse my brother was driving. And my sister saw something very unusual down there one night. C.C: Oh! That girl that was home from England. W.G: Ya! C.C: What did she see? W.G: She was doing the romancing down there and saw an enormous cat, she thought she was seeing things first but her boyfriend, who was terribly brave fella, he was known to be a tough man, he got a desperate fright that night, he forgot about the romancing for quite a bit. C.C: What did he see, a big cat? W.G: It was supposed to be a huge cat, I didn’t believe it myself, but my sister said definitely, it was terribly unusual. There was something scary always about that area. My father was sitting up there one night and was pushed off the style and he put out his shoulder actually. C.C: Did he? W.G: So people don’t believe in haunted places. It was very convenient to where a young girl died at the age of 25 years, it was tragic and she is buried only a short distance from that … and apparently that was their premises that they owned, and there’s a style there… and it’s in that gate they used drive with their coach to get up to the house which is the house near me now. They lived in that house. C.C: The house next door? W.G: Ya. C.C: Is that right? W.G: Oh yeah! W.G: Her name is inscribed on the staircase inside, this girl. C.C: She died when she was 25? W.G: She died tragically, there’s a big story about that, but you would want to be sitting down for a while to go through that. But it’s a fact, because it came out on “The Echo” one night. C.C: Did it? W.G: Oh ya! I have the story on it there. C.C: When was that? A very, long time ago? W.G: Oh God that would be back a long way, oh they were French – Delahide was their names. C.C: What was her name? W.G: The father deserted them and went away to America and was away for 25 years and she grew up a beautiful girl and they had a house in Kinsale…. ‘n the meantime she was going around Cork and she met this foreigner or Yankee coming home and they took up together and the romance started off even though he was twice her age but age don’t come between love you know. C.C: I know. W.G: What happened then was, it was getting more serious, so one night he showed her, she asked him would he like to see a few photographs, there wouldn’t be a whole lot of them that time…. cameras weren’t on the go that much. She went through a few photos anyway and she came to this chap about 19 and he said “who was that?”, “ That was my father”…. and he left a gasp out of him, so he didn’t say any more to her that night…. when he sat her down after a few nights later, he said he would have to break off the whole show that’s going on between us, the romance. “What’s wrong?” she said. He said, “that’s me in the photo”. Her own father, she was going to marry him in six months. C.C: You’re not serious. W.G: Oh I am, and you would imagine with the shock that the father would pan out but actually the girl died in a very short time. C.C: Broken heart? W.G: Well, shock I would say. And she’s buried down here, in just adjacent to the Commons Bar. C.C: Is that right? W.G: Yes. C.C: Her grave is there? W.G: Well, it was there, but the stories tell it was consecrated and all for her and the father became a recluse after that, he wouldn’t go out until midnight and drive and coach and he used have the horses’ feet padded and they thought it was a headless coach, …. which it wasn’t, but that was the same style in the gate that he used to go in there because he would be driving up to this house here to see her. The mother had died in the meantime. They had a house in Kinsale, but after she died, he never came out by day after that. But it was very tragic. C.C: And it was a true story? W.G: So that’s how we call it “The Haunted Style”, a combination of the two of them now live! C.C: Was her ghost, was she ever seen? W.G: Well, no. I saw a few things down there, but no like, not really. C.C: Did you see a few things down there? W.G: I met someone coming out the gate on at night all in black holding a white purse, 12:45, I was just coming down from Goulds and I be like my own father, I’d face anything. I’d be brave regards to that. I tracked her down a bit, but I didn’t want to go too far because she thought I might be following her or something. I thought she might go into Onslow Gardens, but she stood under the tree below, for quarter of an hour and I stayed above and there was no move out of her. So I was coming up another night then from Lyons Cottage, I was like a bit of a rover and I saw her again. C.C: The same woman? W.G: Up on the lane, there could be a possibility that she fancied some fella in Onslow Gardens. And then again, she had long hair and she had kind of a cloak on her. That’s why you wouldn’t see too many of them with that on. C.C: She never made a sound or anything? W.G: No, no. Never spoke or anything, so you could take that with a pinch of salt, or with a glass of brandy if you like. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Willy Good: Halloween, Fairies, Holy Wells, Subject The topic of the resource Life History Description An account of the resource Willy Good was born in the 1930s and brought up in Commons Road. His house was in the family for two centuries, and once had a thatched roof. He recalls Halloween games; he called Halloween ‘Snap Apple Night’. Ghostly encounters associated with The Stile. A sad story about a girl surnamed Delahide. Visiting a holy well on All Souls’ Day [All Souls’ Well, off Blarney Road]. Hearing two banshees. His father and Jack of the Lantern. His mother read tea-leaves. Willy tells a story of the Famine and the Piper’s Boreen. He describes how they repaired their own leather shoes. Also mentioned is the cutting hay and the fairy whirlwind. He remembers Irish and Hiberno-English words his family used: ‘a bart [bundle] of sticks’, a gaotog [for making sugán rope], ‘Cuas Mhainin, hanam an diathail’. Date A point or period of time associated with an event in the lifecycle of the resource 29 October 1996 Contributor An entity responsible for making contributions to the resource Interviewee: Willy Good Interviewer: Caroline Cronin Identifier An unambiguous reference to the resource within a given context CFP_SR00002_good_1996 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ireland, Cork, 1800s - 1900s Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English, Irish. Format The file format, physical medium, or dimensions of the resource 1 .wav File Type The nature or genre of the resource Sound All Souls’ Day All Souls’ Well Banshee Fairy Wind fortune-telling Ghosts Halloween Hiberno-English Jack of the Lantern Shoemaking Supernatural https://corkfolklore.org/archivecatalolgue/files/original/66dcc7d969785a0bf1be5bf38cfa0e31.jpg 0619c2f0a2227838c97802158ba63b65 https://corkfolklore.org/archivecatalolgue/files/original/1bac69c56e6d836e8caaddf03d1634a2.mp3 81af0dfe6b846b3c5c0fa2a642a26ed8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cork 2005 Project Subject The topic of the resource Interviewing and radio project exploring migration, cultural contact and the social and physical landscape of Cork City in 2004 and 2005 and in the past, comprising of forty audio interviews and resulting in six half-hour radio programmes and a book. Description An account of the resource The Cork 2005 Project was carried out and funded as part of Cork’s tenure as European Capital of Culture in 2005. Building on the theme ‘City of Culture’, the project explored the questions: ‘What is the everyday culture of Cork City?’ and ‘Who are the people of the city?’, and aimed to broaden our archival holdings to reflect the increased numbers of migrants making their home in the city. 37 ethnographic interviews were carried out with Cork residents, more than two-thirds of whom had come to Cork from elsewhere, exploring their relationship with the cultural and social landscape of the city. The interviews include accounts of family life and growing up in Argentina, Australia, Bangladesh, Canada, China, England, Germany, India, Iraq, Israel, Kurdistan, the Netherlands, Nigeria, Poland, Slovakia, South Africa Ukraine, and the United States. A six-part radio series, entitled ‘How’s it goin’, boy?’ was broadcast on Cork Campus Radio in 2005, and a book of the same name was published in 2006. You can listen to the radio programmes on our website: How's it goin', boy? Radio Series. The interviews in this collection all have a similar structure. We asked all interviewees to describe their childhood neighbourhoods and communities and to discuss their relationship with Cork city in the present day. We also discussed experiences of migrancy, first impressions and cultural contact with those who had come to Cork from elsewhere and with Corkonians who had experience of migration. Interviewees came from diverse areas including Australia, the Marsh, Nigeria, Brittany, Gurranabraher, Russia, Evergreen Street, Spain, Poland and Kurdish Iraq. The collection project was carried out from March 2004 – June 2005. Interviewers on the project: Jennifer Butler; Lee Cassidy; Sean Claffey; Diane Hoppe; Dolores Horgan; John Mehegan; Clíona O’Carroll; Mary O’Driscoll; Noel O’Shaughnessy: Frances Quirke. Cork 2005 Special Project Co-ordinator: Clíona O’Carroll Project photography: Fawn Allen CFP Project Manager: Mary O’Driscoll CFP Research Director: Marie-Annick Desplanques ‘How’s it Goin’, Boy?’ radio series producer: Clíona O’Carroll ‘How’s it Goin’, Boy?’ radio series editor: Colin MacHale Support: the post of Special Project Co-ordinator and production costs were funded by Cork 2005. Ongoing support was from Northside Community Enterprises, Foras Áiseanna Saothair (FÁS) and University College, Cork. For further description of the Cork 2005 project, see: O’Carroll , Clíona and Desplanques, Marie-Annick (2006) ‘Cultures of Cork: Community, Ethnicity and Broadcasting’, in: Sociedade da Información en Espacios Periféricos, Novas Formas de Exclusión Social. Santiago de Compostela: Servizo de Edición Dixital da Universidade de Santiago de Compostela. O'Carroll, Clíona (2013) 'Public folklore operating between aspiration and expediency: The Cork Folklore Project'. Irish Journal of Anthropology, 16 (1): 23-30. For the dissemination content see: ‘How’s it Goin’, Boy? radio series (six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website) O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Catalogue project description written by: Clíona O’Carroll Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Date A point or period of time associated with an event in the lifecycle of the resource 2004-2005 Contributor An entity responsible for making contributions to the resource Interviewees: Billy McCarthy; Mary O'Driscoll; Eileen Claffey; Noreen Hanover; Marie-Annick Desplanques; Marcus Bale; Isabelle Sheridan; Liz Steiner-Scott; Avreimi Rot; Rob Stafford; Balaska O Donoghue; Andy Hawkins; Kay O'Carroll; Emeka Ikebuasi; Mícheál Ó Geallabháin; Noreen Geaney; Stefan Wulff; Karina Abdoulbaneeva; Musa Gunes; Robert Fourie; Tony Henderson; Yossi Valdman; Brigid Carmody; Mary O'Sullivan; Vitaliy Mahknanov; Michael O'Flynn; Dr. Mahbub Akhter; David Walker; Dearbhla Kelleher; Patricia Manresa; Stephen Wimpenny; Adam Skotarczak; Lode Vermeulen; Owen (homeless); Geoffrey D'Souza; Aimee Setter; Tim O'Brien; Alan Botan: Interviewers: Jennifer Butler; Lee Cassidy; Sean Claffey; Diane Hoppe; Dolores Horgan; John Mehegan; Clíona O’Carroll; Mary O’Driscoll; Noel O’Shaughnessy: Frances Quirke. Rights Information about rights held in and over the resource Cork Folklore Project <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/"></a> This work is licensed under a <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>. Relation A related resource Published Material; ‘How’s it Goin’, Boy? radio series <a href="http://corkfolklore.org/radio-series/">(six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website)</a> O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Catalogue project description written by: Clíona O’Carroll Format The file format, physical medium, or dimensions of the resource 37 MiniDisc Language A language of the resource English Type The nature or genre of the resource Audio Identifier An unambiguous reference to the resource within a given context Cork 2005 Collection Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/5">CFP_SR00329_mccarthy_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/18">CFP_SR00330_odriscoll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/19">CFP_SR00331_claffey_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/20">CFP_SR00332_hanover_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/21">CFP_SR00333_desplanques_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/22">CFP_SR00334_bale_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/23">CFP_SR00335_sheridan_1996</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/24">CFP_SR00336_steiner-scott_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/25">CFP_SR00337_rot_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/26">CFP_SR00338_stafford_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/27">CFP_SR00339_odonoghue_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/28">CFP_SR00340_hawkins_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/29">CFP_SR00341_ocarroll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/30">CFP_SR00342_ikebuasi_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/54">CFP_SR00343_ogeallabhain_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/31">CFP_SR00344_geaney_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/32">CFP_SR00345_wulff_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/33">CFP_SR00346_abdoulbaneeva_2004</a>; CFP_SR00347_gunes_2004; <a href="http://corkfolklore.org/archivecatalolgue/items/show/35">CFP_SR00348_fourie_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/36">CFP_SR00349_henderson_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/37">CFP_SR00350_valdman_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/38">CFP_SR00351_carmody_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/39">CFP_SR00352_osullivan_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/40">CFP_SR00353_mahknanov_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/41">CFP_SR00354_oflynn_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/42">CFP_SR00355_akhter_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/43">CFP_SR00356_walker_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/44">CFP_SR00357_kelleher_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/45">CFP_SR00358_manresa_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/46">CFP_SR00359_wimpenny_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/47">CFP_SR00360_skotarczak_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/48">CFP_SR00361_vermeulen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/49">CFP_SR00362_owen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/50">CFP_SR00363_dsouza_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/51">CFP_SR00364_setter_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/52">CFP_SR00365_obrien_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/53">CFP_SR00366_botan_2005</a>: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 37 ethnographic interviews carried out with Cork residents, more than two-thirds of whom had come to Cork from elsewhere, exploring their relationship with the cultural and social landscape of the city in 2004/2005 and in the latter half of the twentieth century. The interviews include accounts of family life and growing up in Argentina, Australia, Bangladesh, Canada, China, England, Germany, India, Iraq, Israel, Kurdistan, the Netherlands, Nigeria, Poland, Slovakia, South Africa Ukraine, and the United States. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview John Megehan Interviewee The person(s) being interviewed Vitaly Mahknanon Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55m 28s Location The location of the interview Ballincollig, Cork, Ireland Original Format The type of object, such as painting, sculpture, paper, photo, and additional data MiniDisc Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 16bit / 44.1kHz Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com J.M.: Very good, okay. That’s a nice touch. Okay, so Vitaliy, do you have any stories about misunderstandings that might have occurred because of the difference in language or because people do things differently here? V.M.: Oh yes… it’s eh… I would say, eh… not only from my experience but from experience of other people because I’m involved as a part of eh, integrating support centre in Cork organisation name… named NASC. So, f… I’m come across lots of situation and not all of them quite funny, some of them s… would be much dramatic… dramatic situation, but I want to come back about my own experience. Eh, first thing eh which I found for myself was eh, difference in culture, when you greeting each other. In Ireland you say, “Hello, how are you?” and that’s it and people turn up and go away and you later on stayin’ and watching what’s wrong with me? Am I ugly? Am I smelly? And just feeling your self frustrated. But I mean when I grew up in the eh… environment where every single word has a meaning and now I try to explain you; we have one proverb eh… eh… word… eh… the word is like a bird, if it flew away, you won’t be able to catch it and bring it back, even if you say sorry. And I mean by this, in… in our culture, when you say to somebody “Hello,” and later ask, “How are you?”, you really expect an answer, and person might say you, “Oh, I’m good today”, and person become to telling you most eh deeply the story, for example, today I met new girlfriend, and she so nice, so on… and you tell him, “Okay, let’s take a drink and you tell me more about this thing,” and person, “no bother, let’s go.” You take sit… eh you take in the pub with him, we don’t have pubs, café, take tea or beer and person just sharing his mood and experience what he done today and you feel yourself eh… happy and you learn from that person what he done in life, you get some, eh, how do you say, benefit to yourself. Or opposite thing happen, person might tell you “Oh, awful thing happen today, I was sack from job”, or something like that, “I lost my friend”, or what ever, you say “No worries, come with me, I buy you drink”, I call all my friends, we sit together maybe you tell us your story, and maybe you’ll bring some solution. Maybe somebody come across similar situation, or somebody was in your shoes, maybe people can tell their own experience and you can learn something from those. Another story you became eh feel yourself more eh needed person, then somebody need you. Eh, but compare here to Ireland, “Hello, how are you?”, and, “Bye, bye”, and you just okay, what’s wrong. Later on my friends, Zara and Fran, just explain me this only formal greeting, don’t pay too much attention about those things, I said “fine”. Another thing which can came across again, eh in Slavic language we use words eh, thank you, please, eh but the same in a… I mean ordinary way, we use an intonation to say something. I mean if you say something like, “Ahh”, it mean eh request or please. If you say the same sentence with eh plain into… intonation like, “Ahh”, it mean like statement or you bored. If you say maybe more eh high tone like, “Arh”, would be mean like you’re angry, just leave me alone. And by intonation it can just show what you mean. Eh but here in English language you have to put everywhere this small word, ‘please’, unless you don’t do this people treat you different way. I mean if you go to the shop and say, “Can I have this?”, and forget to say “Please,” people watching you very strangely, throw you on table, take it, and so on. But later on you presume what’s wrong with me, what I did wrong? Try to rewind your sentence back a sec… ah, sorry, I forgotten to say the word, ‘Please’. And, next time when you start to learn from this thing, okay, please, please, and you start to say it in beginning, “Please can you tell me, or give me something?” Rather in our language because we do everything by intonation. I mean, m… mostly in th… situations. Or another thing about detonation eh of word, friend. Here in Ireland you call friend everybody, but in our country it’s more sacramental, more… eh more… it’s… it’s word has a more eh deep meaning. We don’t call friend everybody, in our country we have different condition, maybe I tell you my own gradation of relation between people, you can have the top of hierarchy would be the friend, eh… below the friend would be mate, or eh, colleague. After them would be person you know, eh, some fella who maybe neighbourhood living near by, or your class eh mate from long time ago, forever, forever. And this hierarchy building up by relations with people. If you just try to come eh see from perspective of philosophy, Aristotle, if I’m not mistaken, he said, “Who’s a friend is second me,” like mirror reflections. Only one or two people could be eh… thinking the same way, to treat the same way in situation like you are and his word was eh… eh proved by another eh… Iranian eh poet, about twelfth century… century, twas’ Saadi, he said, “If you had eh… if you have one friend you are happy person, if you have a two friend, everybody jealous you, if you have three or more friends you the sad person.” An explanation would be of this like that, human being has only two arms, if somebody going by the bridge, somebody eh… eh your friend suddenly be… become eh sink, you can save only two and give two of your hands, and lift them up. If there are more than two friends, you have a make a choice, who can you have save. That’s a big eh… eh, decision to have to be done. But… and that’s why I mean in our culture, the word friend has more eh, deep meaning, and we don’t call everybody friends, compare in Ireland if it’s a friend you say, “Okay, I’m friend”, but later on you become stuck in situation, and hold on why somebody call me friend, if I maybe quite opposite perspective of eh understanding reality. Maybe I’m quite different person somebody telling me friend and you become to be more, feel yourself uncomfortable because it’s big responsibility to be a friend in perspective of my understanding. You have to be eh, everywhere when your friend needs you. And not always friend have to call you and tell you, “okay, I need your help”. Sometime you have to offer this thing. Somebody telling you oh, call friend, you presume then you have to be wakey, wakey and just to expect something happen, have to be eh, give some hand to help the… the… the people. And a lot of eh, different stories like that, which would be, show in a difference eh… eh… cultures, aspects. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vitaly Mahknanon: Immigration, Ukraine, Language, Friendship, Subject The topic of the resource Life History; Ukraine; Ireland; Description An account of the resource Vitaly is from the Ukraine. He compares his home culture to that of Ireland, and he talks about his experiences as an immigrant in Cork. Vitaly was born in the city of Lviv, Ukraine. Although he was heavily involved in boxing, he opted to become a journalist. He came to Cork in 2002, and felt isolated until he met friends who taught him some English. He worked with immigrant support centre NASC. He describes some cultural differences between Ukrainians and Irish people, such as how they use language, and their concepts of friendship. Note; This interview was conducted as part of the Cork 2005 Project Date A point or period of time associated with an event in the lifecycle of the resource 3 December 2004 Contributor An entity responsible for making contributions to the resource Interviewee: Vitaly Mahknanon Interviewer: John Megehan Identifier An unambiguous reference to the resource within a given context CFP_SR00353_mahknanov_2004 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; Ireland; Ukraine; 2000s; Relation A related resource Cork 2005 Collection Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/5">CFP_SR00329_mccarthy_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/18">CFP_SR00330_odriscoll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/19">CFP_SR00331_claffey_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/20">CFP_SR00332_hanover_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/21">CFP_SR00333_desplanques_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/22">CFP_SR00334_bale_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/23">CFP_SR00335_sheridan_1996</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/24">CFP_SR00336_steiner-scott_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/25">CFP_SR00337_rot_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/26">CFP_SR00338_stafford_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/27">CFP_SR00339_odonoghue_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/28">CFP_SR00340_hawkins_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/29">CFP_SR00341_ocarroll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/30">CFP_SR00342_ikebuasi_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/54">CFP_SR00343_ogeallabhain_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/31">CFP_SR00344_geaney_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/32">CFP_SR00345_wulff_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/33">CFP_SR00346_abdoulbaneeva_2004</a>; CFP_SR00347_gunes_2004; <a href="http://corkfolklore.org/archivecatalolgue/items/show/35">CFP_SR00348_fourie_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/36">CFP_SR00349_henderson_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/37">CFP_SR00350_valdman_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/38">CFP_SR00351_carmody_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/39">CFP_SR00352_osullivan_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/41">CFP_SR00354_oflynn_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/42">CFP_SR00355_akhter_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/43">CFP_SR00356_walker_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/44">CFP_SR00357_kelleher_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/45">CFP_SR00358_manresa_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/46">CFP_SR00359_wimpenny_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/47">CFP_SR00360_skotarczak_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/48">CFP_SR00361_vermeulen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/49">CFP_SR00362_owen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/50">CFP_SR00363_dsouza_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/51">CFP_SR00364_setter_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/52">CFP_SR00365_obrien_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/53">CFP_SR00366_botan_2005</a>: Published Material: ‘How’s it Goin’, Boy? radio series <a href="http://corkfolklore.org/radio-series/">(six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website)</a> O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1.wav File Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Type The nature or genre of the resource Sound 2000s Cork 2005 Friendship Immigration Language Ukraine Vitaly Mahknanon https://corkfolklore.org/archivecatalolgue/files/original/51c6567c4b6af0fc134625664112a278.jpg 8cb1487608186852ed4f4a83a614e21a https://corkfolklore.org/archivecatalolgue/files/original/21a335e32cc1fd3299e1acba32523b37.mp3 2fe62f0a9d833311a3401d7602aff284 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Showbands Subject The topic of the resource Interview collection exploring the ‘showband era’ (late 1950s to early 1970s) in Ireland from the perspective of Cork-based musicians and family members. Six audio interviews with eight people totalling 251 minutes. Description An account of the resource In 1996-1997, researcher Stephen Hunter interviewed a range of musicians, family members and one author on their memories of the ‘showband era’ in Ireland. In the first interview, Seán Lucy (clarinet and saxophone player with Cork band the Dixies from 1954) and Terry McCarthy (singer with the Dixies from 1985) speak briefly about their backgrounds and childhoods in Cork before tracing their musical careers and discussing their experiences as members of the Dixies. Tommy Rooney from Crosshaven recounts playing with army and civilian bands (Trumpet player) before founding the Second City Jazz Band, and talks about the showband era and his experiences of playing in Cork and in Protestant halls in Northern Ireland. Pat Nolan, a saxophone and clarinet player who grew up on Cork City’s Northside, traces the rise and fall of the showbands on the Island of Ireland, and describes playing in dancehalls in Northern Ireland. Vincent Power, author of the book Send ‘Em Home Sweatin’, reflects on the showband phenomenon in his interview. Liam Foley from Blackpool, Cork, a drummer and guitarist, recalls his experiences as a musician in that era. Frances McCarthy and Betty O’Mahony, wife and daughter of the late Christy O’Mahony who played bass with the Dixies from 1958-1985, talks about Christy’s involvement with the band. Date A point or period of time associated with an event in the lifecycle of the resource 1996-1997 Contributor An entity responsible for making contributions to the resource Interviewees: Seán Lucy; Terry McCarthy; Tommy Rooney; Pat Nolan; Vincent Power; Frances McCarthy; Betty O’Mahony. Interviewer: Stephen Hunter Identifier An unambiguous reference to the resource within a given context Accession number for collection [CFP Acc. No. 1997-004]; <a href="http://corkfolklore.org/archivecatalolgue/items/show/56" target="_blank" rel="noreferrer noopener">CFP_SR00051_dixies_1996;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/57">CFP_SR00052_rooney_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/58" target="_blank" rel="noreferrer noopener">CFP_SR00053_nolan_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/59" target="_blank" rel="noreferrer noopener">CFP_SR00054_power_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/60" target="_blank" rel="noreferrer noopener">CFP_SR00055_foley_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/61" target="_blank" rel="noreferrer noopener">CFP_SR00056_various_1997</a>: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; Belfast; Northern Ireland; Ireland; music; showband music; dancehalls; 1950s-1970s Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource 6 .wav files [digitized at 96kHz, 24-bit audio from 90-minute cassette tapes] Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Stephen Hunter Interviewee The person(s) being interviewed Vincent Power Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31 mins 34 secs Location The location of the interview Irish Examiner offices, Academy St., Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 90 minute cassette tape Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 16bit / 44.1kHz Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com S.H.: Moving on to the Dixies and your chapter on them, (Clown Princes ) , do you think the popular image of them is showmen , or of musical performers? V.P: I would lean more towards the showmen label, even though they where was a musical component to them and they had some gifted musicians, primarily they were terrific showmen, and probably the best showmen of all the show bands, probably the best show band in the strict definition of the word (show band) and that definition I would use borrowing from the originators of the show band concept which would have been a band known as the clipper Carltons, from Northern Ireland. I’d probably rate the Dixies as the best show band in that sense. S.H.: Most of the band came from very similar backgrounds, North side and working-class –do you think that contributed to the zany sense of humour that they had? V.P: It was all very new and very exciting for these young people and you’re right a lot of them did come from the working class- people who come from very mundane day-jobs –probably relatively lowly-paid jobs and suddenly were transformed in to glamour – boys overnight and paid a lot of money. That kind of zaniness came from a freedom they had never experienced before –people looking for their autographs, people putting them on a pedestal, screaming at their every move. This was certainly exciting as far as they were concerned. It was a different world to the kind of world they would have been use to. So the kind of zany mad-caps humour you’re speaking of came party from that. They could get away with a lot more – they were away from the prying eyes of their families and local communities, they had freedom as never before. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vincent Power: Send ‘em Home Sweatin’ Subject The topic of the resource Interview exploring the ‘showband era’ (late 1950s to early 1970s) in Ireland from the perspective of Cork-based musicians and family members. Description An account of the resource Vincent was born in 1960. In 1990 he published the book Send ‘em Home Sweatin’, the story of the showband era. He talks in detail about the showband scene. Irish audiences had no access to rock’n’roll and its performers, but showbands were copycat performers who could provide that kind of experience. The ballroom scene was Ireland’s sexual revolution. The singers and bands were so popular they were often mobbed in the street. The Dixies as quintessential showmen. The singer of The Magic Band had a suit made up of light bulbs. Showbands were frowned upon by the Catholic church. Rory Gallagher and the showbands. He talks about Brendan O’Brien’s accidental electrocution on stage. He tells a funny anecdote about a gig at a remote location in County Galway. The Devil was said to have appeared at some ballrooms: Vincent believes such stories were spread by rival ballroom owners. He estimates the showband era was from 1960 to 1971. Date A point or period of time associated with an event in the lifecycle of the resource 5 March 1997 Contributor An entity responsible for making contributions to the resource Interviewee: Vincent Power Interviewer: Stephen Hunter Identifier An unambiguous reference to the resource within a given context CFP_SR00054_power_1997 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; Ireland; 1960s - 1990s; Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Relation A related resource Showbands Collection Catalogue Numbers: Accession number for collection [CFP Acc. No. 1997-004]; <a href="http://corkfolklore.org/archivecatalolgue/items/show/56" target="_blank" rel="noreferrer noopener">CFP_SR00051_dixies_1996;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/57">CFP_SR00052_rooney_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/58" target="_blank" rel="noreferrer noopener">CFP_SR00053_nolan_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/60" target="_blank" rel="noreferrer noopener">CFP_SR00055_foley_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/61" target="_blank" rel="noreferrer noopener">CFP_SR00056_various_1997</a>: Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound 1960s 1970s 1980s 1990s Albert Reynolds Brendan Bowyer Brendan O’Brien Butch Moore Capitol showband Clipper Carlton Elvis Presley Grand Parade Horan’s Ballroom Jutland ballroom Las Vegas Limerick city Majestic Ballroom Mallow Mayo Music Radio Luxembourg Rory Gallagher Royal Showband Sexuality Stardust ballroom (Cork) The Devil The Dixies The Magic Band https://corkfolklore.org/archivecatalolgue/files/original/f562f63b4bb0636f0a4561a0b8892d1e.jpg cbf1c711785600501bec005b1d811bed https://corkfolklore.org/archivecatalolgue/files/original/d5f790dc772c19e7186be47d013255bb.mp3 ea5e3fd5e264ab1c5b3612ccb7153482 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Cork Memory Map Collection Subject The topic of the resource A place-based interviewing project exploring everyday life in Cork City, with excerpts disseminated on a series of online digital maps. Description An account of the resource A place-based interviewing project exploring everyday life in Cork City, with excerpts disseminated on a series of online digital maps. In 2010, the Cork Folklore Project initiated a new collection and dissemination project, entitled the Cork Memory Map. We wished to step up our interviewing programme and enhance public access to our holdings through the creation of an online map of stories and memories. A central concern in this initial stage was to keep our research agenda as open as possible in terms of generating accounts of everyday life in the city down through the years. As we were not carrying out topic-focussed interviews (in contrast to previous projects on topics such as song in the Northside, drag hunting and occupational lore), the place-based focus enabled us to explore everyday life at different stages of interviewees’ life histories, remaining open to cues from the interviewees while maintaining a sense of direction and purpose for all involved. The fact that the interviews were structured around memories of place, rather than taking the form of life history interviews, also had an impact on the material gathered. The initial phase of interviewing was carried out in the main with older residents of Cork City, Ireland, who grew up in the city centre or adjacent suburbs and who were born between 1929 and 1950. Lasting between 45 minutes and two hours, individual interviews in the Memory Map project tend to follow a similar pattern. A description of the interviewee’s childhood neighbourhood is followed by a succession of ‘grand tour’ questions about daily routines, work and play within the neighbourhood. Places important or familiar to interviewees were explored, as were routes habitually taken through the landscape. This narrative base was used as a springboard for using cues provided by the interviewees as the basis for follow-up questions on significant people and activities mentioned. A sub-collection of shorter interviews was generated during Heritage Week (20-28 August) 2011. The Cork Folklore Project, in collaboration with Civic Trust House, launched the Memory Map Project with an exhibition and collection event throughout the week. Visitors to the exhibition were invited to ‘put themselves on the map’ through short interviews. The Memory Map also featured in a ten-minute Curious Ear documentary broadcast on RTÉ Radio 1 during Heritage Week, and available as a podcast (The Curious Ear/Documentary on One (Cork City Memory Map) http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/). The bulk of the interviews were carried out between July and December 2010 (21 interviews), with 9 full-length interviews carried out in the second half of 2011, along with 18 shorter interviews carried out during heritage week, 23-27 August 2011, and 9 interviews in the second half of 2012. 1 video interview was carried out in January 2014 with Memory Map interviewee Pat Speight. The design for the map and supporting database design was carried out by Cheryl Donaghue (UCC) as project work for an MSc in Interactive Media, with assistance from Colin Mac Hale. The Project received support for the further technical development of the map from the Irish Heritage Council in 2012. The map itself has undergone various iterations, the most recent being its preparation for use on the Omeka platform by the CFP team and PhD candidate Penny Johnston in 2016/2017. Existing and subsequent interviews from the CFP collections have also been utilised for the online mapping dissemination project: the interviews designated as ‘memory map’ interviews are those carried out specifically with the map in mind from 2010 onwards. Support: This project was supported by the Heritage Council of Ireland in the Heritage Education Community and Outreach grant scheme, 2012, and also received support from the Cork City Council Community Grants Scheme. For further description and discussion of the Cork Memory Map project, see: O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF Clíona O'Carroll (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. To view the Cork Memory Map Click <a href="https://corkfolklore.org/memory-map/">Here</a> Date A point or period of time associated with an event in the lifecycle of the resource 2010 - 2013 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1930s - 2010s, Relation A related resource O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> O'Carrol, Clíona (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. The Curious Ear/Documentary on One (Cork City Memory Map) <a href="http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/">http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio; Video Contributor An entity responsible for making contributions to the resource Interviewees: Breda Sheehan (2 Interviews); Geraldine Healy: Johnny 'Chris' Kelleher; Marie Crean; James 'Jim' Mckeon; Brenda Twomey (RA); Breda St Leger; Pat Speight (1 Audio, 1 Video); Sean Lane; Pat O'Brien (O'Leary); Eileen Jones; Pat Saville; Noel Magnier; Mary Marshall; Paddy Marshall; Denis Murphy: Helen Prout (2 Interviews); Donie Walsh; Margaret Newman (4 Interviews); Kevin Leahy; Marie Finn; Pádraig Ó'Horgáin; Michael O Connell; Mary Sheehy; Bernie McLoughlin; Derrick Gerety; Peggy Kelleher; Sandra Byrne (RA); Noreen Cronin; Liam Ó h-Uigín (2 Interviews); Nicole Meacle; Una Lyons; Helen Goulding; Bernard Casey; Dragan Tomas; Pete Newman (Duffy); Brenda Stillwell; Creena O'Connell; Joseph Lane; Mary Montgomery McConville; Michael (Mick) O'Callaghan; Phil Corcoran; Thomas Jones (2 Interviews); Patricia (Pat) McCarthy; Fergal Crowley; Pat O'Brien; Tony McGillicuddy; Alice Delay; Barry Murphy; Patrick Fitzgerald Interviewers: Breda Sheehan (6 Interviews); Gráinne McGee (7 Interviews); Cliona O'Carroll (12 Interviews); Stephen Dee (3 Interviews); Geraldine Healy (2 Interviews); Michael Daly; Helen Kelly (6 Interviews); Gearoid Ó'Donnell (6 Interviews); Tom Doig (2 Interviews) John Elliot (3 Interviews); Alvina Cassidy; Eanna Heavey: Majella Murphy; Mark Wilkins; Richard Clare; Louise Ahern; Ian Stephenson; Annmarie McIntyre; Identifier An unambiguous reference to the resource within a given context Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00387_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00388_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/104" target="_blank" rel="noreferrer noopener">CFP_SR00390_kelleher_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/105" target="_blank" rel="noreferrer noopener">CFP_SR00391_crean_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/106" target="_blank" rel="noreferrer noopener">CFP_SR00392_mckeon_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/107" target="_blank" rel="noreferrer noopener">CFP_SR00393_twomey_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/108">CFP_SR00394_stleger_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/3">CFP_SR00395_speight_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/109" target="_blank" rel="noreferrer noopener">CFP_SR00396_lane_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/110" target="_blank" rel="noreferrer noopener">CFP_SR00397_obrienoleary_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/111" target="_blank" rel="noreferrer noopener">CFP_SR00398_jones_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/112" target="_blank" rel="noreferrer noopener">CFP_SR00399_saville_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/113" target="_blank" rel="noreferrer noopener">CFP_SR00400_magnier_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/114">CFP_SR00401_marshall_2010</a>;<a href="http://corkfolklore.org/archivecatalolgue/items/show/115" target="_blank" rel="noreferrer noopener"> CFP_SR00402_marshall_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/116">CFP_SR00403_murphy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/117">CFP_SR00404_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/118">CFP_SR00405_walsh_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/119" target="_blank" rel="noreferrer noopener">CFP_SR00406_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/120">CFP_SR00407_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/121" target="_blank" rel="noreferrer noopener">CFP_SR00408_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/122" target="_blank" rel="noreferrer noopener">CFP_SR00409_leahy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/123" target="_blank" rel="noreferrer noopener">CFP_SR00411_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/124" target="_blank" rel="noreferrer noopener">CFP_SR00412_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/125" target="_blank" rel="noreferrer noopener">CFP_SR00413_finn_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/126" target="_blank" rel="noreferrer noopener">CFP_SR00414_ohorgain_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/127" target="_blank" rel="noreferrer noopener">CFP_SR00415_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/128" target="_blank" rel="noreferrer noopener">CFP_SR00416_sheehy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/129" target="_blank" rel="noreferrer noopener">CFP_SR00417_mcloughlin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/130" target="_blank" rel="noreferrer noopener">CFP_SR00418_gerety_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/131" target="_blank" rel="noreferrer noopener">CFP_SR00419_kelleher_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/132" target="_blank" rel="noreferrer noopener">CFP_SR00420_byrne_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/133" target="_blank" rel="noreferrer noopener">CFP_SR00421_cronin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/134" target="_blank" rel="noreferrer noopener">CFP_SR00422_ohuigin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/135" target="_blank" rel="noreferrer noopener">CFP_SR00423_meacle_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/136" target="_blank" rel="noreferrer noopener">CFP_SR00424_horgan_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/137" target="_blank" rel="noreferrer noopener">CFP_SR00425_lyons_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/138" target="_blank" rel="noreferrer noopener">CFP_SR00427_goulding_2011</a>; CFP_SR00491_fitzgerald_2013. Heritage Week 2011: <a href="http://corkfolklore.org/archivecatalolgue/items/show/139" target="_blank" rel="noreferrer noopener">CFP_SR00429_casey_201</a>1; <a href="http://corkfolklore.org/archivecatalolgue/items/show/140" target="_blank" rel="noreferrer noopener">CFP_SR00430_tomas_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/141" target="_blank" rel="noreferrer noopener">CFP_SR00431_newman_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/142" target="_blank" rel="noreferrer noopener">CFP_SR00432_stillwell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/143" target="_blank" rel="noreferrer noopener">CFP_SR00433_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/144" target="_blank" rel="noreferrer noopener">CFP_SR00434_lane_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/145" target="_blank" rel="noreferrer noopener">CFP_SR00435_montgomery-mcconville_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/146" target="_blank" rel="noreferrer noopener">CFP_SR00436_ocallaghan_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/147" target="_blank" rel="noreferrer noopener">CFP_SR00437_corcoran_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/148">CFP_SR00438_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/2" target="_blank" rel="noreferrer noopener">CFP_SR00439_ohuigin_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/149" target="_blank" rel="noreferrer noopener">CFP_SR00440_mccarthy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/150" target="_blank" rel="noreferrer noopener">CFP_SR00441_crowley_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/151" target="_blank" rel="noreferrer noopener">CFP_SR00442_obrien_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/152" target="_blank" rel="noreferrer noopener">CFP_SR00443_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/153" target="_blank" rel="noreferrer noopener">CFP_SR00444_mcgillicuddy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/154" target="_blank" rel="noreferrer noopener">CFP_SR00445_delay_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/155" target="_blank" rel="noreferrer noopener">CFP_SR00446_murphy_2011</a>; Video Interview: CFP_VR00486_speight_2014 Format The file format, physical medium, or dimensions of the resource 58 .wav Files 1 .mov File Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Una Lyons Interviewer The person(s) performing the interview Tom Doig Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 68min 47sec Location The location of the interview Togher, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material for this interview or other interviews please contact CFP, folklorearchive@gmail.com UL: But the people who stayed at the house, the Bed and Breakfast that my mother ran, were mostly what she called Dublin drivers, they were men coming out of Dublin, driving these huge lorries with goods from televisions to chocolates to signage to lots of different things. And they were the people mostly who stayed in the house, the drivers. TD: They were bringing goods down to Cork and then going or were they just transporting stuff back and forth or? UL: Yeah, they’d come down on deliveries so we, I remember we had Bush television and the man was called Barry from Bush television and I remember he had a bald head and big bushy hair at the side [laughs] I thought that was why he was working for Bush television and we had Gaelite signs they stayed with us and we had a man from Nestle chocolates and at that time there was a lovely confectioners called Milroy, Milroy sweets, they used to do Macaroon bars and Calypso bars and they used to give us bags of sweets so you’d be very popular with the other kids. And my mother with her sense of humour, used to call them after the company so she’d say Oh Mr Bush and Mr, we’d Lamb’s jams, Oh Mr Lamb, you know for the craic. And the man who drove from Milroy’s sweets, she used call Mr Milroy and he really enjoyed that. TD: That’s very funny if, it was just her particular way of making them feel at home, I suppose. UL: Yeah and having a bit of a craic with them but the joke was while the other lads all knew that it was a joke this man was delighted to be called Mr Milroy. [laughs] He was all delighted with himself. And he had a young lad with him in the van called Andy and Andy was only a young boy at the time but we stayed very good friends with him and when he got married he came to Cork for his honeymoon and they stayed in the house which was lovely. And then years later, we had our first dog and we were trying to come up with a name for the dog and he happened to be in Cork and he called in to see us and we were reminiscing about the old days and Mr Milroy, we liked to think that Milroy lifted his head up at that point and Andy said what about calling him ‘Milroy’ so we had this famous dog called Milroy as well named after the old days. Yeah. And there was, could I tell you another point about it, I was just telling a friend yesterday that there was another guest house up the road from us, it was a hairdresser with a guest house as well and where the drivers would get one rasher, one sausage, one egg, my mother would give them three rashers, three sausages, two eggs [laughs] but we had an interesting experience happened one night, we, there was a knock on the door and I answered it as a small child and there was this African man standing there. And he said ‘can I, is your mum at home can I speak to her?’ and I said ‘Yes, of course’ so went and got my mother. She came out and she brought the man in and it turned out that he had, he was over from Africa, had lived, I think he was living in London and had come to Cork. And nobody in Cork would give him bed and breakfast. He did the whole length of Cork and no one would put him up. And he ended up with Fitzgerald’s and the woman said ‘well I won’t take you in but I know a woman who probably will’ and that was my mother. And not only was he brought in but he was brought in to the front room where the family were, a big blazing fire and Saturday dinner and sat down at the table and welcomed as a family member and. TD: This was because she had lived in Africa, I presume, she’d have a broader understanding. UL: Yeah, I mean she. Yeah, very cosmopolitan outlook. And my dad was the same, my dad was in the Merchant Navy during the war and they had all travelled and met different people. And completely different outlook from the very narrow-minded Irish view at that time. And I remember him sitting at the table with us and Daktari which was a programme at the time came on and he was explaining all about Africa and the Bush and the scorpions. He was just fascinating. So I think that’s a kind of poignant story in the sense it just shows you how much Ireland has moved on, has changed. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una Lyons: Oliver Plunkett Street, Cinemas, English Market Subject The topic of the resource Life History: Description An account of the resource Una (born 1960) grew up in a guesthouse, a Georgian building on Oliver Plunkett Street. She had two siblings. Her parents had an unusually cosmopolitan outlook. Her father was an engineer with CIE trains. The street was quite residential but she also recalls a number of named businesses, including Cold Storage, which sold ices. Most of the guesthouse guests were lorry drivers from Dublin. She recalls an African man who called for lodging having been refused elsewhere in Cork. Una remembers seven cinemas in Cork; her mother left her at The Savoy for an afternoon at a time. She recalls the English Market when it specialised in meat. She describes the different shops and businesses in the city centre. Date A point or period of time associated with an event in the lifecycle of the resource 24 October 2012 Contributor An entity responsible for making contributions to the resource Interviewee: Una Lyons Interviewer: Tom Doig Identifier An unambiguous reference to the resource within a given context CFP_SR00425_lyons_2012 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1950s-2000s Relation A related resource <div class="element-text"> <div class="element-text">Other Interviews in the Colection: <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener"></a> <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00387_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00388_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/104" target="_blank" rel="noreferrer noopener">CFP_SR00390_kelleher_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/105" target="_blank" rel="noreferrer noopener">CFP_SR00391_crean_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/106" target="_blank" rel="noreferrer noopener">CFP_SR00392_mckeon_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/107" target="_blank" rel="noreferrer noopener">CFP_SR00393_twomey_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/108">CFP_SR00394_stleger_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/3">CFP_SR00395_speight_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/109" target="_blank" rel="noreferrer noopener">CFP_SR00396_lane_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/110" target="_blank" rel="noreferrer noopener">CFP_SR00397_obrienoleary_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/111" target="_blank" rel="noreferrer noopener">CFP_SR00398_jones_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/112" target="_blank" rel="noreferrer noopener">CFP_SR00399_saville_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/113" target="_blank" rel="noreferrer noopener">CFP_SR00400_magnier_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/114">CFP_SR00401_marshall_2010</a>;<a href="http://corkfolklore.org/archivecatalolgue/items/show/115" target="_blank" rel="noreferrer noopener"> CFP_SR00402_marshall_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/116">CFP_SR00403_murphy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/117">CFP_SR00404_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/118">CFP_SR00405_walsh_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/119" target="_blank" rel="noreferrer noopener">CFP_SR00406_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/120">CFP_SR00407_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/121" target="_blank" rel="noreferrer noopener">CFP_SR00408_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/122" target="_blank" rel="noreferrer noopener">CFP_SR00409_leahy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/123" target="_blank" rel="noreferrer noopener">CFP_SR00411_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/124" target="_blank" rel="noreferrer noopener">CFP_SR00412_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/125" target="_blank" rel="noreferrer noopener">CFP_SR00413_finn_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/126" target="_blank" rel="noreferrer noopener">CFP_SR00414_ohorgain_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/127" target="_blank" rel="noreferrer noopener">CFP_SR00415_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/128" target="_blank" rel="noreferrer noopener">CFP_SR00416_sheehy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/129" target="_blank" rel="noreferrer noopener">CFP_SR00417_mcloughlin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/130" target="_blank" rel="noreferrer noopener">CFP_SR00418_gerety_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/131" target="_blank" rel="noreferrer noopener">CFP_SR00419_kelleher_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/132" target="_blank" rel="noreferrer noopener">CFP_SR00420_byrne_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/133" target="_blank" rel="noreferrer noopener">CFP_SR00421_cronin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/134" target="_blank" rel="noreferrer noopener">CFP_SR00422_ohuigin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/135" target="_blank" rel="noreferrer noopener">CFP_SR00423_meacle_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/136" target="_blank" rel="noreferrer noopener">CFP_SR00424_horgan_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/138" target="_blank" rel="noreferrer noopener">CFP_SR00427_goulding_2011</a>; CFP_SR00491_fitzgerald_2013. Heritage Week 2011: <a href="http://corkfolklore.org/archivecatalolgue/items/show/139" target="_blank" rel="noreferrer noopener">CFP_SR00429_casey_201</a>1; <a href="http://corkfolklore.org/archivecatalolgue/items/show/140" target="_blank" rel="noreferrer noopener">CFP_SR00430_tomas_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/141" target="_blank" rel="noreferrer noopener">CFP_SR00431_newman_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/142" target="_blank" rel="noreferrer noopener">CFP_SR00432_stillwell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/143" target="_blank" rel="noreferrer noopener">CFP_SR00433_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/144" target="_blank" rel="noreferrer noopener">CFP_SR00434_lane_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/145" target="_blank" rel="noreferrer noopener">CFP_SR00435_montgomery-mcconville_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/146" target="_blank" rel="noreferrer noopener">CFP_SR00436_ocallaghan_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/147" target="_blank" rel="noreferrer noopener">CFP_SR00437_corcoran_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/148">CFP_SR00438_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/2" target="_blank" rel="noreferrer noopener">CFP_SR00439_ohuigin_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/149" target="_blank" rel="noreferrer noopener">CFP_SR00440_mccarthy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/150" target="_blank" rel="noreferrer noopener">CFP_SR00441_crowley_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/151" target="_blank" rel="noreferrer noopener">CFP_SR00442_obrien_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/152" target="_blank" rel="noreferrer noopener">CFP_SR00443_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/153" target="_blank" rel="noreferrer noopener">CFP_SR00444_mcgillicuddy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/154" target="_blank" rel="noreferrer noopener">CFP_SR00445_delay_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/155" target="_blank" rel="noreferrer noopener">CFP_SR00446_murphy_2011</a>; Video Interview: CFP_VR00486_speight_2014</div> <div class="element-text"> Published Material: O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> O'Carrol, Clíona (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. The Curious Ear/Documentary on One (Cork City Memory Map) <a href="http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/">http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/</a></div> </div> <div class="element-text"> To view the Cork Memory Map Click <a href="https://corkfolklore.org/memory-map/" target="_blank" rel="noreferrer noopener">Here</a></div> Creator An entity primarily responsible for making the resource Cork Folklore Project Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound 1950s 1960s 1970s Beasley Street Childhood Games Cinema Cudmores English market Milk and Cake Shops Oliver Plunkett Street Una Lyons https://corkfolklore.org/archivecatalolgue/files/original/46a6660888de96a8e45b64e41188c8ef.jpg 9e614d0569c64b5ffbacd28a9407a152 https://corkfolklore.org/archivecatalolgue/files/original/be6f1b07977b5bf861f4471ae3f89fd2.mp3 0b88ebf9e2bcddc39eb73d873def484b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource HSE Orthopaedic Hospital Oral History Project (d'Orthopaedic) Subject The topic of the resource Ireland; Cork; Gurranabraher; Healthcare; Occupational Lore: Description An account of the resource This collection project was a collaboration between the CFP and the Cork North Community Work Department, Cork Kerry Community Healthcare, Health Services Executive, on the occasion of the development of St. Mary’s Orthopaedic Hospital, Gurranabraher, as a Primary Care Centre. This hospital was know throughout Cork City as 'd'Orthopaedic'. The Memories of the Orthopaedic project focused on a cohort of nine interviewees who were associated with ‘the Orthopaedic’ as former staff (including medical and housekeeping), patients and locals who grew up near the hospital in Gurranabraher. The interviews, all but one of which were carried out by Joanne McNamara of the Health Services Executive, took place between April and September 2017. The project resulted in the publication of The Ministry of Healing, St Mary’s Orthopaedic Hospital Cork: An Oral and Historical Record (by Tomás MacConmara for the CFP), and elements from the interviews were incorporated into an open-air display linked to a Slí na Sláinte (Path to Health) walking route on the new campus. The project was celebrated and the book launched on 12 April 2018 at the CFP Outreach Hub. The CFP and the HSE subsequently entered into a two-year partnership, the 'Oral History for Health' project that carries out oral history in health care contexts (2019-2020), the first strand of which is the HSE Grattan Street Stories project. Date A point or period of time associated with an event in the lifecycle of the resource April 2017 - September 2018 Contributor An entity responsible for making contributions to the resource Interviewees: Noel Dempsey; Breda McNamara; Breda McShane; Maura O'Connell; Mary O'Sullivan; John Curtin; Peter Sargent; Tony Fitzgerald; Loraine Twomey; Interviewers: Joanne McNamara (8 Interviews): <a href="https://corkfolklore.org/archivecatalolgue/items/browse?advanced%5B0%5D%5Belement_id%5D=2&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kieran+Murphy" target="_blank" rel="noreferrer noopener">Kieran Murphy</a> (1 Interview) Identifier An unambiguous reference to the resource within a given context Other Interviews in this Collection <a href="http://corkfolklore.org/archivecatalolgue/items/show/156" target="_blank" rel="noreferrer noopener">CFP_SR00618_Dempsey_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/157" target="_blank" rel="noreferrer noopener">CFP_SR00622_McNamara_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/158" target="_blank" rel="noreferrer noopener">CFP_SR00625_McShane_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/159" target="_blank" rel="noreferrer noopener">CFP_SR00626_O'Connell_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/160" target="_blank" rel="noreferrer noopener">CFP_SR00628_Osullivan_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/161" target="_blank" rel="noreferrer noopener">CFP_SR00632_Curtin_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/162" target="_blank" rel="noreferrer noopener">CFP_SR00633_Sargent_2018</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/163" target="_blank" rel="noreferrer noopener">CFP_SR00648_Fitzgerald_2018</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/164" target="_blank" rel="noreferrer noopener">CFP_SR000673_Twomey_2018</a>; Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1950s-2010s Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource 9 .wav Files Relation A related resource Published Material MacConmara, Tomás for the Cork Folklore Project (2018) The Ministry of Healing, St Mary's Orthopaedic Hospital Cork: An Oral and Historical Record. Cork: Health Service Executive. Listening Events Listening events were held where audio material from this collection was played in public and discussed by Cork Folklore Project researchers. <ul> <li>Listening Event by <a href="https://corkfolklore.org/archivecatalolgue/items/browse?advanced%5B0%5D%5Belement_id%5D=2&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kieran+Murphy">Kieran Murphy</a> and <a href="https://corkfolklore.org/archivecatalolgue/items/browse?advanced%5B0%5D%5Belement_id%5D=2&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jamie+Furey" target="_blank" rel="noreferrer noopener">James Furey</a> at Hollyhill Library, 22nd August 2018 as part of Heritage Week</li> </ul> <div class="element"> <div class="element-text"> <div class="element"> <ul> <li class="element-text">Listening Event by <a href="https://corkfolklore.org/archivecatalolgue/items/browse?advanced%5B0%5D%5Belement_id%5D=2&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kieran+Murphy" target="_blank" rel="noreferrer noopener">Kieran Murphy</a> at Cork Folklore Project Hub, North Cathedral Visitor Centre, Roman Street Formal Launch of "The Ministry of Healing" (see above), April 2018 </li> </ul> </div> <div class="element">The Cork Folklore Project Audio Archive holds recordings of both these events.</div> </div> </div> <div class="element"></div> Related Collection <div class="element"> <div class="element-text"> The <a href="https://corkfolklore.org/archivecatalolgue/collections/show/16" target="_blank" rel="noreferrer noopener">Grattan Street Stories: Memory of Place</a> was also conducted in collaboration with the HSE. Many of the services from Grattan Street Health Centre were to move to the new St. Mary's Health Campus (St Mary’s Primary Care Centre) Gurranabraher on the site of the Orthopaedic Hospital. Indeed some of the interviews for the Grattan Street project took place in this new centre. There is thus some overlap in discussions related to the St. Mary's Health Campus (St Mary’s Primary Care Centre) Gurranabraher itself. </div> </div> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tony Fitzgerald Interviewer The person(s) performing the interview Kieran Murphy Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 44min 44sec Location The location of the interview Cork City Council, City Hall, Anglesea Street, Cork, Ireland. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tony Fitzgerald: Orthopaedic Hospital, Healthcare, Family Subject The topic of the resource Ireland; Cork; Gurranabraher; Healthcare; Occupational Lore: Description An account of the resource Tony, at the time of this interview was Lord Mayor of Cork. Date A point or period of time associated with an event in the lifecycle of the resource 28 March 2018 Contributor An entity responsible for making contributions to the resource Interviewee: Tony Fitzgerald Interviewer: Kieran Murphy Identifier An unambiguous reference to the resource within a given context CFP_SR00648_Fitzgerald_2018 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1950s-2010s Relation A related resource <a href="http://corkfolklore.org/archivecatalolgue/items/show/156" target="_blank" rel="noreferrer noopener">CFP_SR00618_Dempsey_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/157" target="_blank" rel="noreferrer noopener">CFP_SR00622_McNamara_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/158" target="_blank" rel="noreferrer noopener">CFP_SR00625_McShane_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/159" target="_blank" rel="noreferrer noopener">CFP_SR00626_O'Connell_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/160" target="_blank" rel="noreferrer noopener">CFP_SR00628_Osullivan_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/161" target="_blank" rel="noreferrer noopener">CFP_SR00632_Curtin_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/162" target="_blank" rel="noreferrer noopener">CFP_SR00633_Sargent_2018</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/164" target="_blank" rel="noreferrer noopener">CFP_SR000673_Twomey_2018</a>; Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1.wav File Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound https://corkfolklore.org/archivecatalolgue/files/original/af8f8e365a943ef5d3ea1732e8951b31.jpg cbf1c711785600501bec005b1d811bed https://corkfolklore.org/archivecatalolgue/files/original/df2a349d0b430dd361b14e26972f086d.wav 2618519c82d880000b7ae69555a0930f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Cork Memory Map Collection Subject The topic of the resource A place-based interviewing project exploring everyday life in Cork City, with excerpts disseminated on a series of online digital maps. Description An account of the resource A place-based interviewing project exploring everyday life in Cork City, with excerpts disseminated on a series of online digital maps. In 2010, the Cork Folklore Project initiated a new collection and dissemination project, entitled the Cork Memory Map. We wished to step up our interviewing programme and enhance public access to our holdings through the creation of an online map of stories and memories. A central concern in this initial stage was to keep our research agenda as open as possible in terms of generating accounts of everyday life in the city down through the years. As we were not carrying out topic-focussed interviews (in contrast to previous projects on topics such as song in the Northside, drag hunting and occupational lore), the place-based focus enabled us to explore everyday life at different stages of interviewees’ life histories, remaining open to cues from the interviewees while maintaining a sense of direction and purpose for all involved. The fact that the interviews were structured around memories of place, rather than taking the form of life history interviews, also had an impact on the material gathered. The initial phase of interviewing was carried out in the main with older residents of Cork City, Ireland, who grew up in the city centre or adjacent suburbs and who were born between 1929 and 1950. Lasting between 45 minutes and two hours, individual interviews in the Memory Map project tend to follow a similar pattern. A description of the interviewee’s childhood neighbourhood is followed by a succession of ‘grand tour’ questions about daily routines, work and play within the neighbourhood. Places important or familiar to interviewees were explored, as were routes habitually taken through the landscape. This narrative base was used as a springboard for using cues provided by the interviewees as the basis for follow-up questions on significant people and activities mentioned. A sub-collection of shorter interviews was generated during Heritage Week (20-28 August) 2011. The Cork Folklore Project, in collaboration with Civic Trust House, launched the Memory Map Project with an exhibition and collection event throughout the week. Visitors to the exhibition were invited to ‘put themselves on the map’ through short interviews. The Memory Map also featured in a ten-minute Curious Ear documentary broadcast on RTÉ Radio 1 during Heritage Week, and available as a podcast (The Curious Ear/Documentary on One (Cork City Memory Map) http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/). The bulk of the interviews were carried out between July and December 2010 (21 interviews), with 9 full-length interviews carried out in the second half of 2011, along with 18 shorter interviews carried out during heritage week, 23-27 August 2011, and 9 interviews in the second half of 2012. 1 video interview was carried out in January 2014 with Memory Map interviewee Pat Speight. The design for the map and supporting database design was carried out by Cheryl Donaghue (UCC) as project work for an MSc in Interactive Media, with assistance from Colin Mac Hale. The Project received support for the further technical development of the map from the Irish Heritage Council in 2012. The map itself has undergone various iterations, the most recent being its preparation for use on the Omeka platform by the CFP team and PhD candidate Penny Johnston in 2016/2017. Existing and subsequent interviews from the CFP collections have also been utilised for the online mapping dissemination project: the interviews designated as ‘memory map’ interviews are those carried out specifically with the map in mind from 2010 onwards. Support: This project was supported by the Heritage Council of Ireland in the Heritage Education Community and Outreach grant scheme, 2012, and also received support from the Cork City Council Community Grants Scheme. For further description and discussion of the Cork Memory Map project, see: O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF Clíona O'Carroll (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. To view the Cork Memory Map Click <a href="https://corkfolklore.org/memory-map/">Here</a> Date A point or period of time associated with an event in the lifecycle of the resource 2010 - 2013 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1930s - 2010s, Relation A related resource O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> O'Carrol, Clíona (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. The Curious Ear/Documentary on One (Cork City Memory Map) <a href="http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/">http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio; Video Contributor An entity responsible for making contributions to the resource Interviewees: Breda Sheehan (2 Interviews); Geraldine Healy: Johnny 'Chris' Kelleher; Marie Crean; James 'Jim' Mckeon; Brenda Twomey (RA); Breda St Leger; Pat Speight (1 Audio, 1 Video); Sean Lane; Pat O'Brien (O'Leary); Eileen Jones; Pat Saville; Noel Magnier; Mary Marshall; Paddy Marshall; Denis Murphy: Helen Prout (2 Interviews); Donie Walsh; Margaret Newman (4 Interviews); Kevin Leahy; Marie Finn; Pádraig Ó'Horgáin; Michael O Connell; Mary Sheehy; Bernie McLoughlin; Derrick Gerety; Peggy Kelleher; Sandra Byrne (RA); Noreen Cronin; Liam Ó h-Uigín (2 Interviews); Nicole Meacle; Una Lyons; Helen Goulding; Bernard Casey; Dragan Tomas; Pete Newman (Duffy); Brenda Stillwell; Creena O'Connell; Joseph Lane; Mary Montgomery McConville; Michael (Mick) O'Callaghan; Phil Corcoran; Thomas Jones (2 Interviews); Patricia (Pat) McCarthy; Fergal Crowley; Pat O'Brien; Tony McGillicuddy; Alice Delay; Barry Murphy; Patrick Fitzgerald Interviewers: Breda Sheehan (6 Interviews); Gráinne McGee (7 Interviews); Cliona O'Carroll (12 Interviews); Stephen Dee (3 Interviews); Geraldine Healy (2 Interviews); Michael Daly; Helen Kelly (6 Interviews); Gearoid Ó'Donnell (6 Interviews); Tom Doig (2 Interviews) John Elliot (3 Interviews); Alvina Cassidy; Eanna Heavey: Majella Murphy; Mark Wilkins; Richard Clare; Louise Ahern; Ian Stephenson; Annmarie McIntyre; Identifier An unambiguous reference to the resource within a given context Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00387_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00388_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/104" target="_blank" rel="noreferrer noopener">CFP_SR00390_kelleher_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/105" target="_blank" rel="noreferrer noopener">CFP_SR00391_crean_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/106" target="_blank" rel="noreferrer noopener">CFP_SR00392_mckeon_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/107" target="_blank" rel="noreferrer noopener">CFP_SR00393_twomey_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/108">CFP_SR00394_stleger_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/3">CFP_SR00395_speight_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/109" target="_blank" rel="noreferrer noopener">CFP_SR00396_lane_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/110" target="_blank" rel="noreferrer noopener">CFP_SR00397_obrienoleary_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/111" target="_blank" rel="noreferrer noopener">CFP_SR00398_jones_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/112" target="_blank" rel="noreferrer noopener">CFP_SR00399_saville_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/113" target="_blank" rel="noreferrer noopener">CFP_SR00400_magnier_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/114">CFP_SR00401_marshall_2010</a>;<a href="http://corkfolklore.org/archivecatalolgue/items/show/115" target="_blank" rel="noreferrer noopener"> CFP_SR00402_marshall_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/116">CFP_SR00403_murphy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/117">CFP_SR00404_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/118">CFP_SR00405_walsh_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/119" target="_blank" rel="noreferrer noopener">CFP_SR00406_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/120">CFP_SR00407_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/121" target="_blank" rel="noreferrer noopener">CFP_SR00408_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/122" target="_blank" rel="noreferrer noopener">CFP_SR00409_leahy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/123" target="_blank" rel="noreferrer noopener">CFP_SR00411_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/124" target="_blank" rel="noreferrer noopener">CFP_SR00412_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/125" target="_blank" rel="noreferrer noopener">CFP_SR00413_finn_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/126" target="_blank" rel="noreferrer noopener">CFP_SR00414_ohorgain_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/127" target="_blank" rel="noreferrer noopener">CFP_SR00415_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/128" target="_blank" rel="noreferrer noopener">CFP_SR00416_sheehy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/129" target="_blank" rel="noreferrer noopener">CFP_SR00417_mcloughlin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/130" target="_blank" rel="noreferrer noopener">CFP_SR00418_gerety_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/131" target="_blank" rel="noreferrer noopener">CFP_SR00419_kelleher_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/132" target="_blank" rel="noreferrer noopener">CFP_SR00420_byrne_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/133" target="_blank" rel="noreferrer noopener">CFP_SR00421_cronin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/134" target="_blank" rel="noreferrer noopener">CFP_SR00422_ohuigin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/135" target="_blank" rel="noreferrer noopener">CFP_SR00423_meacle_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/136" target="_blank" rel="noreferrer noopener">CFP_SR00424_horgan_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/137" target="_blank" rel="noreferrer noopener">CFP_SR00425_lyons_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/138" target="_blank" rel="noreferrer noopener">CFP_SR00427_goulding_2011</a>; CFP_SR00491_fitzgerald_2013. Heritage Week 2011: <a href="http://corkfolklore.org/archivecatalolgue/items/show/139" target="_blank" rel="noreferrer noopener">CFP_SR00429_casey_201</a>1; <a href="http://corkfolklore.org/archivecatalolgue/items/show/140" target="_blank" rel="noreferrer noopener">CFP_SR00430_tomas_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/141" target="_blank" rel="noreferrer noopener">CFP_SR00431_newman_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/142" target="_blank" rel="noreferrer noopener">CFP_SR00432_stillwell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/143" target="_blank" rel="noreferrer noopener">CFP_SR00433_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/144" target="_blank" rel="noreferrer noopener">CFP_SR00434_lane_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/145" target="_blank" rel="noreferrer noopener">CFP_SR00435_montgomery-mcconville_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/146" target="_blank" rel="noreferrer noopener">CFP_SR00436_ocallaghan_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/147" target="_blank" rel="noreferrer noopener">CFP_SR00437_corcoran_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/148">CFP_SR00438_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/2" target="_blank" rel="noreferrer noopener">CFP_SR00439_ohuigin_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/149" target="_blank" rel="noreferrer noopener">CFP_SR00440_mccarthy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/150" target="_blank" rel="noreferrer noopener">CFP_SR00441_crowley_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/151" target="_blank" rel="noreferrer noopener">CFP_SR00442_obrien_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/152" target="_blank" rel="noreferrer noopener">CFP_SR00443_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/153" target="_blank" rel="noreferrer noopener">CFP_SR00444_mcgillicuddy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/154" target="_blank" rel="noreferrer noopener">CFP_SR00445_delay_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/155" target="_blank" rel="noreferrer noopener">CFP_SR00446_murphy_2011</a>; Video Interview: CFP_VR00486_speight_2014 Format The file format, physical medium, or dimensions of the resource 58 .wav Files 1 .mov File Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tony McGillicuddy Interviewer The person(s) performing the interview Stephen Dee Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 3min 03sec Location The location of the interview Civic Trust House Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Transcription Any written text transcribed from a sound GoD Can you tell me your name and leave us your memory. TMG: My name is Tony McGillicuddy. My memory is of Jack Lynch’s Ford Anglia. It was the first Ford Anglia that came of the line in Fords on the marina, and they presented it to Jack Lynch who was Minister for Industry and Commerce at the time. He wasn’t very fond of driving, Jack Lynch. So he arrived outside The Metropole where I worked for 42 years, one evening, parked the car and said to me ‘Get rid of the car’, he didn’t want it anymore. Because he was going on holidays, and he had a holiday home down round West Cork, don’t know exactly where, but he was on his way down there anyway I presume. He decided to drive but when he got to Cork anyway he was sick of driving so we parked the car for him anyway, he got his driver to drive him the rest of the way --- but it was an absolutely gorgeous car, everything was in it. It was a grey Ford Anglia. It’s like the photograph that’s in the, the one with John Kelleher there [referring to a photograph in the exhibition] it’s like that now but it was an absolutely gorgeous car. But that was Jack Lynch and his driving. GoD Do you know what happened to the car afterwards? TMG Well, he got it taken away then, he got it taken away, and eventually after a fortnight or so someone came down and collected it, but I don’t know what happened to it after but it was an absolutely gorgeous car. GoD Can you tell me what about the exhibition sparked that particular memory? TMG The one with John Kelleher now selling the papers in the middle of the street because John Kelleher used to supply The Metropole with papers for sixty years. He was in McCurtain Street and The Coliseum I would say he was nearly there for 70 years. He was yeah, but he’s an amazing character, that man. GoD And, Tony, are you a Cork local? TMG I am. I’m born and reared on the Low Road. GoD We’re asking everyone we interview certain questions, just if you have any memories of allotments in Cork TMG No I wouldn’t. No GoD What about bonfire night? TMG I would have memories of Bonfire Night. You go around for a couple of weeks beforehand and start collecting stuff, and where it used to be on the Low Road was an old railway line that runs back, well The Arcadia is gone now, but it used to run along the back of The Arcadia, that’s where the bonfire on the Low Road used to be. GoD And do you have any memories of the Pawn Shops in Cork City? TMG I would. I would have memories of seeing them at the end of Shandon Street, and there was another around, I can’t think where it was but that would be a memory for me the one at the end of Shandon Street. GoD Do you remember going in there? TMG No. I was never in there. GoD Well thank you very much Tony for the memory. TMG You’re welcome. End of interview Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tony McGillicuddy: The Low Road, Jack Lynch, Ford's Subject The topic of the resource Life History: Description An account of the resource Tony was born and reared in Low Road. He remembers a story about Jack Lynch who had been presented with a Ford Anglia car by the factory. Lynch hated driving and eventually gave it away. Date A point or period of time associated with an event in the lifecycle of the resource 27 August 2011 Contributor An entity responsible for making contributions to the resource Interviewee: Tony McGillicuddy Interviewer: Stephen Dee Identifier An unambiguous reference to the resource within a given context CFP_SR00444_mcgillicuddy_2011 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1960s-1980s Relation A related resource <div class="element-text"> <div class="element-text">Other Interviews in the Colection: <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener"></a> <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00387_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00388_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/104" target="_blank" rel="noreferrer noopener">CFP_SR00390_kelleher_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/105" target="_blank" rel="noreferrer noopener">CFP_SR00391_crean_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/106" target="_blank" rel="noreferrer noopener">CFP_SR00392_mckeon_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/107" target="_blank" rel="noreferrer noopener">CFP_SR00393_twomey_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/108">CFP_SR00394_stleger_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/3">CFP_SR00395_speight_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/109" target="_blank" rel="noreferrer noopener">CFP_SR00396_lane_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/110" target="_blank" rel="noreferrer noopener">CFP_SR00397_obrienoleary_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/111" target="_blank" rel="noreferrer noopener">CFP_SR00398_jones_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/112" target="_blank" rel="noreferrer noopener">CFP_SR00399_saville_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/113" target="_blank" rel="noreferrer noopener">CFP_SR00400_magnier_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/114">CFP_SR00401_marshall_2010</a>;<a href="http://corkfolklore.org/archivecatalolgue/items/show/115" target="_blank" rel="noreferrer noopener"> CFP_SR00402_marshall_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/116">CFP_SR00403_murphy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/117">CFP_SR00404_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/118">CFP_SR00405_walsh_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/119" target="_blank" rel="noreferrer noopener">CFP_SR00406_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/120">CFP_SR00407_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/121" target="_blank" rel="noreferrer noopener">CFP_SR00408_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/122" target="_blank" rel="noreferrer noopener">CFP_SR00409_leahy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/123" target="_blank" rel="noreferrer noopener">CFP_SR00411_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/124" target="_blank" rel="noreferrer noopener">CFP_SR00412_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/125" target="_blank" rel="noreferrer noopener">CFP_SR00413_finn_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/126" target="_blank" rel="noreferrer noopener">CFP_SR00414_ohorgain_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/127" target="_blank" rel="noreferrer noopener">CFP_SR00415_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/128" target="_blank" rel="noreferrer noopener">CFP_SR00416_sheehy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/129" target="_blank" rel="noreferrer noopener">CFP_SR00417_mcloughlin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/130" target="_blank" rel="noreferrer noopener">CFP_SR00418_gerety_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/131" target="_blank" rel="noreferrer noopener">CFP_SR00419_kelleher_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/132" target="_blank" rel="noreferrer noopener">CFP_SR00420_byrne_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/133" target="_blank" rel="noreferrer noopener">CFP_SR00421_cronin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/134" target="_blank" rel="noreferrer noopener">CFP_SR00422_ohuigin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/135" target="_blank" rel="noreferrer noopener">CFP_SR00423_meacle_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/136" target="_blank" rel="noreferrer noopener">CFP_SR00424_horgan_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/137" target="_blank" rel="noreferrer noopener">CFP_SR00425_lyons_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/138" target="_blank" rel="noreferrer noopener">CFP_SR00427_goulding_2011</a>; CFP_SR00491_fitzgerald_2013. Heritage Week 2011: <a href="http://corkfolklore.org/archivecatalolgue/items/show/139" target="_blank" rel="noreferrer noopener">CFP_SR00429_casey_201</a>1; <a href="http://corkfolklore.org/archivecatalolgue/items/show/140" target="_blank" rel="noreferrer noopener">CFP_SR00430_tomas_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/141" target="_blank" rel="noreferrer noopener">CFP_SR00431_newman_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/142" target="_blank" rel="noreferrer noopener">CFP_SR00432_stillwell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/143" target="_blank" rel="noreferrer noopener">CFP_SR00433_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/144" target="_blank" rel="noreferrer noopener">CFP_SR00434_lane_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/145" target="_blank" rel="noreferrer noopener">CFP_SR00435_montgomery-mcconville_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/146" target="_blank" rel="noreferrer noopener">CFP_SR00436_ocallaghan_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/147" target="_blank" rel="noreferrer noopener">CFP_SR00437_corcoran_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/148">CFP_SR00438_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/2" target="_blank" rel="noreferrer noopener">CFP_SR00439_ohuigin_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/149" target="_blank" rel="noreferrer noopener">CFP_SR00440_mccarthy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/150" target="_blank" rel="noreferrer noopener">CFP_SR00441_crowley_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/151" target="_blank" rel="noreferrer noopener">CFP_SR00442_obrien_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/152" target="_blank" rel="noreferrer noopener">CFP_SR00443_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/154" target="_blank" rel="noreferrer noopener">CFP_SR00445_delay_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/155" target="_blank" rel="noreferrer noopener">CFP_SR00446_murphy_2011</a>; Video Interview: CFP_VR00486_speight_2014</div> <div class="element-text"> Published Material: O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> O'Carrol, Clíona (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. The Curious Ear/Documentary on One (Cork City Memory Map) <a href="http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/">http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/</a></div> </div> <div class="element-text"> To view the Cork Memory Map Click <a href="https://corkfolklore.org/memory-map/" target="_blank" rel="noreferrer noopener">Here</a></div> Creator An entity primarily responsible for making the resource Cork Folklore Project Publisher An entity responsible for making the resource available Cork Folklore Project Oral History Archive Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound 1960s 1970s Ford Jack Lynch The Low Road Tony McGillicuddy https://corkfolklore.org/archivecatalolgue/files/original/b0f6e4d5cc1e42a8d85574d7ff3ba684.jpg 9a1212ce48dc2ace584eb0614efc891c https://corkfolklore.org/archivecatalolgue/files/original/3b12951ce0f90bc0ea2507eca571447c.mp3 14516bc52ba1ffb3bbdd042eb418550a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cork 2005 Project Subject The topic of the resource Interviewing and radio project exploring migration, cultural contact and the social and physical landscape of Cork City in 2004 and 2005 and in the past, comprising of forty audio interviews and resulting in six half-hour radio programmes and a book. Description An account of the resource The Cork 2005 Project was carried out and funded as part of Cork’s tenure as European Capital of Culture in 2005. Building on the theme ‘City of Culture’, the project explored the questions: ‘What is the everyday culture of Cork City?’ and ‘Who are the people of the city?’, and aimed to broaden our archival holdings to reflect the increased numbers of migrants making their home in the city. 37 ethnographic interviews were carried out with Cork residents, more than two-thirds of whom had come to Cork from elsewhere, exploring their relationship with the cultural and social landscape of the city. The interviews include accounts of family life and growing up in Argentina, Australia, Bangladesh, Canada, China, England, Germany, India, Iraq, Israel, Kurdistan, the Netherlands, Nigeria, Poland, Slovakia, South Africa Ukraine, and the United States. A six-part radio series, entitled ‘How’s it goin’, boy?’ was broadcast on Cork Campus Radio in 2005, and a book of the same name was published in 2006. You can listen to the radio programmes on our website: How's it goin', boy? Radio Series. The interviews in this collection all have a similar structure. We asked all interviewees to describe their childhood neighbourhoods and communities and to discuss their relationship with Cork city in the present day. We also discussed experiences of migrancy, first impressions and cultural contact with those who had come to Cork from elsewhere and with Corkonians who had experience of migration. Interviewees came from diverse areas including Australia, the Marsh, Nigeria, Brittany, Gurranabraher, Russia, Evergreen Street, Spain, Poland and Kurdish Iraq. The collection project was carried out from March 2004 – June 2005. Interviewers on the project: Jennifer Butler; Lee Cassidy; Sean Claffey; Diane Hoppe; Dolores Horgan; John Mehegan; Clíona O’Carroll; Mary O’Driscoll; Noel O’Shaughnessy: Frances Quirke. Cork 2005 Special Project Co-ordinator: Clíona O’Carroll Project photography: Fawn Allen CFP Project Manager: Mary O’Driscoll CFP Research Director: Marie-Annick Desplanques ‘How’s it Goin’, Boy?’ radio series producer: Clíona O’Carroll ‘How’s it Goin’, Boy?’ radio series editor: Colin MacHale Support: the post of Special Project Co-ordinator and production costs were funded by Cork 2005. Ongoing support was from Northside Community Enterprises, Foras Áiseanna Saothair (FÁS) and University College, Cork. For further description of the Cork 2005 project, see: O’Carroll , Clíona and Desplanques, Marie-Annick (2006) ‘Cultures of Cork: Community, Ethnicity and Broadcasting’, in: Sociedade da Información en Espacios Periféricos, Novas Formas de Exclusión Social. Santiago de Compostela: Servizo de Edición Dixital da Universidade de Santiago de Compostela. O'Carroll, Clíona (2013) 'Public folklore operating between aspiration and expediency: The Cork Folklore Project'. Irish Journal of Anthropology, 16 (1): 23-30. For the dissemination content see: ‘How’s it Goin’, Boy? radio series (six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website) O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Catalogue project description written by: Clíona O’Carroll Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Date A point or period of time associated with an event in the lifecycle of the resource 2004-2005 Contributor An entity responsible for making contributions to the resource Interviewees: Billy McCarthy; Mary O'Driscoll; Eileen Claffey; Noreen Hanover; Marie-Annick Desplanques; Marcus Bale; Isabelle Sheridan; Liz Steiner-Scott; Avreimi Rot; Rob Stafford; Balaska O Donoghue; Andy Hawkins; Kay O'Carroll; Emeka Ikebuasi; Mícheál Ó Geallabháin; Noreen Geaney; Stefan Wulff; Karina Abdoulbaneeva; Musa Gunes; Robert Fourie; Tony Henderson; Yossi Valdman; Brigid Carmody; Mary O'Sullivan; Vitaliy Mahknanov; Michael O'Flynn; Dr. Mahbub Akhter; David Walker; Dearbhla Kelleher; Patricia Manresa; Stephen Wimpenny; Adam Skotarczak; Lode Vermeulen; Owen (homeless); Geoffrey D'Souza; Aimee Setter; Tim O'Brien; Alan Botan: Interviewers: Jennifer Butler; Lee Cassidy; Sean Claffey; Diane Hoppe; Dolores Horgan; John Mehegan; Clíona O’Carroll; Mary O’Driscoll; Noel O’Shaughnessy: Frances Quirke. Rights Information about rights held in and over the resource Cork Folklore Project <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/"></a> This work is licensed under a <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/">Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License</a>. Relation A related resource Published Material; ‘How’s it Goin’, Boy? radio series <a href="http://corkfolklore.org/radio-series/">(six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website)</a> O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Catalogue project description written by: Clíona O’Carroll Format The file format, physical medium, or dimensions of the resource 37 MiniDisc Language A language of the resource English Type The nature or genre of the resource Audio Identifier An unambiguous reference to the resource within a given context Cork 2005 Collection Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/5">CFP_SR00329_mccarthy_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/18">CFP_SR00330_odriscoll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/19">CFP_SR00331_claffey_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/20">CFP_SR00332_hanover_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/21">CFP_SR00333_desplanques_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/22">CFP_SR00334_bale_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/23">CFP_SR00335_sheridan_1996</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/24">CFP_SR00336_steiner-scott_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/25">CFP_SR00337_rot_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/26">CFP_SR00338_stafford_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/27">CFP_SR00339_odonoghue_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/28">CFP_SR00340_hawkins_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/29">CFP_SR00341_ocarroll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/30">CFP_SR00342_ikebuasi_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/54">CFP_SR00343_ogeallabhain_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/31">CFP_SR00344_geaney_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/32">CFP_SR00345_wulff_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/33">CFP_SR00346_abdoulbaneeva_2004</a>; CFP_SR00347_gunes_2004; <a href="http://corkfolklore.org/archivecatalolgue/items/show/35">CFP_SR00348_fourie_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/36">CFP_SR00349_henderson_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/37">CFP_SR00350_valdman_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/38">CFP_SR00351_carmody_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/39">CFP_SR00352_osullivan_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/40">CFP_SR00353_mahknanov_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/41">CFP_SR00354_oflynn_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/42">CFP_SR00355_akhter_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/43">CFP_SR00356_walker_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/44">CFP_SR00357_kelleher_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/45">CFP_SR00358_manresa_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/46">CFP_SR00359_wimpenny_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/47">CFP_SR00360_skotarczak_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/48">CFP_SR00361_vermeulen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/49">CFP_SR00362_owen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/50">CFP_SR00363_dsouza_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/51">CFP_SR00364_setter_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/52">CFP_SR00365_obrien_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/53">CFP_SR00366_botan_2005</a>: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 37 ethnographic interviews carried out with Cork residents, more than two-thirds of whom had come to Cork from elsewhere, exploring their relationship with the cultural and social landscape of the city in 2004/2005 and in the latter half of the twentieth century. The interviews include accounts of family life and growing up in Argentina, Australia, Bangladesh, Canada, China, England, Germany, India, Iraq, Israel, Kurdistan, the Netherlands, Nigeria, Poland, Slovakia, South Africa Ukraine, and the United States. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Sean Claffery Interviewee The person(s) being interviewed Tony Henderson Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46m 57s Location The location of the interview St. Luke's, Cork City, Ireland Original Format The type of object, such as painting, sculpture, paper, photo, and additional data MiniDisc Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 16bit / 44.1kHz Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com T.H: It’s improved enormously, yeah the whole Celtic tiger thing, there is a whole generation who’ve grown up who expect to work hard, and expect to do well as a consequence of it because I mean that was always my thinking at the time is that em there was no particular incentive for people to you know keep their nose to the grindstone, or to be disciplined or driven or any of those things because you’d work hard and do no better than anybody else, I mean any sensible person would see that, so em I’ve never felt that the Irish were intrinsically this that or the other thing more than any other culture or group of people, I think these are entirely down to circumstances you know there are cultural influences but em people, why would people work hard for no particular gain, and conversely I suppose why would they not work hard if they can see that they can get a lot of stuff that they actually want, eh whatever that stuff is, whether it’s material stuff or whether it’s freedom, you know, or the possibility to go to Spain four times a year or the possibility of moving to Spain, or whatever you know I mean the stuff that money buys, em so anyway I mean that, all of that stuff wasn’t a mystery to me but it was, you did ask what was galling to me, what bothered me and that was certainly one of the worst. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tony Henderson: Canada, Music, London Subject The topic of the resource Life History; Canada; London Cork; Ireland; Description An account of the resource Tony grew up in Canada. He came to Cork during the 1990s, and he talks about his impressions of the city. His father was Irish, his mother English. He talks about growing up in Canada, where he learned the guitar and played in a band. He came to Ireland to play music with another musician. He talks about his impressions of Ireland and of Cork. He has carpentry skills, which he picked up because he often had time on his hands, and he has made some acoustic guitars. Note; This interview was conducted as part of the Cork 2005 Project Date A point or period of time associated with an event in the lifecycle of the resource 23 November 2004 Contributor An entity responsible for making contributions to the resource Interviewee: Tony Henderson Interviewer: Sean Claffery Identifier An unambiguous reference to the resource within a given context CFP_SR00349_henderson_2004 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; Ireland; Canada; England; 1970s - 2000s; Relation A related resource Cork 2005 Collection Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/5">CFP_SR00329_mccarthy_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/18">CFP_SR00330_odriscoll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/19">CFP_SR00331_claffey_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/20">CFP_SR00332_hanover_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/21">CFP_SR00333_desplanques_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/22">CFP_SR00334_bale_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/23">CFP_SR00335_sheridan_1996</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/24">CFP_SR00336_steiner-scott_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/25">CFP_SR00337_rot_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/26">CFP_SR00338_stafford_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/27">CFP_SR00339_odonoghue_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/28">CFP_SR00340_hawkins_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/29">CFP_SR00341_ocarroll_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/30">CFP_SR00342_ikebuasi_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/54">CFP_SR00343_ogeallabhain_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/31">CFP_SR00344_geaney_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/32">CFP_SR00345_wulff_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/33">CFP_SR00346_abdoulbaneeva_2004</a>; CFP_SR00347_gunes_2004; <a href="http://corkfolklore.org/archivecatalolgue/items/show/35">CFP_SR00348_fourie_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/37">CFP_SR00350_valdman_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/38">CFP_SR00351_carmody_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/39">CFP_SR00352_osullivan_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/40">CFP_SR00353_mahknanov_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/41">CFP_SR00354_oflynn_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/42">CFP_SR00355_akhter_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/43">CFP_SR00356_walker_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/44">CFP_SR00357_kelleher_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/45">CFP_SR00358_manresa_2004</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/46">CFP_SR00359_wimpenny_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/47">CFP_SR00360_skotarczak_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/48">CFP_SR00361_vermeulen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/49">CFP_SR00362_owen_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/50">CFP_SR00363_dsouza_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/51">CFP_SR00364_setter_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/52">CFP_SR00365_obrien_2005</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/53">CFP_SR00366_botan_2005</a>: Published Material: ‘How’s it Goin’, Boy? radio series <a href="http://corkfolklore.org/radio-series/">(six thirty-minute episodes, broadcast 2005 and available on the Cork Folklore Project website)</a> O'Carroll, Clíona for the Cork Northside Folklore Project (2006) How's it goin', boy? Dublin: Nonsuch Publishing. Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1.wav File Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Type The nature or genre of the resource Sound 1980s 1990s 2000s Canada Celtic Tiger Cork 2005 London Music Tony Henderson https://corkfolklore.org/archivecatalolgue/files/original/6931244a8c6d64c87eb96b3ffeaed969.jpg c749eda90e16fa92bb8fcc1bdb0b02f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LGBT Collection Subject The topic of the resource Stories and memories of LGBT life in Cork City and County. Description An account of the resource The LGBT (lesbian, gay, bisexual, transgender) collection was launched and created in August 2014 by Stephen Dee and Dermot Casey, researchers at the Cork Folklore Project. The Project was established to record and preserve stories and memories of LGBT life in Cork City and County, with a focus prior to decriminalization in 1993 but also to document the important achievements and struggles that contributed to a society that today is far more accepting of LGBT people. This is proven today with the legalisation of same sex marriage through popular vote and the increased visibility of LGBT people in all areas of public life. The collection’s aims are to explore three main aspects: ‘Personal Recollections’ including but not limited to identity, coming out and experiences of homophobia; ‘Community Stories’ based on certain areas, streets, and forms of social interaction within the LGBT community; and ‘Political Movements’, chronicling political events, motivations and outcomes such as the creation of the Cork-based Irish Gay Rights Movement in 1976, Cork Gay Collective in 1980, and UCC Gay Soc in 1980. Each interview we conducted was unique with each interviewee covering some or all of these topics and with some areas being explored in depth. We hope the material can complement LGBT research in Ireland and also stimulate further interest amongst the public in LGBT history. To date we have distributed some of this material to the public with an audio visual presentation on YouTube and in 2016 in conjunction with Cork City Partnership for LGBT Awareness week we produced a public exhibition of our sound excerpts at Cork City Library. Special thanks to all our interviewees and also to Alvina Cassidy whose research also features in this collection. This LGBT collection of interviews is stored within the Cork Folklore Project permanent oral history archive run in conjunction with UCC’s Folklore and Ethnology Department and Northside Community Enterprises, with both a physical and digital presence. As with all our material, access to full interviews is supervised through a variety of permissions and forms. Date A point or period of time associated with an event in the lifecycle of the resource 2012 and onwards Contributor An entity responsible for making contributions to the resource Interviewees: Derrick Gerrety; Eddie Kay; Christine Browne; Stephen Dee; Dermot Casey; Padraig McCarthy; Clive Davis; Finbarr Kiely; Ken Curtin; Paul McAllister; Jonathan Neville; Tara Whelan; Edmund Lynch; Tony Doherty; Cathal Kerrigan; Barra O’Donnabhain Interviewers: Alvina Cassidy; Stephen Dee; Dermot Casey Identifier An unambiguous reference to the resource within a given context <a href="http://corkfolklore.org/archivecatalolgue/items/show/85">CFP_SR00502_kay_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/86">CFP_SR00516_browne_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/87">CFP_SR00518_dee_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/88">CFP_SR00519_casey_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/89">CFP_SR00521_mccarthy_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/90">CFP_SR00532_davis_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/91">CFP_SR00534_kiely_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/92">CFP_SR00547_curtin_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/93">CFP_SR00548_mcallister_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/94">CFP_SR00549_neville_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/96">CFP_SR00555_whelan_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/97">CFP_SR00556_lynch_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/98">CFP_SR00558_doherty_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/99">CFP_SR00561_kerrigan_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/100">CFP_SR00576_odonnabhain_2016;</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ethnographic interviews carried out with members of the LGBT community in Cork city and county Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource 16 .wav files Relation A related resource Youtube video showcasing interviews from our LGBT Archive Collection. Ten voices, eight topics, ranging from First Discovery, Coming Out, The Scene, Marriage and more. <a href="https://www.youtube.com/watch?v=enopWLdeOAw&t=2s">https://www.youtube.com/watch?v=enopWLdeOAw&t=2s</a> Other CFP Material Realting to LGBT Life in Cork: <a href="http://corkfolklore.org/archivecatalolgue/document/130">CFP_SR00418_gerrety_2012</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Stephen Dee & Dermot Casey Interviewee The person(s) being interviewed Tony Doherty Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 95min 22sec Location The location of the interview The South Terrace, Cork City. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Transcription Any written text transcribed from a sound SD When did you first hear the term coined, you know homosexual gay? TD Ah sure we heard it all the time my father like was in the special branch, and they were constantly in those days the guards like kind of following going down any cruising areas, or I remember once talking about some Judge that used to come to Cork like and they would follow him around because he picking up young fellas, there was a kind of balance as far I could see in those days, that, like there was no one obviously anyone open, they were about two openly gay men Martin Bennett in the, what was it called, he had a shop, the bargain stores in the North Main street, he was famous, everyone knew he was gay like, he would be getting off with Echo Boys and things and there was a guy, over in Boreenmanna, who was known as Father Tom I think, even though he wasn’t a priest who was into young fellas as well and there was a fella two doors up and so like it accepted that, our headmaster up in Chriost Rí used bring the good looking guys and he would sit them on his lap, like cute little first and second years and things like that, and we were aware of that, we accepted it, there was another brother who used to do it as well, and that was the norm. I remember now this, there was a brother there who used always fall in love with the young fella who would be playing the boy soprano in the opera, the annual opera, that Gilbert and Sullivan done every year like and he would be trying to kiss him backstage and we would grab, we would be working backstage as well, we would grab the young fella and we would be waiting to land, for Brother Amsel[phonetic??] would to appear, and we would shove him out in front of him. Because we just thought that this is the norm you know, but if you didn’t associate yourself with that, you would be kind of tempted alright to go looking for Uncle Tom, or Father Tom, whatever you called him, but then I kind have started an affair, or a fling with a friend of mine so that solved that problem. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tony Doherty: Rainbow Ramblers, Cork Gay Mens’ Cooperative, Cruising. Subject The topic of the resource Stories and memories of LGBT life in Cork City and County. Description An account of the resource Tony Doherty was interviewed as part of the LGBT project. He describes his younger days in Cork in the 1950s and 1960s. He went to England in 1968, five years after decriminalisation in the UK. He describes being gay in a Catholic school, the social scene, theatre productions and notable people. He recalls decriminalisation in 1993. Date A point or period of time associated with an event in the lifecycle of the resource 15 July 2015 Contributor An entity responsible for making contributions to the resource Interviewee: Tony Doherty Interviewers: Stephen Dee & Dermot Casey Identifier An unambiguous reference to the resource within a given context CFP_SR00558_doherty_2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, England, 1950s-2010s Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File Relation A related resource <a href="http://corkfolklore.org/archivecatalolgue/items/show/85">CFP_SR00502_kay_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/86">CFP_SR00516_browne_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/87">CFP_SR00518_dee_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/88">CFP_SR00519_casey_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/89">CFP_SR00521_mccarthy_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/90">CFP_SR00532_davis_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/91">CFP_SR00534_kiely_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/92">CFP_SR00547_curtin_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/93">CFP_SR00548_mcallister_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/94">CFP_SR00549_neville_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/96">CFP_SR00555_whelan_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/97">CFP_SR00556_lynch_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/98">CFP_SR00558_doherty_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/99">CFP_SR00561_kerrigan_2015</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/100">CFP_SR00576_odonnabhain_2016;</a> <div class="element-text">Youtube video showcasing interviews from our LGBT Archive Collection. Ten voices, eight topics, ranging from First Discovery, Coming Out, The Scene, Marriage and more. <a href="https://www.youtube.com/watch?v=enopWLdeOAw&t=2s">https://www.youtube.com/watch?v=enopWLdeOAw&t=2s</a></div> <div class="element-text"> Other CFP Material Realting to LGBT Life in Cork: <a href="http://corkfolklore.org/archivecatalolgue/document/130">CFP_SR00418_gerrety_2012</a></div> <a href="http://corkfolklore.org/archivecatalolgue/items/show/100"></a> Type The nature or genre of the resource Sound 1950s 1960s 1970s 1980s 1990s 2000s 2010s CAT Club Cork Gay Mens’ Cooperative Cruising David Gordon Decriminalisation Dogging Grindr Hilton Edwards Iron Toilet Le Chateau LGBT Marriage Referendum Michael Mac Liammoir Mother Gordon Rainbow Ramblers The Other Place Tony Doherty https://corkfolklore.org/archivecatalolgue/files/original/a4b003807252ba8cca662ea2f0ca8558.jpg 8cb1487608186852ed4f4a83a614e21a https://corkfolklore.org/archivecatalolgue/files/original/588ff004d741616fc4498674b7bcf12b.mp3 66caf431e1c9799b712b955f00672d96 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Showbands Subject The topic of the resource Interview collection exploring the ‘showband era’ (late 1950s to early 1970s) in Ireland from the perspective of Cork-based musicians and family members. Six audio interviews with eight people totalling 251 minutes. Description An account of the resource In 1996-1997, researcher Stephen Hunter interviewed a range of musicians, family members and one author on their memories of the ‘showband era’ in Ireland. In the first interview, Seán Lucy (clarinet and saxophone player with Cork band the Dixies from 1954) and Terry McCarthy (singer with the Dixies from 1985) speak briefly about their backgrounds and childhoods in Cork before tracing their musical careers and discussing their experiences as members of the Dixies. Tommy Rooney from Crosshaven recounts playing with army and civilian bands (Trumpet player) before founding the Second City Jazz Band, and talks about the showband era and his experiences of playing in Cork and in Protestant halls in Northern Ireland. Pat Nolan, a saxophone and clarinet player who grew up on Cork City’s Northside, traces the rise and fall of the showbands on the Island of Ireland, and describes playing in dancehalls in Northern Ireland. Vincent Power, author of the book Send ‘Em Home Sweatin’, reflects on the showband phenomenon in his interview. Liam Foley from Blackpool, Cork, a drummer and guitarist, recalls his experiences as a musician in that era. Frances McCarthy and Betty O’Mahony, wife and daughter of the late Christy O’Mahony who played bass with the Dixies from 1958-1985, talks about Christy’s involvement with the band. Date A point or period of time associated with an event in the lifecycle of the resource 1996-1997 Contributor An entity responsible for making contributions to the resource Interviewees: Seán Lucy; Terry McCarthy; Tommy Rooney; Pat Nolan; Vincent Power; Frances McCarthy; Betty O’Mahony. Interviewer: Stephen Hunter Identifier An unambiguous reference to the resource within a given context Accession number for collection [CFP Acc. No. 1997-004]; <a href="http://corkfolklore.org/archivecatalolgue/items/show/56" target="_blank" rel="noreferrer noopener">CFP_SR00051_dixies_1996;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/57">CFP_SR00052_rooney_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/58" target="_blank" rel="noreferrer noopener">CFP_SR00053_nolan_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/59" target="_blank" rel="noreferrer noopener">CFP_SR00054_power_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/60" target="_blank" rel="noreferrer noopener">CFP_SR00055_foley_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/61" target="_blank" rel="noreferrer noopener">CFP_SR00056_various_1997</a>: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; Belfast; Northern Ireland; Ireland; music; showband music; dancehalls; 1950s-1970s Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource 6 .wav files [digitized at 96kHz, 24-bit audio from 90-minute cassette tapes] Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Stephen Hunter Interviewee The person(s) being interviewed Tommy Rooney Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46m 45s Location The location of the interview Cork Academy of Music, Sunbeam Industrial Estate, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 90-minute cassette tape Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 16bit / 44.1kHz Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com SH: Going on to the show bands phenomena do you think that it was something that seemed to spring up suddenly , or did it gradually gather momentum ? TR: I would be inclined to think it came suddenly rather than otherwise. One band in Waterford, principally. But prior to that the band from the North of Ireland, the clipper Carlton – they started doing this kind of thing. One of the necessary things was that you had to stand up – and quite a number of bands at that time would stand up and perform these show band type of tunes, with guitars. Prior to that era there were no guitars in bands – at-all – I only knew one band in Ireland that had a guitar – that was Pat Crowley from Cork Here, they had a guy called Joe McGrinty played guitar – but no one ever heard it because it was acoustic so you wouldn’t know if he was playing it or not really, even though I played with him myself , I was always a bit dubious , because you couldn’t hear what he was doing anyway ( Chuckles ) So they were no good to you . But when the electric guitar came in really ‘’ that’s when the show band thing....... and the happened together almost. SH: Did you ever meet or know Lonnie Donnegan? TR: Yeah, I did he came over here with Chris Barber’s band first. He um...... he started the Skiffle thing just about that time. I remember him doing ‘’ Cumberland Giap ‘’ in Arcadia; it would have been about..... The middle ‘50s, maybe about ‘55, 56, Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tommy Rooney: Second City Jazzband, Cork Academy School of Music Description An account of the resource Tommy Rooney was born in 1931. He was reared in Crosshaven and was the eldest of nine. His father’s family were from Dublin. He joined the army in 1945 at the age of 14 and remained in the service for 12 years. He played music during some of that time with civilian bands. After the army, he played with Donny Collins in Limerick for 9 years and with Michael O’Callaghan for 7 years. He then formed The Second City Jazz Band and played with them for 20 years. Recently he has begun teaching music at the Cork Academy School of Music in Sunbeam industrial estate. He married one of the Creedon's, a well-known sporting family from Shandon Street. Tommy talks about his life as a musician. His early days in the army as a teenager. He talks about the very start of the showband era, the bands and Cork venues, such as the Arcadia. The experience of playing in Protestant halls in Northern Ireland. Date A point or period of time associated with an event in the lifecycle of the resource 8 January 1997 Contributor An entity responsible for making contributions to the resource Interviewee: Tommy Rooney Interviewer: Stephen Hunter Identifier An unambiguous reference to the resource within a given context CFP_SR00052_rooney_1997 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork City; Ireland; 1930s-1990s Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1.wav File Subject The topic of the resource Interview exploring the ‘showband era’ (late 1950s to early 1970s) in Ireland from the perspective of Cork-based musicians and family members. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Relation A related resource Showbands Collection Catalogue Numbers: Accession number for collection [CFP Acc. No. 1997-004]; <a href="http://corkfolklore.org/archivecatalolgue/items/show/56" target="_blank" rel="noreferrer noopener">CFP_SR00051_dixies_1996;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/58" target="_blank" rel="noreferrer noopener">CFP_SR00053_nolan_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/59" target="_blank" rel="noreferrer noopener">CFP_SR00054_power_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/60" target="_blank" rel="noreferrer noopener">CFP_SR00055_foley_1997</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/61" target="_blank" rel="noreferrer noopener">CFP_SR00056_various_1997</a>: Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound 1930s 1940s 1950s 1960s 1970s 1980s 1990s Arcadia Clipper Carlton Cork Academy School of Music Cork Opera House Crosshaven Donny Collins Glasheen Irish Defence Forces Jazz (music) Joe McGrinty Lonnie Donegan Michael O’Callaghan Music Northern Ireland Northside Pat Crowley Rory Gallagher Royal Showband Sean Lemass Second City Jazz Band Shandon Street Showbands Skiffle (music) Sunbeam Taste (band) The Dixies The Emergency Tommy Rooney Unionists https://corkfolklore.org/archivecatalolgue/files/original/de9fdb16f3d6c23f6b6685c8cb752313.jpg cbf1c711785600501bec005b1d811bed https://corkfolklore.org/archivecatalolgue/files/original/a58fb6809ba2b6058c5badd29a0297c8.mp3 e002300850b09a355659064fc4907692 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Cork Memory Map Collection Subject The topic of the resource A place-based interviewing project exploring everyday life in Cork City, with excerpts disseminated on a series of online digital maps. Description An account of the resource A place-based interviewing project exploring everyday life in Cork City, with excerpts disseminated on a series of online digital maps. In 2010, the Cork Folklore Project initiated a new collection and dissemination project, entitled the Cork Memory Map. We wished to step up our interviewing programme and enhance public access to our holdings through the creation of an online map of stories and memories. A central concern in this initial stage was to keep our research agenda as open as possible in terms of generating accounts of everyday life in the city down through the years. As we were not carrying out topic-focussed interviews (in contrast to previous projects on topics such as song in the Northside, drag hunting and occupational lore), the place-based focus enabled us to explore everyday life at different stages of interviewees’ life histories, remaining open to cues from the interviewees while maintaining a sense of direction and purpose for all involved. The fact that the interviews were structured around memories of place, rather than taking the form of life history interviews, also had an impact on the material gathered. The initial phase of interviewing was carried out in the main with older residents of Cork City, Ireland, who grew up in the city centre or adjacent suburbs and who were born between 1929 and 1950. Lasting between 45 minutes and two hours, individual interviews in the Memory Map project tend to follow a similar pattern. A description of the interviewee’s childhood neighbourhood is followed by a succession of ‘grand tour’ questions about daily routines, work and play within the neighbourhood. Places important or familiar to interviewees were explored, as were routes habitually taken through the landscape. This narrative base was used as a springboard for using cues provided by the interviewees as the basis for follow-up questions on significant people and activities mentioned. A sub-collection of shorter interviews was generated during Heritage Week (20-28 August) 2011. The Cork Folklore Project, in collaboration with Civic Trust House, launched the Memory Map Project with an exhibition and collection event throughout the week. Visitors to the exhibition were invited to ‘put themselves on the map’ through short interviews. The Memory Map also featured in a ten-minute Curious Ear documentary broadcast on RTÉ Radio 1 during Heritage Week, and available as a podcast (The Curious Ear/Documentary on One (Cork City Memory Map) http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/). The bulk of the interviews were carried out between July and December 2010 (21 interviews), with 9 full-length interviews carried out in the second half of 2011, along with 18 shorter interviews carried out during heritage week, 23-27 August 2011, and 9 interviews in the second half of 2012. 1 video interview was carried out in January 2014 with Memory Map interviewee Pat Speight. The design for the map and supporting database design was carried out by Cheryl Donaghue (UCC) as project work for an MSc in Interactive Media, with assistance from Colin Mac Hale. The Project received support for the further technical development of the map from the Irish Heritage Council in 2012. The map itself has undergone various iterations, the most recent being its preparation for use on the Omeka platform by the CFP team and PhD candidate Penny Johnston in 2016/2017. Existing and subsequent interviews from the CFP collections have also been utilised for the online mapping dissemination project: the interviews designated as ‘memory map’ interviews are those carried out specifically with the map in mind from 2010 onwards. Support: This project was supported by the Heritage Council of Ireland in the Heritage Education Community and Outreach grant scheme, 2012, and also received support from the Cork City Council Community Grants Scheme. For further description and discussion of the Cork Memory Map project, see: O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF Clíona O'Carroll (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. To view the Cork Memory Map Click <a href="https://corkfolklore.org/memory-map/">Here</a> Date A point or period of time associated with an event in the lifecycle of the resource 2010 - 2013 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1930s - 2010s, Relation A related resource O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> O'Carrol, Clíona (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. The Curious Ear/Documentary on One (Cork City Memory Map) <a href="http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/">http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio; Video Contributor An entity responsible for making contributions to the resource Interviewees: Breda Sheehan (2 Interviews); Geraldine Healy: Johnny 'Chris' Kelleher; Marie Crean; James 'Jim' Mckeon; Brenda Twomey (RA); Breda St Leger; Pat Speight (1 Audio, 1 Video); Sean Lane; Pat O'Brien (O'Leary); Eileen Jones; Pat Saville; Noel Magnier; Mary Marshall; Paddy Marshall; Denis Murphy: Helen Prout (2 Interviews); Donie Walsh; Margaret Newman (4 Interviews); Kevin Leahy; Marie Finn; Pádraig Ó'Horgáin; Michael O Connell; Mary Sheehy; Bernie McLoughlin; Derrick Gerety; Peggy Kelleher; Sandra Byrne (RA); Noreen Cronin; Liam Ó h-Uigín (2 Interviews); Nicole Meacle; Una Lyons; Helen Goulding; Bernard Casey; Dragan Tomas; Pete Newman (Duffy); Brenda Stillwell; Creena O'Connell; Joseph Lane; Mary Montgomery McConville; Michael (Mick) O'Callaghan; Phil Corcoran; Thomas Jones (2 Interviews); Patricia (Pat) McCarthy; Fergal Crowley; Pat O'Brien; Tony McGillicuddy; Alice Delay; Barry Murphy; Patrick Fitzgerald Interviewers: Breda Sheehan (6 Interviews); Gráinne McGee (7 Interviews); Cliona O'Carroll (12 Interviews); Stephen Dee (3 Interviews); Geraldine Healy (2 Interviews); Michael Daly; Helen Kelly (6 Interviews); Gearoid Ó'Donnell (6 Interviews); Tom Doig (2 Interviews) John Elliot (3 Interviews); Alvina Cassidy; Eanna Heavey: Majella Murphy; Mark Wilkins; Richard Clare; Louise Ahern; Ian Stephenson; Annmarie McIntyre; Identifier An unambiguous reference to the resource within a given context Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00387_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00388_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/104" target="_blank" rel="noreferrer noopener">CFP_SR00390_kelleher_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/105" target="_blank" rel="noreferrer noopener">CFP_SR00391_crean_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/106" target="_blank" rel="noreferrer noopener">CFP_SR00392_mckeon_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/107" target="_blank" rel="noreferrer noopener">CFP_SR00393_twomey_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/108">CFP_SR00394_stleger_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/3">CFP_SR00395_speight_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/109" target="_blank" rel="noreferrer noopener">CFP_SR00396_lane_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/110" target="_blank" rel="noreferrer noopener">CFP_SR00397_obrienoleary_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/111" target="_blank" rel="noreferrer noopener">CFP_SR00398_jones_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/112" target="_blank" rel="noreferrer noopener">CFP_SR00399_saville_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/113" target="_blank" rel="noreferrer noopener">CFP_SR00400_magnier_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/114">CFP_SR00401_marshall_2010</a>;<a href="http://corkfolklore.org/archivecatalolgue/items/show/115" target="_blank" rel="noreferrer noopener"> CFP_SR00402_marshall_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/116">CFP_SR00403_murphy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/117">CFP_SR00404_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/118">CFP_SR00405_walsh_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/119" target="_blank" rel="noreferrer noopener">CFP_SR00406_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/120">CFP_SR00407_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/121" target="_blank" rel="noreferrer noopener">CFP_SR00408_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/122" target="_blank" rel="noreferrer noopener">CFP_SR00409_leahy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/123" target="_blank" rel="noreferrer noopener">CFP_SR00411_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/124" target="_blank" rel="noreferrer noopener">CFP_SR00412_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/125" target="_blank" rel="noreferrer noopener">CFP_SR00413_finn_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/126" target="_blank" rel="noreferrer noopener">CFP_SR00414_ohorgain_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/127" target="_blank" rel="noreferrer noopener">CFP_SR00415_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/128" target="_blank" rel="noreferrer noopener">CFP_SR00416_sheehy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/129" target="_blank" rel="noreferrer noopener">CFP_SR00417_mcloughlin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/130" target="_blank" rel="noreferrer noopener">CFP_SR00418_gerety_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/131" target="_blank" rel="noreferrer noopener">CFP_SR00419_kelleher_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/132" target="_blank" rel="noreferrer noopener">CFP_SR00420_byrne_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/133" target="_blank" rel="noreferrer noopener">CFP_SR00421_cronin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/134" target="_blank" rel="noreferrer noopener">CFP_SR00422_ohuigin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/135" target="_blank" rel="noreferrer noopener">CFP_SR00423_meacle_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/136" target="_blank" rel="noreferrer noopener">CFP_SR00424_horgan_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/137" target="_blank" rel="noreferrer noopener">CFP_SR00425_lyons_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/138" target="_blank" rel="noreferrer noopener">CFP_SR00427_goulding_2011</a>; CFP_SR00491_fitzgerald_2013. Heritage Week 2011: <a href="http://corkfolklore.org/archivecatalolgue/items/show/139" target="_blank" rel="noreferrer noopener">CFP_SR00429_casey_201</a>1; <a href="http://corkfolklore.org/archivecatalolgue/items/show/140" target="_blank" rel="noreferrer noopener">CFP_SR00430_tomas_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/141" target="_blank" rel="noreferrer noopener">CFP_SR00431_newman_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/142" target="_blank" rel="noreferrer noopener">CFP_SR00432_stillwell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/143" target="_blank" rel="noreferrer noopener">CFP_SR00433_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/144" target="_blank" rel="noreferrer noopener">CFP_SR00434_lane_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/145" target="_blank" rel="noreferrer noopener">CFP_SR00435_montgomery-mcconville_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/146" target="_blank" rel="noreferrer noopener">CFP_SR00436_ocallaghan_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/147" target="_blank" rel="noreferrer noopener">CFP_SR00437_corcoran_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/148">CFP_SR00438_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/2" target="_blank" rel="noreferrer noopener">CFP_SR00439_ohuigin_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/149" target="_blank" rel="noreferrer noopener">CFP_SR00440_mccarthy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/150" target="_blank" rel="noreferrer noopener">CFP_SR00441_crowley_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/151" target="_blank" rel="noreferrer noopener">CFP_SR00442_obrien_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/152" target="_blank" rel="noreferrer noopener">CFP_SR00443_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/153" target="_blank" rel="noreferrer noopener">CFP_SR00444_mcgillicuddy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/154" target="_blank" rel="noreferrer noopener">CFP_SR00445_delay_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/155" target="_blank" rel="noreferrer noopener">CFP_SR00446_murphy_2011</a>; Video Interview: CFP_VR00486_speight_2014 Format The file format, physical medium, or dimensions of the resource 58 .wav Files 1 .mov File Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tom Jones Interviewer The person(s) performing the interview Cliona O'Carroll Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 24min 36sec Location The location of the interview Civic Trust House Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material for this interview or other interviews please contact CFP, folklorearchive@gmail.com C O C: How did kick the can work? T J: Kick the can was a – I believe someone threw the can and whoever called out the name, he had to stand there with the can and guard it and then everybody hid and he had to go looking for them. So if somebody – if he didn’t find somebody closer that were closer and they ran and kicked the can I guess he had to do it all over again. It was something like that, I’m not sure if I remember eh perfectly. C O C: We used to do something called like called tip the can but we used to use a lamp post as the can and again it was you had to run in and if you tipped it while they were gone again, it started all over again or something. T J: I’m sure somebody else mentioned it was the gambling game it was eh playing feck. where you throw h’appennies. C O C: Oh, no I don’t know that. T J: Well what it was was that you know first of all the eh – to determine who tossed first, meaning toss was to flip them in the air, there was a jack meaning a piece of a stick or a stone and you pitched and the nearest, the nearer one to that stone got there between the two. C O C: And what were you throwing to the stone? T J: Again, it would be I think it was eh I think H’appennies were still around. The farthings were gone in my time but the h’appennies were still there and it would be h’appennies that you pitched towards this eh stone or whatever and then the first one who – the nearest to that, what was called a jack em had a choice to pitch and how a winner was was that you had eh flick them in the ear and it had to come up two heads. If it came up two tails or two harps you eh lost, if it was a head and a harp or a head and tails then of course it was null and void. So then the other kids would, would bet again on his heads or his tails. C O C: Right. T J: Because when was the tails we were betting on – and of course that created some troubles throughout that. I’m sure there’s other people that have told you what the ways; when somebody dived in and grabbed the pot. If there was money on the ground and somebody was losing he would shout ‘all away’ and I think that was the word, which encouraged everybody to jump in, maybe grab what was there at their own, at their own risk obviously because at that time there was [word unintelligible] legs, everything else you know you just kick the thing and got a bit wild. But they were the basic things you know.. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tom Jones: Shandon Street, Emigration, Childhood Subject The topic of the resource Life History: Description An account of the resource Tom was born circa 1950 in a building at the bottom of Shandon Street. He remembers watching the Cork Opera House on fire in 1955. He recalls childhood games and explains the game of Kick the Can and Pitch and Toss. He talks about the nature of relationships between parents and children. At 16 he went to London and began to educate himself, finishing up in America. He talks about how Cork has changed. He remembers what the allotments were like, and collecting turf in a pram. He explains how children could get into soccer games free if they pretended to be with a man, who was often a stranger. He recalls a shop called The Pantry, in Blackpool, where he had gudge cake and rasa [raspberry juice]. Youngsters caught tiny fish in bags and took them home. Date A point or period of time associated with an event in the lifecycle of the resource 24 August 2018 Contributor An entity responsible for making contributions to the resource Interviewee: Tom Jones Interviewer: Cliona O'Carroll Identifier An unambiguous reference to the resource within a given context CFP_SR00438_jones_2011 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1950s-2000s Relation A related resource Other Interview With Tom Jones: <a href="http://corkfolklore.org/archivecatalolgue/items/show/152" target="_blank" rel="noreferrer noopener">CFP00443</a>:Other Interviews in the Colection: <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener"></a> <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00387_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00388_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/104" target="_blank" rel="noreferrer noopener">CFP_SR00390_kelleher_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/105" target="_blank" rel="noreferrer noopener">CFP_SR00391_crean_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/106" target="_blank" rel="noreferrer noopener">CFP_SR00392_mckeon_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/107" target="_blank" rel="noreferrer noopener">CFP_SR00393_twomey_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/108">CFP_SR00394_stleger_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/3">CFP_SR00395_speight_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/109" target="_blank" rel="noreferrer noopener">CFP_SR00396_lane_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/110" target="_blank" rel="noreferrer noopener">CFP_SR00397_obrienoleary_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/111" target="_blank" rel="noreferrer noopener">CFP_SR00398_jones_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/112" target="_blank" rel="noreferrer noopener">CFP_SR00399_saville_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/113" target="_blank" rel="noreferrer noopener">CFP_SR00400_magnier_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/114">CFP_SR00401_marshall_2010</a>;<a href="http://corkfolklore.org/archivecatalolgue/items/show/115" target="_blank" rel="noreferrer noopener"> CFP_SR00402_marshall_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/116">CFP_SR00403_murphy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/117">CFP_SR00404_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/118">CFP_SR00405_walsh_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/119" target="_blank" rel="noreferrer noopener">CFP_SR00406_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/120">CFP_SR00407_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/121" target="_blank" rel="noreferrer noopener">CFP_SR00408_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/122" target="_blank" rel="noreferrer noopener">CFP_SR00409_leahy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/123" target="_blank" rel="noreferrer noopener">CFP_SR00411_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/124" target="_blank" rel="noreferrer noopener">CFP_SR00412_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/125" target="_blank" rel="noreferrer noopener">CFP_SR00413_finn_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/126" target="_blank" rel="noreferrer noopener">CFP_SR00414_ohorgain_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/127" target="_blank" rel="noreferrer noopener">CFP_SR00415_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/128" target="_blank" rel="noreferrer noopener">CFP_SR00416_sheehy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/129" target="_blank" rel="noreferrer noopener">CFP_SR00417_mcloughlin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/130" target="_blank" rel="noreferrer noopener">CFP_SR00418_gerety_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/131" target="_blank" rel="noreferrer noopener">CFP_SR00419_kelleher_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/132" target="_blank" rel="noreferrer noopener">CFP_SR00420_byrne_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/133" target="_blank" rel="noreferrer noopener">CFP_SR00421_cronin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/134" target="_blank" rel="noreferrer noopener">CFP_SR00422_ohuigin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/135" target="_blank" rel="noreferrer noopener">CFP_SR00423_meacle_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/136" target="_blank" rel="noreferrer noopener">CFP_SR00424_horgan_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/137" target="_blank" rel="noreferrer noopener">CFP_SR00425_lyons_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/138" target="_blank" rel="noreferrer noopener">CFP_SR00427_goulding_2011</a>; CFP_SR00491_fitzgerald_2013. Heritage Week 2011: <a href="http://corkfolklore.org/archivecatalolgue/items/show/139" target="_blank" rel="noreferrer noopener">CFP_SR00429_casey_201</a>1; <a href="http://corkfolklore.org/archivecatalolgue/items/show/140" target="_blank" rel="noreferrer noopener">CFP_SR00430_tomas_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/141" target="_blank" rel="noreferrer noopener">CFP_SR00431_newman_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/142" target="_blank" rel="noreferrer noopener">CFP_SR00432_stillwell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/143" target="_blank" rel="noreferrer noopener">CFP_SR00433_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/144" target="_blank" rel="noreferrer noopener">CFP_SR00434_lane_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/145" target="_blank" rel="noreferrer noopener">CFP_SR00435_montgomery-mcconville_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/146" target="_blank" rel="noreferrer noopener">CFP_SR00436_ocallaghan_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/147" target="_blank" rel="noreferrer noopener">CFP_SR00437_corcoran_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/2" target="_blank" rel="noreferrer noopener">CFP_SR00439_ohuigin_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/149" target="_blank" rel="noreferrer noopener">CFP_SR00440_mccarthy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/150" target="_blank" rel="noreferrer noopener">CFP_SR00441_crowley_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/151" target="_blank" rel="noreferrer noopener">CFP_SR00442_obrien_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/152" target="_blank" rel="noreferrer noopener">CFP_SR00443_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/153" target="_blank" rel="noreferrer noopener">CFP_SR00444_mcgillicuddy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/154" target="_blank" rel="noreferrer noopener">CFP_SR00445_delay_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/155" target="_blank" rel="noreferrer noopener">CFP_SR00446_murphy_2011</a>; Video Interview: CFP_VR00486_speight_2014 <div class="element-text"> <div class="element-text">Published Material: O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> O'Carrol, Clíona (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. The Curious Ear/Documentary on One (Cork City Memory Map) <a href="http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/">http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/</a></div> </div> <div class="element-text"> To view the Cork Memory Map Click <a href="https://corkfolklore.org/memory-map/" target="_blank" rel="noreferrer noopener">Here</a> Click <a href="http://corkfolklore.org/cmm/neatline/fullscreen/cork-memory-map#records/13">here</a> to access Tom's entry on the Memory Map</div> Creator An entity primarily responsible for making the resource Cork Folklore Project Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound 1950s 1960s 2000s Allotments Blackpool Childhood Games Cork Opera House Emigration Gudge Cake Rasa Shandon Street Spring Lane Tom Jones Turners Cross https://corkfolklore.org/archivecatalolgue/files/original/86fdfd6223215e52c31ed30c78fa0106.jpg 55ef66604592ac17e4800d4b27d19f77 https://corkfolklore.org/archivecatalolgue/files/original/45e2491e700eda2a5af08cae21ec5415.mp3 20a9c1c69a3a143d23b5a4a5121f4ef0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ballyphehane Oral History Project Subject The topic of the resource Life history interviews with the inhabitants of the Cork City suburb of Ballyphehane about life in the area pre and post city corporation development. Description An account of the resource In June 2016 Contact was made by the<a href="https://19162016committee.org/" target="_blank" rel="noreferrer noopener"> Ballyphehane 1916 Centenary Commemoration Committee</a> with the Cork Folklore Project to establish an oral history project to coincide with the events in Ballyphehane marking the centenary commemoration of the 1916 rising. The goal was to collect the memories of the residents and have a night in the community centre where these interviews would be played for the community. Ballyphehane is a suburb in the Southside of the city between Turners Cross and Togher. It was built between the 1940s and 1960s and inhabited by families rehoused from the city centre, much like Gurranabraher and Knocknaheeny in the north side. The significance of the 1916 rising to Ballyphehane is that the streets are named after the leaders of the rising. It was decided that CFP researcher and Ballyphehane resident, James Furey, would head up the project and assist volunteers in technical training and interview techniques: all interviews were carried out under the auspices of the the CFP. This interviewing project is ongoing, and there have been a number of community listening events in 2017 and 2018. Interviews have been carried out by CFP staff James Furey and David McCarthy, and by Ballyphehane resident Arnie O'Connell. Date A point or period of time associated with an event in the lifecycle of the resource 2016 and ongoing Contributor An entity responsible for making contributions to the resource Interviewees: Hilary Lyons; Arthur Walker Snr; John Chute; Marie McAllen (with contribution from Liam Ohúigín); Elizabeth 'Lizzie' O'Sullivan; Tom Falvey; Kieran Edwards & Noreen Crowley Interviewers: James Furey; Arnie O'Connell; David McCarthy; Identifier An unambiguous reference to the resource within a given context Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/72" target="_blank" rel="noreferrer noopener">CFP_SR00586_lyons_2016</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/73" target="_blank" rel="noreferrer noopener">CFP_SR00587_walker2016</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/76" target="_blank" rel="noreferrer noopener">CFP_SR00592_chute_2016</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/77" target="_blank" rel="noreferrer noopener">CFP_SR00617_mcallen_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/79" target="_blank" rel="noreferrer noopener">CFP_SR00643_osullivan_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/80" target="_blank" rel="noreferrer noopener">CFP_SR00665_falvey_2018</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/84" target="_blank" rel="noreferrer noopener">CFP_SR00672_EdwardsCrowley_2018</a>: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ethnographic interviews carried out with inhabitants of Ballyphehane detailing their lives pre and post corporation development (ca. 1930s to 2018). Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource 7.wav Files Relation A related resource Furey, Jamie (2018) ‘Boxcars, broken glass and backers: A Glimpse at the Ballyphehane Oral History Project’, The Archive 21: 24-25. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf">http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf</a> Listening Events Library Lane Café Listening Event by <a href="https://corkfolklore.org/archivecatalolgue/search?query=jamie+furey&query_type=keyword&record_types%5B%5D=Item&record_types%5B%5D=Collection&submit_search=Search" target="_blank" rel="noreferrer noopener">James Furey</a> and <a href="https://corkfolklore.org/archivecatalolgue/items/browse?advanced%5B0%5D%5Belement_id%5D=2&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kieran+Murphy" target="_blank" rel="noreferrer noopener">Kieran Murphy</a> 15th June 2017 Tory Top Library Listening Event by <a href="https://corkfolklore.org/archivecatalolgue/search?query=jamie+furey&query_type=keyword&record_types%5B%5D=Item&record_types%5B%5D=Collection&submit_search=Search" target="_blank" rel="noreferrer noopener">James Furey</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview David McCarthy James Furey Interviewee The person(s) being interviewed Tom Falvey Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 78 m33s Location The location of the interview Pearse Road, Ballyphehane Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Interview Format This field should hold one of the following values; audio, video. Audio Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com DMC: When you were young now, was there still development going on in Ballyphehane or had it mostly been built at that stage? Or can you remember? TF: There'd be, say down in Pouladuff Road now, them houses weren't there at all and the square below, there was dump down there. JF: Which square? TF: Pearse Square. That was a dump one time. We used call it the dumpa. So that'd be going back now nearly 50 years. But outside of that I mean, the main part of Pearse Road is probably there 75 years. These were the last houses to be built. Started down beyond the church, it goes down to Musgrave Park, even beyond it. JF: The first road was Kent Road I think they built. Kent Road and then they started bits of Connolly Road and bits of Pearse Road TF: That was actually built I think direct labour I think they used call it but that was the Corporation and their own plasterers. They don't build nothing now sure they don't? It's gone terrible now though isn't it? DMC: Were any of your relatives involved in the building of Ballyphehane? TF: No, I doubt it because the father used to work down the mill, the uncle was in Fords, the other uncle was in Texaco. There was Falvey's builders alright but they weren't related to us. Those builders were on the Northside, on Garynehane Road. JF: A colleague of ours does a project on Stonemasons and he's done a couple of interviews with a couple of Falveys TF: And was it good? But there's actually a programme on there. You'd see it. They were absolutely brilliant. JF: That was brilliant yeah. Jim Fahy made it. TF: A man down there now was on it. He's dead now. Dinny Murphy. They had their own language and all. JF: Yeah. The barlog. That's great. TF: But he used go to work now in a shirt and tie. He was a mason like. He had fierce pride. Pride. That's the way the old tradesmen were. JF: It's like the church below as well. It's all built by local tradesmen. TF: I think the Credit Union was about '59. JF: The first Credit Union in the country. TF: And they were brilliant actually weren't they? The Credit Unions JF: Can you remember the Credit Union being in the church? TF: No Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.00.31 - 0.07.12 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Early life. Born on Bandon Road. Roche’s Cross. Moving to Ballypheane. Death of mother. Move to Ballypheane. Aunts and fathers house. Greenmount School. Glasheen Secondary School. How he has bad memories of school in Glasheen, how you’d be terrified of school then. Playing with the Barrs. Walking up the Lee Fields. Bowling, playing football and how they would be out all the time. The Three Fields. The Well Field. Playing hurling when they got to age twelve or thirteen. Going out the road bowling. Going for a spin in the car with his uncle on a Sunday to Kinsale and Garrettstown. Going bowling up Pouldaduff Road by Celia’s Pub. The river by Celia’s Pub. How there was just one child ever collected in primary school. How there was just one car on their road. Mick Barry the bowler. Other greats of bowling Dennis Scully and Mick Sexton. How he disliked primary school but like secondary school. Going on to CIT and doing a marine related course. Studying morse code. Going on to work in Fords. Working there from 1979 to 1984. How they knew Fords would be closing in 84 in connection with the Common Market. How it was worse for married men being laid off. How Fords were great employers and would pay for employee’s children to go through college. Fords West Cork connections. How it was a big blow when it closed. The Lough. Tom starts off by saying he was born on Bandon Road, and then moved to Roche’s Cross. His mother died in 1964 and they moved to Ballypheane then. He says he was born in 1958. They moved here in he was about six. The house where the interview is taking place and where he lived was his aunt’s house. His father’s house was number 223. He went to Greenmount School and then Glasheen Secondary School. He says his memories of Greenmount School are bad memories. He says you’d be terrified of school then and that you’re a product of your times. He says he played hurling with the Barrs up to the age of nineteen. Himself and his friends would go up the Lee Fields walking. They would go out the road bowling and out walking and across the road playing football. He adds that this is basically all they did, there were no computers then so you would be out all the time. He says they would be out the Three Fields and the Well Field. They would be just running around the Three Fields when asked what games would they play. He says when they got to twelve or thirteen they would start playing hurling and football for the Barrs. They would go for a spin every Sunday with his uncle, there was a fellow they knew had a car. They would go for a spin to Kinsale and Garrettstown. They would go bowling up Pouladuff Road by Celia’s Pub. He says they would have played in the river by Celia’s pub as well in answer to a question from Jamie. He says that when he was in primary school there was only one child in the school ever collected by car. He says there was only one car on their road from the traffic lights closest to where the interview is taking place and the lights down by the Lough. He says he remembers Mick Barry the bowler playing. He says he died in the same home in Ballincollig where Bobby did. (Bobby Moore, his cousin Eleanor’s father). He says he was a great bowler, adding that he and his siblings when Mick Barry was bowling. He lists him off with the other great bowlers Dennis Scully and Mick Sexton. He says you were out all the time as you had no computer or no car. He returns to the subject of school saying he disliked primary school but like secondary school. He says you were a grownup when you go to secondary school by means of explaining this. He says he loved French and Latin. He went on to do a marine course in CIT. He says he studied morse code which you had to do if you were going to be working on ships. He says you would be fixing equipment too but he didn’t finish that part of the course. He says he then went on to work in Fords. He started in 1979 and finished in 1984. He adds he then went on to Western Digital and then Apple. Returning to the subject of Fords he says they always knew it would close in 84 and this had something to do with the Common Market. He mentions that Dunlops closed in 83 and they were the year after. He says he was so young he probably didn’t care but for married men it was worse. He adds that Fords would give them a great severance pay and would pay to put their children through college. He says they were great employers. He adds that Ford himself was West Cork, Ballinascarty. He says there 800 there at that time and they thought that was a huge amount though nowadays there would be thousands in Apple. When it closed it was a big blow he says especially for families. He says things were very bad that time for jobs. He says there was no one on the Road working. He goes into a general discussion about how Ballypheane picked up and the economy in general. He says the houses locally are there years. The Lough is there hundreds of years. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.07.14 - 0.09.26 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Ballypheane developments when he was young. How the houses down Pouladuff Road hadn’t yet been built when he was young. The dump on the site of Pearse Square. “The Dumpa”. How much of Ballypheane goes back seventy five years. How the houses on the road where he lives were among the last to be built. How Pearse Road stretches to Musgrave Park and beyond. Kent Road, Connolly Road. How the corporation built the houses by direct labour. His father in the mill, his uncle in Fords. The Falvey builders were are no relation. Michael Moores work for the Project on masons. Jim Fahey’s work on masons. Stone Mason Dinny Murphy who would go to work in a shirt and tie. How the old tradesmen were very proud of their work. The masons language barlog. The local church. Ballypheane Credit Union. When asked was there still development going on in Ballypheane when he was young Tom says the houses down Pouladuff Road weren’t there then. He says there was a dump where Pearse Square is now. He says they would call it the Dumpa. He says that would be going back about fifty years. Outside of that the main part of Ballypheane is seventy five years old. He says the houses where he is living were among the last to be built. He says the houses started way down beyond the church (Ballypheane Church). He says Pearse Road goes down to Musgrave Park and beyond it. James adds that Kent Road was the first to be built then parts of Connolly Road and Pearse Road were added. He says it was built by direct labour as it was called where the corporation would have their own plasterers etc. He says they don’t build anything now. He says he doesn’t think any of his relatives were involved in the building of Ballypheane. His father used to work down the mill and his uncle was in Fords and another uncle in Texaco. He says there were Falvey builders but they weren’t related. This leads into a discussion about Michael Moores work for the Cork Folklore Project interviewing masons. Jim Faheys work in this area is also discussed. Tom talks about a stone mason he knew who is now dead called Dinny Murphy. Tom says he would go to work in a shirt and tie. He adds that Dinny Murphy had fierce pride and that was the way with the old tradesmen. The mason’s language barlog is mentioned. James mentions that the local church was built by local tradesmen. Tom says the credit union ion Ballypheane was built around 1959. Tom doesn’t remember the credit union being in the church. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.09.28 - 0.13.42 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> How they would never venture further up Ballypheane beyond the traffic lights. How his grand uncle Tom Harris was at the first Barrs meeting. Book on the Barrs. His Harris grandmother. The old Harris House on the corner of the Lough. The Harris market gardens. Tom Harris’s horse. The old Garda Station by the Ardmanning. The big old house that was still there when Tom was in his twenties and is long gone. Tom says the Harris Market garden was still there when he was young. How there were other market gardens still in Friars Walk owned by the Scanlon’s, a relative of theirs Mick Carroll still lives on the corner up a bit from Tom. How they had a lot of property that was bought by compulsory order. Tom’s grandaunt Madgie Harris who lived on Pouladuff Road. How when you’re young you don’t take much notice of things. How he hated primary school. How you would be afraid of the priests. Walking to school in Greenmount. Jumping on the bus. Playing hurling on the street. Having a tennis ball in place of a sliothar. Going to school with a plastic bag for gear. Having one toothbrush at home and no toothpaste. When his older brother Jerry came back from England with deodorant and aftershave and Tom didn’t know what it was. He says they never went beyond the traffic lights further out Pearse Road. He says they wouldn’t have gone to Tory TopPark. He says they would stay between the traffic lights and they could name everyone in that area. He says they would go to the Lee Fields, or play with the Barrs or go for a spin on Sunday but they would never go further up to Ballypheane beyond the traffic lights. He says his grand uncle was at the first Barrs meeting which he thinks was around 1884. His name was Tom Harris and Tom says his name is in a book about the Barrs. Toms own grandmother was a Harris. He lived in the corner house which is still standing at the corner of the Lough and Pearse Road. Tom says they all had market gardens running back from the house. He says there’s still a bit of land there. Tom says up by the Ardmanning Bar there was a big old house which was the old Garda Station. He says it was a big old house that was still there when Tom was in his twenties but it’s gone now. Tom says the Harris Market garden was still there when he was young. He says a family called the Scanlon’s also had market gardens in Friars Walk, he says a relative of theirs, Mick Carroll still lives up on the corner from Tom. He says they had a lot of property which was all bought by compulsory order. Tom speaks of his grandaunt Madgie Harris who lived on Pouladuff Road. They had a bungalow but it’s long gone. He says those people from when he was a child are all long gone. He says when you’re young you don’t take much notice of things. Some people get older and you’d wonder are they making things up he says. He talks more on how he hated secondary school. He says you’d be afraid of the priests. You’d be afraid going to school he says. Secondary school was different. He says he’d walk out to Greenmount when he was going to school there. He says you’d walk everywhere. He says he’d walk there with his brothers or maybe a fellow he’d know from across the road. He says lads would be acting the fool and jumping on the bus, these were normal things he says. He says there was more freedom then. He says they would play hurley on the street. They would have a hurling stick but no sliothar, they would have a tennis ball instead. They had no helmet. Tom remembers going to school with a plastic bag, thee would have been no gear bags. He says at home they had one toothbrush and no toothpaste. He adds you’re a product of your environment. He talks about when his brother Jerry who spent years in England came home with deodorant and aftershave and Tom didn’t know what it was. Tom was about twelve at the time and Jerry was seven years older. He asks could young people today relate to that. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.13.52 - 0.17.30 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> When Tom went to Southampton in England to work. Coming back after ten months. Western Digital, Apple. Working in Odlum’s Mill for ten years. Cork Milling Company. Grants Mill. Fords, Dunlop’s and Gouldings. Why he played for the Barrs but not for Ballypheane. The Lough Parish. How they were all Barrs. “The Battle Of Ballypheane”. The row between the local soccer and GAA team in Tory Top Park. Father Fitzgerald. Fr Ormond who died in the Tuskar Rock plane crash in 1968. Theory that the plane was hit by a missile. How this was a very bad local tragedy and many from Ballypheane were on it. Other local tragedies and accidents. Tom speaks about when he went to Southampton in England to work. He only stayed there for ten months. He went over there after Fords. He said he wasn’t out of work for thirty years once he came back. He new a man called Tommy Welsh who worked in the mills over there so Tom went over to join him at that. Once he came back he worked in Western Digital and Apple. He worked in Odlums Mill for about ten years. He said it was dusty and he worked in the storeroom. It was a bit primitive. He says the front of it is preserved which was built in the 1930s and the main building was knocked. That was the National Flower Mill. Grants mill was the Cork Milling company. That was the big silo mill situated by where Goldberg’s pub is now. He says hundreds were employed there. Further down you had Fords, Dunlop’s and Gouldings. He says there’s nothing now, in terms of employment. The discussion moves to a brewery that is operating there now where Fords was (the Franciscan Well Brewery). Discussion moves back to his time playing hurling and Jamie notes he played with the Barrs but he didn’t play for Ballypheane. Tom says they were all Barrs. He says from the top traffic lights above them down to the Lough is all the Lough Parish but the reason he played with the Barrs was that his granduncle and uncle all played Barrs. James asks Tom if he heard of the Battle Of Ballypheane to which Tom says he heard something about it. Tom says he wasn’t there but he read about it. James goes into the story of how the soccer and GAA teams arrived at the pitch on Tory Top Park on the same day to play their finals. The soccer side put up their goalposts on the Connolly Road side and the GAA on Friars Walk end. Father Fitzgerald had to be called to sort things out to which Tom says in those days priests could sort things. If you saw the priest you’d nearly get a heart attack. Tom says he does not remember Fr Fitzgerald but he remembers Fr Ormond who died in the Tuskar rock disaster when the plane he was on crashed in 1968. He speaks about the theory that it was hit by a British missile. He says it was a big disaster for Ballypheane with many local dead and that the flight had been going to Lourdes. (Note: the parish priest of Ballypheane who was killed in Tuskar Rock was Fr Edward Hegarty) He speaks about other tragedies such as a girl who was involved with soccer who was killed. He speaks about a local girl June Atkins who was killed by a car. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.17.40 - 0.21.07 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Glasshouses in Hartland’s Avenue. Nursery and cricket club on Hartland’s Avenue. How you could walk through where the cricket club was on the way to Glasheen but it is private now. Tomatoes being grown in the glasshouses. Cortex. Musgrave’s. CMP Dairies. Hickeys. How people didn’t have the money then. The Credit Union in Ballypheane. Building society. How the Credit Union got people out of poverty. The contrast with Gurranabraher which didn’t have a credit union at the time. Credit Unions run by the banks now. Tom says he remembers glasshouses in Hartland’s Avenue but these are gone years. Tom says if you go past the Hawthorne Bar up to the top of the road on the right was all glass houses and a nursery. He says there was a cricket club there too. He says they were there up to thirty five years but in later years they were nearly all broken. There’s all houses there now he says. The cricket club was there too. It is private now. He doesn’t know what the cricket club was called but at one point you could walk through it on the way to Glasheen but it was blocked off then. He says the glasshouses were still being used when he was young, he says you could see tomatoes being grown. In terms of local industries Cortex and Musgrave’s are mentioned. CMP Dairies also which he says are long gone. Hickeys also. Tom says people didn’t have the money then. A discussion about debit cards follows. The Credit Union in Ballypheane is discussed. He says his father used to have money in a building society when they were young. The contrast with Gurranabraher is discussed and how it didn’t have a credit union at the time. Tom says the credit unions are run by the banks now. People in the past would be ducking and avoiding paying them but they can’t do that now. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.21.08 - 0.26.24 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Local character Elle Spillane. Charlie The Bogman. How he lived under a bridge and would be swimming in the water. How he used to swim naked. The murder of a girl in Black Ash. Going to see Bob Marley in concert in Dalymount Park Dublin in 1979. The Rolling Stones. Seeing the Pope in Limerick in 1979. How there was a traffic jam from Cork to Limerick and it took seven hours. The racetrack in Limerick. How the pope was waving. The upcoming papal visit. How the pope got a million visitors in 1979 but is just getting half a million now. How his father would and aunts would go to mass every morning. An uncle who would not go to mass. How religion used to give comfort. Memories of the moving statue of Ballinspittle. Going down to see it but not seeing it moving. How people came from all round to see it. How if you looked at it long enough it with the lights you would think it was moving. On being asked does he remember local Lough character Elle Spillane he says he heard of her but he doesn’t remember her. He speaks about a character called Charlie The Bogman who used to live under a bridge. Charley Coleman was his real name. He used to be swimming in the water by the bridge. He used to be naked going into the water. He had a house but lived under the bridge towards the Bell Field, it might have been the Snotty Bridge. Tom says he was harmless. He likens him to a new age traveller. He was around for a long time and lived to a good age. He says he had a beard and it was hard to put an age on him. He says you would be half afraid of him as a child. Tom talks about the case of a girl who was murdered out in Black Ash. He knew the girls father, he worked in Hickeys. He says that was the only murder he remembers locally. Tom talks about when he went to see Bob Marley in concert in Dalymount Park Dublin in 1979.He says he had a programme but gave it to someone. He went with his friend John Mahoney. He says it wasn’t too long before Bob Marley died. He mentions in passing that he also saw the Rolling Stones in concert. He said it was brilliant to see him. He said the atmosphere was brilliant. He says he used to have all his tapes in the car. It was the best concert he was ever at. He doesn’t recall anything Bob Marley said but he said he would have been half stoned anyway. He doesn’t remember who was supporting. He adds that Dalymount Park is gone too. He speaks of when he went to see the Pope when he visited Ireland in 1979. He travelled up to Limerick to see him. The journey took seven hours. He says there was a traffic jam the whole way from Cork To Limerick. It was in the racetrack in Limerick which is now gone. He says he passed and he thinks he waved at him. He talks about the upcoming visit of the current pope and compares it with how the last papal visit got a million visitors but just half a million are expected this time. He says that the pope has lost his appeal a bit. The older people loved him he says. His own father used to be going to mass every morning. He says Eleanor (Moore)’s mother would go to mass every morning. His other aunt Bridie would go every morning. He says one uncle wouldn’t go to mass, he jokes that he was a bit of a pagan. He says the religion use to give comfort. He talks about memories of the moving statue of Ballinspittle in the 1980’s. He says it was a big thing then. He went down there himself to have a look but didn’t see anything. He says if you looked at it long enough in the light it was supposed to move. He says people would be doing experiments. It died off then he says. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.26.26 - 0.29.46 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> The Fastnet Tragedy. The Buttevant train crash. When himself and some friends went to France. How they wouldn’t have known what sunscreen was. Staying in a tent. Visiting Paris and Nice. How France is very expensive. Visiting Tallin in Estonia. Starting working in Apple in 1990. Starting off in the line on quality. Making the boards on PCB. How that closed and was moved abroad. How most of the people he worked with there are now gone from there. How it was all Cork people working there at that time, how it is the opposite now. How they would send a taxi out to collect you for work. Tom mentions the Fastnet tragedy of 1979. He says he was down by Sherkin Island when that happened. He says everything happened in 79. He also talks about the Buttevant train crash. He says he was in France that year. He says himself and three of his friends went to France. He says you’d have no sunscreen that time, you wouldn’t know what it was. He says they went over in jeans and the sweat was pouring off them. They went camping in a tent and visited Paris and Nice. He says in more recent years he visited Tallin in Estonia, about fifteen years. He says he reckons people don’t have much there. Tom says he started working in Apple in 1990. He says they’re there since 1980. He started off on the line, he was on quality then. He was then making the boards on PCB but that closed. That was moved somewhere else. Most of his friends he worked with are gone from there and it’s a different kettle of fish up there now, it is now mostly call centre work. He says when he was there it was all Cork people. He says they would send out a cab to pick you up for going to work and you would make your own way home then. He says they wouldn’t do that now and they’re worth a trillion dollars. He says one of his friends is on the production line about ten years. A discussion on contracts and working conditions follows. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.29.52 - 0.35.10 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Tramore Road. How it was called Hang Dog Road. Stories about how it got that name. A tannery that used to be out there and how stray dogs were made into buoys. Musgrave’s getting the name of the road changed. His brother John involved in greyhounds. Hunting with the Southern Hunt Club when they were younger. Going out hunting towards Kinsale, Belgooly. How it’s dying out now as farmers don’t want people on their land due to insurance claims. How they would hardly ever manage to catch anything. How they would be hours trying to find the dogs. Drag Hunting by the airport. How it would end in Billy Halloran’s pub, now known as Bull McCabe’s. Halloran’s orchard. What Halloran’s pub was like back then. Dogs in the pub. Harrier dogs. Celia’s pub. The outdoor toilet. How the bowling started then. Celia and Jack Neville. How the pub was falling down and many pubs of the time were like then. The route they took for the bowling, starting by Neville’s. Lamdmarks along the way. The pink wall. The bridge. The pump. The Three Sticks. Tiger Aherne’s. Tiger Aherne the bowler. Finishing by Corcoran’s Bridge. How it was all uphill and all downhill. James asks Tom about Tramore Road and if they knew it under a different name. Tom says they did but he struggles to remember what it was called. Jamie suggests Hang Dog Road and Tom say’s this was what it was called. He asks why it was called that and James goes through a story of how there was a tannery and they would bring stray dogs out there to make buoys for fishermen so they would hang the dogs there. James’s says Musgrave’s got the name changed. Tom says his brother John is involved with greyhounds. His brother Dennis was involved with them as well. Tom goes on to say when they were younger himself and his siblings were involved with the Southern Hunt Club who were based on Bandon Road. He says they would go out hunting anywhere, Kinsale, Belgooly but its dying out now as farmers won’t allow access to their land. He says if a fellow broke his leg on their land he would make a claim. He says its not very fashionable now but anytime they went hunting they’d catch almost nothing, anything they’d find would be half dead from disease. They’d be hours trying to find the dogs then. It was good in the Winter he says. He says they would have drag hunting then up by the airport and it would finish Billy Hallorans pub which is now Bull McCabe’s. Billy Halloran owned Halloran’s Orchard and when he sold that he opened the pub. Tom knew Billy well and he had the pub for years. He adds its still there though now more like a restaurant. He says the pub was very old fashioned back then , there would be dogs in the pub. He says its different back then. People would keep harrier dogs in the home. People wouldn’t have a harrier in the house now. Tom speaks about Celia’s pub. He says it was falling apart. The toilet was on the outside he says. The bowling would start there. He mentions Celia Neville and Jack Neville who ran it. He says it was “falling down” but that’s how pubs were like then, rough and ready and dark. He speaks about the freezing cold of the outdoor toilet. He says you can still see the wall of the old pub down where it used to be. Tom talks about the route of the bowling. You’d start by Neville’s and he talks about landmarks along the way such as the pink wall which belonged to Barrett’s. The bridge. Maddens corner. The pump. Up Matthew Hill and the Three Sticks, up to Tiger Aherne’s, Tom adds he was a bowler. They would finish by Corcoran’s Bridge, it was all uphill and all downhill. He talks about the traffic nopw and how there are hundreds of houses up Pouladuff and there were harldly any cars back then. He says people haven’t time for things like bowling as time is at a premium. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.35.22 - 0.41.25 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Playing Rings and darts. Ma Dullea’s pub. How these pastimes are not as popular these days. Playing cards. The decline in the number of card playing teams. How in the past you could drive after a few pints. Discussion of recent road crash in Donegal. Man who he knew who lived in Donegal and who described it as a kip. Socialising in Barrack St when younger. De Lacey House on Oliver Plunket St. The Gilt Edge pub on Washington St. The Grand Parade Hotel. How then you would walk everywhere and people didn’t do cabs. Fordes pub. Bradley’s pub. Current pubs on Barrack St. Comparisons with Barrack St and Shandon St. Eugenes pub on Shandon St which was owned by Theo Cahill of the Dixies. Anthony “the Bishop” Coughlan. The Chimes bar. More discussion of Cork pubs. How he likes to support the small pubs and shops. Pat Buckley’s bar by the North Infirmary. Dennehy’s pub on the Coal Quay. The Harp bar. Tom says he plays rings and darts, his local team would be in Ma Dullea’s pub. He would be playing all over the Southside but this has also declined in popularity. He says playing cards has gone the same way. There were once sixty four cards teams but there’s only eighteen now. He says before you could just drive away in the morning after a few pints but you can’t now. There follows a discussion about a recent fatal crash in Donegal. Tom says they are mad for rallying up there. He says he knew he knew a man who lived in Donegal and who said it was a kip. Tom says when he was younger he would socialise mainly on Barrack St. He says he would also go to De Lacey House on Oliver Plunket St which was great for ballads. He also mentions the Gilt Edge pub which is now Preachers. The Grand Parade Hotel. He says you walked everywhere and that time people didn’t really do cabs. Everyone gets cabs now and he quips people have got lazy. He says he never goes into town by night now socialising. Tom says he goes these days to Fordes pub on the bottom of Barrack St. There follows a discussion about Bradleys pub on Barrack St and a barmaid called Lavinia and a discussion on who owns it. A discussion on Barrack St and its pubs follows such as the Pigalle, Tom Barry’s, the Brown Derby and Barbarella’s. Comparisons are made with Shandon St and improvements made to Barrack St. He says Shandon St has gone “cat”. A discussion on Shandon St follows and the Old Reliable and Eugene’s which Tom says was owned by Theo Cahill of the Dixies. A further discussion on Eugenes follows in which Tom speaks of a regular Anthony Coughlan known as “the Bishop”. Tom says the Chimes pub is now gone which was Dinny Donovans place. The Shandon Arms is discussed. The Wolfe Tone is mentioned as closed. Tom says the Gerard Griffin pub is open again. The Tower pub is mentioned as closed. Tom says he likes to support small pubs like small shops, you would like to see them kept open. Tom expresses surprise when James says that Pat Buckley’s pub by the North Infirmary has closed recently. Tom asks is Dennehy’s on the Coal Quay still open to which James says it is. Tom speaks more of Forde’s pub. He speaks about the Harp bar near where he lives. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.41.28 - 0.48.05 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> How their aunts Kitty and Bridey would do the shopping when he was young. A small shop down Pouladuff Road. Hegarty’s Shop. How there were no supermarkets then. Corner shops that would have a book marking what you owed and you pay at the end of the month. The gasman calling around. The gas meter. Going off on a holiday once a year with the aunts. Staying in a caravan in Garretstown. One of the Harris’s whose job it was to light the public gas lamps. Toms father who used to drive the horse and cart for the Harris’s to the Coal Quay. Memories of seeing horses and carts around. A man who kept pigs and who would come around on a horse and cart collecting slops. Murphy’s bacon factory. Lunham’s bacon factory on Tramore Road. Bonfire Night. It being held just across from where they lived. How when they were young they would be singing around the fire. How in later years it got messier. Weeks of preparation collecting material, tyres and wooden pallets etc. How it was the highlight of the year along with Halloween. Young and old alike participating. Playing the squeezebox. How you could leave your door open that time with the key in the door. How people could walk in and ask if they had sugar or some milk. Leaving the key in the door up to twenty years ago. How if a neighbour wanted a hand with something you would help them out. Community spirit in Ballypheane. Tom says he knew nothing about shopping growing up as their aunts Kitty and Bridey would do all the shopping as they reared them. He mentions a small shop down Pouladuff Road, Hegartys Shop that is long gone. He says there were no supermarkets then, there were small corner shops and he says they were robbing people. They would have a book in the shop marking down what you owed and you pay at the end of the month. The gasman would come then and he might give something back, he adds there was a meter for the gas and points where it was in his house though it is now blocked off. He says they would go off once a year for a holiday with the aunts and they would be bored and wanting to come back after a day. They would go to Garretstown or somewhere like that staying in a caravan. Their uncle or someone that they knew would drop them down. Tom mentions a relative, one of the Harris’s who worked in the gasworks and whose job it was to light the public gas lamps. This was going back many years he says. He says his father told him he used to drive a horse and cart for the Harris’s down to the Coal Quay. Tom says he remembers horses and carts around himself. He remembers a man who kept pigs and who used to come around in a horse and cart and collect slops. Tom speaks about Murphy’s bacon factory and Lunham’s which was up Tramore Road. He says a lot of the big supermarkets got rid of a lot of these places. Tom speaks about Bonfire Night. He says there would be across from where they grew up. He say when they were young they would be singing around the bonfire but in later years it got very messy. He says you would be involved in collecting the material, timber pallets and tyres but mostly timber. He says it be prepared weeks in advance. He says the corporation would sometimes take away the pile of material. He says it was one of the highlights of the year along with Halloween. He says young and old would be out and people would be playing the squeezebox and the banjo. He says you could leave your door open that time. People could walk in and ask if they had some sugar or a drop of milk. He says that’s how it was then. He says they would leave the key in their front door up to twenty years ago. If people wanted a hand with something you would give them a hand. A general discussion of community and Ballypheane follows. He speaks about community spirit in Ballypheane. He talks about community spirit in rural places such as Skibbereen which he would visit. He speaks about how neighbours helped out when he had to look after his uncle. He mentions how he has the key for his neighbours for helping out. He speaks about a woman whose neighbour helps out with giving her eye drops. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.48.09 - 0.51.55 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Playing in the Lough Leagues. Danny Coughlan. Playing with the Barrs through Greenmount School. Cork players Gerald Mack and Peter Doolan how they started off with the Barrs. How the Barrs would come to the school to ask them to play with the team. When the Barrs were based on Bandon Road and then moved to Togher. When you had to pay to go to Barrs matches. How to an older generation they would be a Bandon Road team. The Ballypheane team considered junior. Gerald Mack. The pressures of running a team. Having to turn up Saturday. How he used to run a team but wouldn’t do it again. How he has great time for the GAA. How people who criticise it are those who wouldn’t give the time for it. How people in Ballypheane didn’t have much to do with soccer or rugby. He mentions Sundays Well and Dolphins rugby teams. He says of Dolphins that not many people in Ballypheane had anything g to do with them and they all came from other pats of the city. He says the only local of note to play with them was Phil O Callaghan. Tom says he played in the Lough Leagues hurling. He says that was with Danny Coughlan. He says the Lough Leagues have been brought back recently. He says Greenmount School was also the Barrs. He says famous Cork players Gerald Mack and Peter Doolan started off with the Barrs from when the Barrs would call out to the school. He says in later years he was involved in street leagues for about eight years with Out The Barrs. He says the Barrs were originally based on Bandon Road and then moved out to Togher. He says they never really interacted with the local community in Togher but they had to go somewhere. He says out the Barrs you had to pay to get into matches when he was young. He says nowadays they are seen as a Togher team but to the older generation they would be Bandon Road. He says they had a pitch in Togher years ago but they were considered Bandon Road. He says the Ballypheane team were only considered junior. He says Ballypheane had some good players like Gerald Mack whose father played with the Lough. You can’t get people to run a team now he says, he did it for a while but he wouldn’t do it again. He says you have to turn up Saturday and Sunday mornings. He says then a mother might be an hour late and you’d have to wait around minding their child, he jokes that it was like a babysitting service. He thinks the GAA are a brilliant organisation. He says they had nothing to do with Casement soccer team, it was all GAA. He says it was the same with rugby. He says of Dolphins Rugby Team that not many people in Ballypheane had anything to do with them and they all came from other pats of the city. He says the only local of note to play with them was Phil O Callaghan who played with Ireland and the Lions. He says rugby was a different kind of middle class game. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 052.00 - 0.57.45 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Stories told heard about the War Of Independence period. Connie Neenan whom Neenan Park is named after. A story heard about a girl who was shot dead on Washington St. Storys read about atrocities. How parts of Cork City were very republician. Story about how Connie Neenan was supposed to have stolen a load of money. Family links with the sculptor Edward Ambrose. How he was sent to Rome by the people of the Lough Parish. Tom’s brother going in to see his work in the Crawford. The Crawford Schools new premises on Grand Parade. How this used to be a gentlemen’s club. Work social clubs. Dunlop’s club. How Fords didn’t have a club. Odlum’s Mill club. Apple club. Joe Murphy Road. Joe Murphy who died on hunger strike. A story heard that his aunts friend Peggy Murphy’s father was the man the British had been looking for. Joe Murphy’s nephews the Delaney’s. How the council were prevented from knocking the Joe Murphy house. Tom says you would hear the odd thing about the War Of Independence period. He says when they were out the Barrs Neenan Park they would play Neenan Park which was named after Connie Neenan. They would hear a story about a girl on Washington St and a bullet hit the ground and killed her. He says you’d hear that and wouldn’t know if it was true or not. He said you might read books and read about how Connie Neenan was supposed to have shot young lads. He says parts of Cork City were very republician. He says people say about Connie Noonan that he stole a load of money. Connie Neenan is long dead he says. Tom speaks of the famous sculptor Edward Ambrose who was a relative of his grandmother. He went to Rome and was sent there by the people of the Lough Parish. Tom says he lived past the lights on Pearse Road. Tom say his elder brother went down to the Crawford to see his work and said shure he’s dead years. Tom did some research on him and he has some work in the Crawford School. Talk then turns to the Crawfords new premises on Grand Parade which used to be a gentlemen’s club. He says CIT bought that. Talk moves to social clubs in the places he worked in. Dunlop’s had a social club and Fords had none. The mill had a sort of a club. He says Apple had a brilliant social club and he says he had brilliant nights out with them. He says they’re planning on having a 30th anniversary reunion for the Apple staff. He says Apple was the only job he was in where you could sit down and work, every other club you were standing. He says he was never at the Grocers Club which James says is one of the last clubs of its type in town and across from the Ivory Tower. James asks if Tom has any stories about Joe Murphy whom Joe Murphy Road is named after. Tom says Joe Murphy lived down Pouladuff Road and he was the Granduncle of one of Tom’s friends. Joe Murphy died on hungerstrike during the War Of Independence. Tom says one of his aunts friends Peggy Murphy it was supposed to be her father they were looking for but he’s not sure if this is true or not. A discussion of Joe Murphy’s hungerstrike in Cork Prison follows. He says he knows Joe Murphy’s nephews the Delaney’s who lived in his old house and it has a plaque on the wall. He says that the council were trying to knock Joe Murphy’s house one time but they were stopped from knocking them. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.57.48 - 1.02.00 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> The significance of place names in Ballypheane named after Republican martyrs. Wondering why they were named after them and not out in Bishopstown or Douglas. Being proud of the street being named after Padraig Pearse. Willy Pearse, Padraig Pearses brother and how he was also executed. The school the Pearse brothers ran. How some people locally are named Pearse after Padraig Pearse. People ringing about broadband and spelling it incorrectly. The 1966 50’th anniversary commemorations of 1916. The attempt to blow up De Valera at the Republican Plot at St Finbarr’s Cemetery. Jerry Madden who survived the explosion and lost an eye and a leg. How the bomb went off too soon killing one of the plotters. Tom Barry. How he would see Tom Barry Around town drinking. How Tom Barry’s sister used to be in the Red Cross with Tom’s sister Helen. How Tom Barry was private and would not talk about the Flying Column days. How he would see him and people would say that’s Tom Barry. About the terrain down in West Cork and its suitability for fighting an enemy. James asks did it mean anything to him growing up with all the place names after republican martyrs such as Pearse Road, Kent Road etc. Tom says he used to wonder why they were named after them and not out in Bishopstown or Douglas. He says they were proud of being named after Pearse. He talks about the Plaque to Pearse down the road and mentions that Pearse brother Willy was executed as well. A discussion about the Pearse brothers and the school they ran follows. Her talks about the way some people in the area are called Pearse after Padraig Pearse and spell it the same way.. He says people would ring about broadband or whatever and would be spelling it Pierce. Tom speaks of memories of the 1966 50’th anniversary of the 1916 Rising. James asks him about the bomb plot to blow up De Valera at the Republican Plot. Tom says he knew one of those involved who survived, another plotter was killed he says. Tom explains that De Valera was coming down. He doesn’t know whether the plotters were trying to kill De Valera or not. James goes on to say that De Valera was set to be there at three O Clock and they set the bomb for the wrong three O Clock and the bomb went off prematurely. He speaks of Jerry Madden who came from a Republican family and who lost an eye and a leg who died up to a few years ago. He speaks about how you would see Tom Barry, the Old IRA commander around. He sassy if Tom Barry around you wouldn’t say anything to him. Tom says he would see him around town drinking. He says Tom Barry’s wife used to be in the Red Cross with Helen, Toms sister. He says he doesn’t think Tom Barry wouldn’t discuss anything about the War Of Independence or anything like that, he thinks he would be private. Tom never spoke to him himself but he remembers seeing him around and fellows saying that’s Tom Barry. He says he works for the Vincent De Paul and he goes down to West Cork a lot and he says you can see how its great terrain for mounting an ambush. A discussion follows where James says he’s from East Cork, Youghal. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 1.02.05 - 1.13.40 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> Wren Boys on St Stephens Day. His cousins the Colemans in Halfway. Martin Coleman Cork hurler. The Coleman’s petrol station and post office in Halfway. How rural areas are in decline. The Wren Boys outfits, how they hardly ever came around in the city. Trick Or Treating on Halloween. How they never went beyond the traffic lights when they were young. The dump. “The Dumpa”. How they used to play in this. How recycling has taken over. The old city dump. How travellers used to be there collecting stuff. The travellers in Black Ash. Old barrel top caravans. A place in Blarney that would hire them out to tourists. A traveller man who would come and fix his grandmothers pots. How industrial farming and the Traveller Act brought in by Charley Haughey. Toms Grandfather Jerimiah Falvey who worked down the docks and died in 1946. Tom’s uncle Derry. How Toms family lived for a while on Grand Parade and his older brother was born there. How two uncles and two aunts lived locally. His aunt Kitty Falvey getting married. How people would stick to their own place then. Tom going up the Northside to play hurling against the under age Na Piarsaigh. He also mentions Brian Dillon’s up the Tank Field. Playing against the Glen. How there was a big rivalry between the Barr’s and Blackrock and the Glen. How one they would be all fighting and it’s more refined now. How you need rivalry in sport. Cork versus Kilkenny 1972 his first All Ireland. Cork winning the football in 73. Pairc Ui Caoimh. The old Athletics Ground. Croagh Pairc. Thoughts on the upcoming Liam Miller testimonial match. The GAA ban on foreign sports. Story from James about how he played both rugby and GAA and the GAA changed the days of the training. Tom on how the Barr’s would have an awkward relationship with the soccer club Greenwood. Christy Cooney GAA president. Declan Dalton. Joe Deane. Tom says there would have been Wren Boys around on St Stephens Day. He says he never did it himself but they would have called locally. He speaks of cousins in Halfway who were very into it. Tom’s family would visit them and they would come up once a year. He mentions Martin Coleman who played in goal for Cork hurling. His mother and his mother were sisters. They were very big into the Wren Boys in the country now. He says they would call once a year. They had a petrol station and a post office down there but there’s nothing there now he says. He speaks about how rural areas are being devastated. He says the Wren Boys would be wearing all kinds of things on their head and you’d be half afraid of them. He says they hardly ever came around in the city just a few young lads messing. He says they would trick or treat on Halloween. He says they wouldn’t have a bonfire locally on Halloween but some other places would. He says as young lads they wouldn’t be fighting with youths from other areas, he jokes they weren’t worth it. He says they never strayed beyond the traffic lights. He says they would be called in around nine O clock when they were around fifteen. He talks about The dump or “The Dumpa” as it was known locally. He says it would be all rats but nothing like the dumps now. He remembers the old city dump. He says now it’s all recycling. He says then there would be all beds and clothes thrown around and the travellers would be there loading their vans with stuff. He speaks of the travellers who would camp in Black Ash. He says he found them all right, they would be doing their own thing. He never went down to have a ride of the horses as he’d be afraid of a horse. He supposes some fellas would. He says there would be caravans parked down there. He recalls seeing the old barrel top caravans. He says there was a place in Blarney that would hire out these and they were very popular with tourists at one point but he supposes they wouldn’t be able to travel on the roads these days. He remembers a traveller coming around fixing his grandmothers pots and his grandmother would give him some money. A discussion follows on how they draw social welfare these days and how industrial farming has affected their lifestyle and also the Traveller Act brought in by Charley Haughey. He say when he was young they were fine. He says his grandmother is dead since 1966 so it was before that. He says his Grandfather Jerimiah died in 1946 when he was 63 and he worked down the docks. He had a bad heart. He had a son called Derry, Tom’s uncle. Tom says they lived in Pouladuff at first before moving to Ballypheane. Tom can’t remember any of his own time living in Bandon Road when he was young. He says his family lived prior to that on the Grand Parade where his older brother Jerry was born. He says his father lived in another house when they got that house when Tom’s mother died, the house he lives in now was his aunts house. He says his family lived at 220 and 223. He says there were two uncles and two aunts living locally then one Aunt Kitty got married, she is the mother of his cousin Eleanor Moore. He says then you kept to your own place. Tom says that he himself would go up the Northside playing hurling against Na Piarsaigh underage and Brian Dillon’s up the Tank Field. He says other than that some people wouldn’t go outside their own road. He says he didn’t care about the fact that he was going up the Northside. It was like an outing going to play. They would be going playing against Na Piarsaigh, Mayfield, Brian Dillon’s plus the Glen and Blackrock and also Douglas. He says there was big rivalry between the Barr’s and the Glen and Blackrock. In the past they would be fighting and “having murder” but it’s more refined now. He says you have to have rivalry and it can’t be a gentleman’s game. Tom says the first ALL-Ireland was in 1972 which was Cork and Kilkenny in hurling. He says Kilkenny won that. He says he went to see Cork win the football the following year. He went to loads of All Irelands after. He has been to the new Croagh Pairc as well as Pairc Ui Caoimh. He speaks about the old Athletic Park that was there before Pairc Ui Caoimh. He speaks about the newly built Pairc Ui Caoimh and compares it with Croaic Pairc. He speaks about the upcoming Liam Miller testimonial match which he thinks will be brilliant. He speaks about the foreign rules ban and about how they allowed Michael Jackson and American football. He says that when you see in a village the GAA pitch and the soccer pitch is better then you know they’re not cooperating. James tells a story of how he used to play rubgy and also GAA and that when the GAA found out they changed the day of training to coincide with it so he had to make a choice and choose rugby. Tom says the Barr’s would be like that with the soccer club Greenwood. He says Greenwood would be trying to help with the Barr’s would be awkward. He says the Barr’s haven’t won anything in years. James says since Christy Cooney took over as GAA president the money has been flying into the clubs. A discussion about Youghal follows and players such as Declan Dalton and Joe Deane are discussed. Tom says Joe Deane is a small man but tough. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 1.13.50 - 1.18.33 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> More on Ballypheane. Pat Allen “Pat The Picket”. How he was a great character and was well loved by all. How he would dress up in outfits including as Santa. How he died of cancer. How he would have placards for every occasion. Another character called Donny Sutton from Tory Top Road. How Pat The Picket would be wearing a black bin. How he started protesting when he was young. Pat The Picket. Going to the Republican Plot in St Finbarr’s. A man who is involved in the volunteer pipe band. How in days gone by the priest or doctor would have done house calls but that’s no more. James asks Tom about legendary stories about Ballypheane. Tom says that they never had much to do with Ballypheane. He does speak about the well known character. Pat Allen who was better known as Pat The Picket. He says he knew him well. He was a great character and people used to love him. If you had a grievance he was the man to go to. He would dress as Santa and all kinds of outfits. He says he was great for the community. Tom says he died of cancer and wouldn’t have been much older than himself. He thinks he had a brother who died as well. He would have a placard for every occasion. He speaks about another character called Donny Sutton from Tory Top Road. James talks about him that he’d be wearing all kinds of outfits like Sergeant Pepper and A Roman Centurion. Tom goes on to say that Pat The Pickett would be sometimes dressed in a black bin. Tom say Pat was always doing the picketing and protesting since his teens. Tom says he would be brought to court and the judge would say to fine him a pound. He would always be out the Republican Plot. He says they would never go to St Josephs Cemetery, always the Republican Plot in St Finbarrs and they would hear the marching band coming and they would go out with them, people would bring their children. He says not people go out now. He speaks about a man who is the volunteer pipe band, his name is Donie, he doesn’t know his surname. He says there wouldn’t have been stations in the house, that would have been a country thing. He says in days gone by the priest or doctor would have called out to the grandmother but that sort of thing is gone by the board now, he says there’s no house call’s now. The interview is brought to an end and Tom jokes that we’ll have to come back in ten years. 1.18.33.5 end of interview. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm 0.19cm;"> 0.00.00 - 0.00.00 </td> <td style="border:1px solid #000000;padding:0cm 0.19cm;"> </td> </tr> </tbody> </table> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tom Falvey: Ballyphehane, Market Gardens Subject The topic of the resource Life History: Ballyphehane, Market Gardens, Childhood, Travellers, Sports Description An account of the resource Tom speaks about how he was born on Bandon Road. On moving to and growing up on Killeenreendowney Avenue and then Pearse Road in Ballyphehane. The primary school in Glasheen. Activities such as walking the Lee Fields. Playing hurling with the Barrs. On road bowling and famous bowlers such as Mick Barry, Dennis Scully and Mick Sexton. Bowling routes such as Pouladuff Road. Celia’s pub. Memories of hunting and drag hunting. On working in Fords and memories of its closure in 1984. Memories of working in Apple in the 1990s. Odlum’s Mill. On doing a marine-related course and studying Morse Code. Landmarks locally such as the Three Fields and the Well Field. “The Dumpa”. The Black Ash. The Lough. Old cricket grounds near the Lough. The significance of roads in Ballypheane named after Republican martyrs. Padraig Pearse. Hunger Stricker Joe Murphy. Stories heard of the War Of Independence. Old IRA member Connie Neenan. Memories of Tom Barry. The Republican Plot explosion. Plot to blow up De Valera. Hurling, soccer and rugby teams in Ballypheane and the Southside. Underage hurling. The GAA. Local characters Charlie The Bogman, Pat The Picket and Donny Sutton. Pubs in Cork. The Credit Unions. The culture shock of his brother coming back from England with aftershave and deodorant. Market gardens in Ballypheane. The Harris family and their involvement in market gardens. The sculptor Edward Ambrose. Going to see the Pope in 1979. The moving statue of Ballinspittle. Seeing Bob Marley in concert. Togher. Stonemasons. Travellers. Travelling tinsmiths. Barrel top caravans. Memories of the Tuskar Rock air tragedy. The Fastnet disaster. The Buttevant Train crash. “The Battle Of Ballypheane”. Hang Dog Road in Ballypheane and how it got its name. Playing darts and rings. Date A point or period of time associated with an event in the lifecycle of the resource 5 September 2018 Contributor An entity responsible for making contributions to the resource Interviewee: Tom Falvey Interviewer: James Furey Interviewer: David McCarthy Identifier An unambiguous reference to the resource within a given context CFP_SR00665_falvey_2018 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; Ireland; Ballyphehane; Pearse Road; 1950s - 2000s Relation A related resource <div class="element-text"><a href="http://corkfolklore.org/archivecatalolgue/items/show/72" target="_blank" rel="noreferrer noopener">CFP_SR00586_lyons_2016</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/73" target="_blank" rel="noreferrer noopener">CFP_SR00587_walker2016</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/76" target="_blank" rel="noreferrer noopener">CFP_SR00592_chute_2016</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/77" target="_blank" rel="noreferrer noopener">CFP_SR00617_mcallen_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/79" target="_blank" rel="noreferrer noopener">CFP_SR00643_osullivan_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/80" target="_blank" rel="noreferrer noopener">CFP_SR00665_falvey_2018</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/84" target="_blank" rel="noreferrer noopener">CFP_SR00672_EdwardsCrowley_2018</a>:</div> <div class="element-text"> Furey, Jamie (2012) ‘Boxcars, broken glass and backers: A Glimpse at the Ballyphehane Oral History Project’, The Archive 21: 24-25. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf">http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf</a></div> Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource .wav Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound Ballyphehane Ballyphehane Oral History Project Ballyphehane Pipe Band Battle of Ballyphehane Bob Marley Buttevant Train Crash Credit Union Eamon de Valera Fastnet Disaster GAA Hurling Papal Visit 1979 Road Bowling Sport St. Finbarr's Cemetery St. Finbarr's GAA Stonemasons The Lough Tom Barry Travellers Tuskar Rock Air Tragedy War of Independence https://corkfolklore.org/archivecatalolgue/files/original/b10537ff20cffa481ac8652fb543d2cb.JPG 6bef50aba99d09dccb32c300741b5e3c https://corkfolklore.org/archivecatalolgue/files/original/08fa2d611262bfec0e79a82afcbb50a0.mp3 500f3672a8e7a2f44e3977a967c0a61c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Landscapes of Memory Subject The topic of the resource Interview collection exploring the people's connection to the River Lee. The collection is comprised of four audio interviews totalling 397 minutes. Description An account of the resource In 2017 CFP Project Manager Tomás Mac Conmara secured funding to undertake a collaborative oral history project with the University of Massachusetts Lowell and CFP, relating to the sustainability of rivers, specifically the Merrimack River in Lowell and the River Lee in Cork. The aim of the CFP part of the project was to capture stories, experiences, impressions and opinions from a variety of people relating to the River Lee. Many of the interviews focused on how individuals used and interacted with the river, particularly for leisure. There was also discussion of the industry, fishing, wildlife, history, place names, pastimes, slang, childhood memories as well as hopes and aspirations for the future of the Lee. Kieran Murphy conducted the four interviews for this collection. Date A point or period of time associated with an event in the lifecycle of the resource 2017 Contributor An entity responsible for making contributions to the resource Interviewer: <a href="https://corkfolklore.org/archivecatalolgue/items/browse?advanced%5B0%5D%5Belement_id%5D=2&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kieran+Murphy" target="_blank" rel="noreferrer noopener">Kieran Murphy</a>. Interviewees: Liam Ó hUigín; Tom Spalding; Pádraig Ó Duinnín; Daniel Tanner: Identifier An unambiguous reference to the resource within a given context Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/75" target="_blank" rel="noreferrer noopener">CFP_SR00630_ohuigin_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/81" target="_blank" rel="noreferrer noopener">CFP_SR00636_spalding_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/82" target="_blank" rel="noreferrer noopener">CFP_SR00637_oduinnin_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/83" target="_blank" rel="noreferrer noopener">CFP_SR00641_tanner_2017</a>. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; The River Lee; Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource 4 .wav files Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Kieran Murphy Interviewee The person(s) being interviewed Tom Spalding Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 98m 27s Location The location of the interview Farrenferris Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Interview Format This field should hold one of the following values; audio, video. Audio Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com KM: I suppose we've talked a lot about the river and the urban setting. Do you have any experience or knowledge of the rest of the river and it's source? TS: I used to canoe quite a lot on the Lee, twenty odd years ago. Myself and a friend from work after work, we'd take my canoe and we'd pick a bit of the river and we'd canoe it from the weir above the bridge near the Ballincollig regional park, Inniscara, near the Inniscara Bar or whatever it's called. We'd canoe that area between those two weirs. We canoed from Ballincollig down to the city. We canoed on the lake in Inniscara, the resevoir. One time I canoed from, and it's not the Lee, but I canoed from Bandon to Kinsale on the Bandon river. And you get a totally different view of the journey. Sometimes the river runs close to the road and it's noisy and loud, and then you go around a bend, you go a hundred yards from the road you hear the birds singing, you see the kingfishers and stuff. You're in a different country really. If you canoe down the Lee from the Anglers Rest into town there's a point at which you see the County Hall. And it's just sticking out of the trees. You can't see any other buildings, you just see the County Hall and it's staggering, just shimmering there in the sunshine. You know then as you get close you start seeing the old mental hospital and waterworks and other parts of the city. It's a great way of coming into Cork, by far the nicest way to enter Cork is by river from the west. The problem in terms of canoeing is the river is actually pretty shallow there and a lot of the time you're walking, carrying the bloody canoe. Especially in the summer time, spots might only be four or five inches deep, rippling over the stones. So unless you find a perfect path through. We capsized plenty of times as well. But by the time you're kind of down the Straight Road, that area, it's a different river. It's very gentle and deep, it's great. But the Kingfishers are just amazing, amazing things to see. KM: What is it about them? TS: They seem much bigger than they really are. They're only about the size of a robin, so they're eight or nine centimetres long. But because they're electric blue and they move so quickly, they appear to be the size of a crow or something. You see this bluey orange dart. They can be sitting on a branch for god knows how long and you never spot them, even though they are bright blue. But when they move you just see this bullet of iradescent blue. You don't forget it, it's just really nice. So that'll be my experience, swiming at the Angler's Rest when I was a kid and canoeing up and down. At the time anyway, the river near Ballincollig was pretty stinky. I'm still not sure whether Ballincollig has anymore than primary sewage treatment. As far as I know that's taking the lumps out with a big net. I think they take the lumps out and apart from that it just goes straight in the river. And when you go through Ballincollig there's a definite kind of cloudiness to the water and a smell. And that would kind of put you off. But you go further down and it gets a bit diluted so it's not so bad, but just especially in the Ballincollig area it used to be really stinky. KM: And would you feel safe or would you feel any sense of danger when you're swimming or canoeing in the river? TS: No. I'm quite confident, probably overconfident on the water. We had lifejackets. If you capsize often enough in a canoe you'd kind of know what's coming next. You get to 'Here we go. Don't let go of the paddle.' That's the golden rule and then you're snookered. You can't make yourself go anywhere. Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td> 0.00.02 - 0.03.34 </td> <td> Introduction by Kieran establishing that this interview is part of the Lowell Project on the subject of the River Lee. Tom starts with a bit of his background stating that he was born in England and he moved to Cork at the age of seven when his father got a job in the Chemistry Department of UCC (University College Cork). Tom went to primary and secondary school in Cork and then went on to Dublin to do a post grad and worked in London for about five years. He returned to Cork in 1998 and has been here ever since. Since he came back he has lived on the Northside. As a child in Cork he grew up in Rochestown in what he terms suburbia. He didn’t like suburbia and prefers the living in the City. When asked what he didn’t like about suburbia he says he was a long way away from all his friend houses for starters. He adds that his mother didn’t drive and they didn’t have a car so it was quite isolating. He says the Summer holidays seemed very long and growing up as a teenager there seemed very little to do locally. He would cycle into town to meet his friends or take the bus sometimes. He speaks of the lack of facilities and adds that there wasn’t even a shop on the Rochestown Road when he was living there. He says there was a little old lady who had a store located just on the bend near where the Rochestown Park Hotel is now. He describes this store as a little corrugated iron shack and she sold Majors cigarettes, bread and milk. He says they thought she was a little old hag but he says she was probably a lovely lady. He says this lady and her tin shack were the shopping facilities between Rochestown and Douglas at the time. He jokes that he didn’t need Majors or milk or bread. He adds that she was kind of scary. He adds when she died the shop was demolished and a housing estate was built on her land. Then the Douglas Court Shopping Centre was built in the mid 80’s. Before that there very little around he says. When asked by Kieran what he would have hoped for locally he says a playground would have been good as there wasn’t one locally. He says there was nowhere to cycle your bike apart from the housing estate which was all cul de sacs. He says as a teenager there was always a sense that there was nothing to do, he adds that a lot of that would be your own state of mind. There as no cinema or thing that would attract a teenager he says. </td> </tr> <tr> <td> 0.03.35 - 0.07.26 </td> <td> When asked could he see the rural River Lee from where he was in Rochestown Tom says they could see it. He says when they moved there in circa 1978/79 the following Summer his mother was dying to take them out for a daytrip as they didn’t have a car. From where they were living all that first Winter they were able to see the Douglas Estuary and in a certain light it looked sandy which he adds is not impossible for a river. The following Summer his mother decided they would go to the beach, she thought they could walk there. So they walked down the hill with buckets and spades etc. They went down a little farm track which was located near where the Bloomfield Interchange is now and where St Patricks Catholic Church on Rochestown Road now stands. (Note: St Patricks Church was built in 1991). Down that lane there was a farm. They hopped over a couple of hedges heading towards the river thinking that there would be a lovely beach. He says when they got there they found it was not a beach but a mud flat. Tom and his brother ran into the mud and he was they were black from the thick smelly mud. He says his mother was upset because she had planned the day out for them and it hadn’t quite worked out as she had planned. Tom says you could see the tide coming in and out. He says you could see across the river to Little Island and Tivoli Docks so he says this was one of the better things. He speaks of the disused railway line that is now a walkway and which ran out to Blackrock over the estuary. (Note: this is the Blackrock/Mahon walk which follows the old Blackrock railway line). Tom says this was all overgrown and virtually impassable in the late 70’s. He says it was only really made accessible in the early 1980’s maybe 1984/85 or 86. He remembers using it to cycle to school around that time. It was basically a barren track at first. He speaks of the old red painted steel bridge that runs over the Douglas River and that has girders on it. Tom says at that stage the bridge had no decking, just girders so you could cross the Douglas River at that stage but you would have to be very careful putting one foot in front of the other walking along the girders which he likens to a tightrope walk. He says not many people did this but a few tried it. Tom says he never did this himself. He says his father had what he says was a brilliant idea. His father looked in the river and saw what he thought were sea bass and Tom says no one in Cork ate sea bass in the late 1970’s. Tom says these were probably grey mullet. His father got it into his head that they were sea bass so he got a mackerel trace with five hooks on it on a line. He climbed out onto the red steel bridge and dropped the trace which he weighed with a lead weight off the bridge into the low tide and then tied it at the top. His idea was that he would go off and come back at his tide and then come back and pluck the fish off the trace. However he forgot about it for a week and came back and there was no sign of the trace so Tom says either the weight of the fish had pulled it into the water or someone coming along had spotted it and took the fish and line for themselves. He says his father didn’t try this again. </td> </tr> <tr> <td> 0.07.27 - 0.12.15 </td> <td> In answer to the question did his father do stuff like this all the time Tom says not usually but he would sometimes get notions. Tom says they grew up in what could be called a ghost estate these days but it wasn’t called that then. The name of the estate was Rochestown Rise and it is still there. He says they needed a shed so his father picked up small windows for the shed from the building site. He say the estate was a bit of a shambles as it was built over the period of fifteen or twenty years over various booms and busts of the Irish building industry and it was built by several different developers who would build a few houses and then go bust and then another developer would go in and build a few more and then go bust and so on. He says all the houses are different and he quips that they are “all uniformly crap”. He says that there would always be things like bits of wood, concrete blocks, bags of nails, bits of glass etc lying around when Tom was young so they would make things like treehouses, dens and carts etc. Tom’s father decided to build a shed rather than buy one so he scavenged materials from the building site and built his own shed. Tom says his parents are not from Cork. His father is from Kingston in Surrey, England and his mother is from St Albans in Hertfordshire. He says they have no Irish blood at all which he says is unusual as many British people have an Irish granny somewhere down the line. He says they came because they were unemployed, his father’s contract in Leeds University had come to an end and he saw the job in Cork advertised, he applied for the job and he got it and they moved to Cork. Previously he had worked in the University Of Sussex and he had also worked in Ahmadu Bello University which is located in Zaria in Northern Nigeria and Tom lived there with his family for three years. He says these were all short term contracts which are still the model today. Tom says his father was lecturing chemistry. When asked does he have any memories of Nigeria he says he has loads of memories. One memory is when they tried to set fire to the bush; he and his friend where they lived in an ex pat community. He says this community was outside Zaria but it was not a gated community like the ones they would have now which would have armed guard etc. He says most of the residents were American, British, Dutch, French, German’s etc. He says there were just a few African families who would be well to do. He adds that the only family who had a colour television was one of the Nigerian families. Tom says the father of this family was nicknamed the Nigerian Prince, He doesn’t know who he was but he could afford a house in this community and colour television. Tom goes on to say himself and some friends decided to steal some matches and they went into their house (the friends family’s house?) and they waited till the cook had left then they sneaked in and took and the matches from the kitchen drawer, closed it and ran out. They then went out into the fields and he adds that the estate where they lived was some distance from a railway line which unfenced so you could walk right up to the line. Tom goes into detail about how in the dry season it doesn’t rain much and its 40 degrees centigrade every day and no clouds. They were lighting matches and setting bushes on fire and were quite happy with this for a while until one bush went up in a very large fire. They reacted to this by running away and he says for all he knew they could have burned thousands of acres but he doesn’t know what happened next. They got in trouble for stealing the matches in the end. He says you remember this kind of stuff. </td> </tr> <tr> <td> 0.12.16 - 0.18.40 </td> <td> Tom says he didn’t have any preconceived ideas of what Cork would be like before he came here. Living in Nigeria he didn’t know any Irish people. He says in primary school his teacher Ms Crowther got the pupils to write him going away cards before he moved and most of the children spelled Ireland as Island. His knowledge of geography when he was seven was that Britain looked like a potter with a turban on and Ireland looked like a teddy bear. He says he never thought of Ireland or had any connections there before they moved there. He says he would have to check with his parents but he doesn’t think they had any pre conceived ideas about Cork. He adds that his father had been over to Ireland on a cycling holiday in the 1960’s around West Cork, Connemara and Kerry touring around. He thinks his mother hadn’t been over here before they moved. When asked about his first impressions of Cork he says they at first lived in Bishopstown in an estate called Don’s Court which is still there. He advises to never buy a house in Dons Court as it’s built on a bog. He says that Winter of 1978 was very damp and cold. He remembers that it was another ghost estate, the roads weren’t paved and there was no street lighting. He says there were ruts in the road and when they froze over they would have ice in them and he would break the ice. He remembers finding a hypodermic syringe in the ghost estate. He says that unlike nowadays this ghost estate had a night watchman. He doesn’t was paying for him but he had a little sentry box and he was supposed to keep away the element. He adds that he obviously wasn’t doing that great a job. He describes it a really “manky” place. He says the houses were new but they were all covered in mildew and mould and cracks in the wall and it was pretty grim. His parents said the rent was very expensive, he thinks it was 250 or 500 pounds a month. He says the landlord was Pearse Wyse who was a local Fianna Fail politician. Tom says Pearse would arrive every now and again or else one of his “minions” and Tom says Pearse Wyse would be driving a gold coloured Rolls Royce. He describes it as like something out of a comedy sketch. He says they were living in what he describes as a “piece of shit” house in a ghost estate. He adds that he is sure he was a lovely man in case anyone’s listening (Note: Pearse Wyse died in 2009). Another early memory of Cork is starting school and trying to learn Irish. He decided then that he didn’t want to learn Irish as to him it was a foreign language. He went to school in St Finbars National School in Gilabbey St. When they then moved to Rochestown he went to St Lukes National School in Douglas but he never got much further in Irish. When asked how long did it take for him to turn against it he quips probably fifteen minutes? He says it wasn’t the fault of the teacher. The teacher told the class they were going to be doing gaeilge and he didn’t know what she was talking about and he didn’t know what she was talking about but he decided he would engage with it. The teacher started the class doing an exercise and came around to Tom. She asked him if he knew anything about Irish. He asked the teacher what was the Irish for yes and she said that there isn’t really an Irish word for yes. He then asked what the Irish for no is and she said that there isn’t really a word for that either. He remembers thinking how is he ever going to cope with this language. He says the shutters came down from that minute and they didn’t really go up again for about ten years. He says he is much more positive about Irish now. He says he sees the beauty in it now and tries to encourage his children to engage with it. When he was a child he was coming from Nigeria where everyone spoke at least two languages and in some cases three. He says you would have English, also Hausa which is one of the major language groups and then they might speak a tribal language. He says in Nigeria they had servants in the house. They came with the house and when they started renting it the servants turned up for work. Tom says that according to his mother he became fairly fluent in Hausa when he was living there. He still has one expression “Sannu da aikî” which means greetings at your work. He says it is a formal greeting. He was used to the idea of bilingualism and he says when he came to Ireland everyone spoke English so he was trying to learn this language that nobody spoke on a day to day basis and he thought at the age of seven that there was no point to it though he does see the point of it now. </td> </tr> <tr> <td> 0.18.42 - 0.22.05 </td> <td> When asked what caused him to change his mind he says he had the luxury of giving up Irish after the Enter Cert so he had compulsory Irish from the age of eight to the age of fourteen. When it was no longer compulsory he says he became much more open to it. He says his attitude really changed in the last five years when he started writing his book Layers (Layers: the design, history and meaning of public street signage in Cork and other Irish cities). He was writing on the subject of street signage and street names in Cork and he says a lot of that goes back to the Irish language. He says as part of this he interviewed Eamon Langford who has links with Cape Clear. Tom says he opened his eyes (to the Irish language). Tom then found a book by Séamus Ó Coigligh called Sráidainmneacha na hÉireann. This book was about street names in Irish and there was a chapter on street names in Cork which Tom got translated from Irish. Since then he’s been much more well disposed towards the Irish language. His children do Irish in school and that has changed his attitude too. He says historically speaking the introduction of mandatory learning of Irish in the state in 1926 has done very little to prevent the decline of the language whereas in Northern Ireland where it is optional the language is going quite strong. He says there are Unionist communities picking it up as well as Nationalist. He says in that case it is something you do because you love it and there is a point for the removal of the mandatory rule. He says that Douglas Hyde said in 1918 when the Gaelic League was banned by the British that it was the best thing that ever happened to it. He says ten years before that membership had collapsed. When the British banned it it became subversive and membership shot up again. He jokes that they should do the same with Irish to increase its popularity. </td> </tr> <tr> <td> 0.22.06 - 0.27.13 </td> <td> Kieran asks Tom if he ever saw anyone else fishing at the spot where his father had tried it and Tom says not on that stretch. He says it’s probably because it’s marshy and tidal. There aren’t many spots where you can to the river. He mentions Hartys Quay as a place where you can get to the river which is by the Rochestown Inn. He says Mahon Peninsula wasn’t accessible as there wasn’t a walkway or paths then. He says also its mostly grey mullet in the water around there. As grey mullet is a bottom feeder it tastes like fishy mud and it doesn’t have a sweet flavour. He says all you could do with it is stew or curry it. He says this sis a reason why many people would not go fishing for it. He says he ate it once in France, he adds the French will eat anything. He went to the aquarium in La Rochelle and the tanks had information explaining where the grey mullet is found, its eating habits and saying it was delicious etc. He says there were tasting tips on all the fish in the tanks. He adds that he’d be willing to eat it but it’s not a fine food. He adds that he sees a lot of Eastern Europeans fishing here for fish that the Irish won’t eat such as carp or roach. They especially love carp which is another bottom feeder. He says that even they don’t go after the grey mullet so he says maybe it’s just the French. When asked where does he normally see people fishing these days he says he lives in Sundays Well so he would see people fishing around the Shakey Bridge. On the North Mall you would see people fishing. Also he sees a lot of people fishing along the Weir by the Old Cork Waterworks on the Lee Road. It always amazes him how popular it is. He says it’s very much a working class thing with people in the city. He often chats to people and asks what they’ve caught etc. He says they always have strong working class accents, he says not once has he spoken to someone who sounds like they might come from Rochestown Road. He says it is young and old, you would see young lads skiving off school etc. He adds that he’s only seen a woman or girl once or twice. It’s nearly always males he says. He says it’s great that they have that connection because threes a perception that working class or city people don’t care about the environment. He adds that these people would have their fishing gear but they wouldn’t have waders or fishing clothing but hoodies etc. They would be smoking cigarettes and chatting away while fly fishing by the Shaky Bridge. He looked at them and realised that if you took away their fishing rods and left them with their hoodies and smoking their fags people might think they are dodgy characters loitering but put a rod in their hand and they look like sportsmen. They are them a man of leisure and in touch with nature. He jokes that they might not be that but that is the impression. He also says give a couple of fellows out wandering a dog and they are respectable members of the community. He says without the dog they might look like trouble. </td> </tr> <tr> <td> 0.27.15 - 0.33.10 </td> <td> He agrees that the river Lee is an important resource. It is hugely important for a lot of people. People fishing on the Lee are engaging with it directly. He says walking through Fitzgerald’s Park on the Friday before the interview he saw an otter directly below the Shaky Bridge. He says he has also seen seals and herons and water birds there as well. He says it is amazing to see such wildlife more or less in the centre of town. He says it is a great privilege and there is no entry fee, you need just go down the river and see coots and moorhens, ducks and geese and otter. He says you can see the grey mullet still but not as much. Tom asks Kieran if he remembers the killer whales which swam up the River Lee about ten to fifteen years ago. (Note: He is referring to when three killer whales entered Cork Harbour and swam upstream in the Summer of 2001). Kieran remembers them being spoken of. Tom says that the Summer before the killer whale river the river Lee was black with mullet. He says that there were so may you could have walked from one side of the river to the next on them. He says there were shoals of hundreds silvery grey fish. After the killer whales there were virtually none. He says they “hoovered them up” ie they ate a great many of the mullet. He says since then its taken years for the population to slowly grow back. Tom says he thinks it was the year 2000 that the whales came. He says they hung around City Hall for a week. He says they demolished the mullet. He says he thinks there were four or five killer whales. He says that after they left one of the older females was found dead. There was a theory that the female had become ill and the pod decided to come into the Harbour to let the female recuperate and to feed. He says there are photographs of the killer whales outside the City Hall which is something you don’t see everyday. Tom says he missed the whales as he thinks he might have been in America at the time. He was doing a lot of work in the States at the time he says. Tom speaks about the Shakey Bridge. He says the name is well known as it shakes. He says he has written elsewhere that he thought that someone had tried to stiffen it to take the shake out of it fifteen to twenty years ago but he has looked at it again and they didn’t. What they did was they installed lighting on the bridge around the time of the Millennium as part of a project to put lighting on all the bridges. He states that if you have a copy of Tom’s book Corks Twentieth Century Architecture the bit about Daly’s Bridge aka the Shakey Bridge is not true. He says it has become a tourist thing to come and make the bridge shake by jumping on it. He says that he was young the bridge would automatically shake itself when you walked across it. He sees Americans on the bridge saying they must shake the bridge and likens it to kissing the Blarney Stone. He says he doesn’t mind the bouncing up and down on it so much but he says sometimes kids swing from side to side on it. He says when they do that his feeling isn’t so pleasant and you do hear it banging away. He says there is quite a lot of corrosion on the bridge at present so he adds that this is something the Council should look into. He says the building of the bridge was paid for by a man called Daly who lived in Sundays Well (James Daly). Tom says his family were in the soft drinks business and manufactured Tanora. (Note: the company was John Daly & Co and they manufactured Tanora). Tom says it took a while to sort out the building of the bridge because there was a ferry house on the site. He says the ruins of the ferry house can still be seen just beside the north buttress of the bridge. Tom says the ferryman and his family relied upon the ferry that ran across to the Southside for their income which they had legal right to. The legal rights had to be bought before the bridge could be built. That was in 1926. Tom says the bridge was designed by City Manager Stephen Farrington. It was built in Westminster London and then brought to Cork where it was assembled like a big mechano set and he says it’s been shaking ever since. </td> </tr> <tr> <td> 0.33.1 0 - 0.36.25 </td> <td> Kieran asks Tom if there were many similar ferry points on the river Lee before bridges were built. Tom says there were ferry points up to quite recently. He mentions a pub on the corner of the Lower Glanmire Road called the Ferryboat Inn just before you get to Water Street there was a quay and a ferryman would row people across the river from there to the other side so they could get to Pairc Ui Caoimh on the occasions of GAA matches. Tom says the man running this was operating it right up to the 1980s and possibly the early 90’s. He says it was not an official ferry and there were question marks over how safe the small boat was but he adds no one ever came to any harm. He would have been the last of the ferrymen. Tom speaks about another ferry that went across the river where the Shandon pedestrian bridge is located now on Popes Quay, he says that this stopped in the 19’th century. He says maybe after they built the new Patricks Bridge in the 1850’s. To illustrate this point he says in 1861 there was a ferry crossing on the Northside of the river at the North Gate and there was a crossing at the site of Patricks Bridge and there was nothing in between. There was no Christy Ring Bridge, no pedestrian bridge. He says between the two it was about the third of a mile so it necessitated the ferry service especially for people going to mass in St Marys Church on Popes Quay or if someone was living in Shandon and wanted to go to town there was the little ferry that would take them there. He says he is not aware of any ferries on the south branch of the Lee but he is in doubt that there were ones operating. He doesn’t know if there was a ferry between Blackrock and Tivoli but he says there must have been one. Kieran returns the talk to the more recent ferry boat operator on the Lower Glanmire Road. Tom says he would have gone as far as the electricity power station and he would not have gone as far as Blackrock. Tom has a feeling from his memory that this boat was a fourteen or sixteen foot rowing boat punt. That is the image he has in his head of it. He wasn’t in the boat itself. He remembers hearing about it and seeing it from the Lower Glanmire Road when he thinks they were driving into town on a Sunday and the name of the pub the Ferryboat Inn made him put two and two together. </td> </tr> <tr> <td> 0.36.26 - 0.43.23 </td> <td> When asked did he ever swim in the river Tom says he didn’t swim in the City but he did swim up by the Anglers Rest pub in Carrigohane when he was young. He describes a track which is across the road from the Anglers Rest and runs along the river Lee and there’s a very sharp bend of the river about a quarter of a mile on and there is a broad pool with a pebbly beach. He says this was safe as the water was slow enough and warm enough but he says he’s not quite prepared to swim in the City Centre. He does say that the water is a lot cleaner now than it was when he was young. He says that every Summer when he was young the river would turn the colour of green snot. It would be an opaque colour and you wouldn’t be able to see the bottom of the river. Every year the City Council would say it was not the sewage but it was the fault of the IFA and the farmers (through farm effluent and silage) and the farmers in turn would say it’s nothing to do with them but the fault of the sewage. He says this argument went on for twenty years and the river stank. He talks about the song The Boys Of Fairhill and the line that goes “how does Fr Matthew Stick it?” and he says this was true to life regarding the smell. He says in the late 1990s Cork Corporation implemented the EU’s Water Directive to clean up the river and began the Cork Main Drainage scheme to pump the waste material out to Little Island. He says it’s a lot better than it used to be. In answer to the question of did the pool where they swam by the Anglers Rest have a name he says he didn’t have a name for it. He is sure there was a name for it but he can’t think of the name off the top of his head. He says he would go there with the children of a family who were friends of his parents from Ballincollig and he says they might know its local name. Talk returns to the anglers on the Lee whom Tom would speak to. When asked would they catch much Tom says they would always be very cagy about what they caught. If it was a trout or something similar they might tell you but if they caught a salmon they wouldn’t as the salmon are protected and you are supposed to have tags and you get a certain amount of tags every year which you are supposed to display. (Note: this refers to the license for Salmon fishing). He jokes that usually they say they caught noting even though there might be a bag that obviously has a fish in it. He says as well if they’re fishing they don’t want everyone to know there’s salmon there as that would be their spot. Tom says that the relationship between the City and the river is poor. He says we ignore it and till the late 90’s it was treated as an open sewer. He says it is still like a sewer in places and if you go down the river at low tide you can see raw sewage coming into the river in places though he says it is nothing like what it used to be. He says as an example on the Western Road there are a series of semi detached houses called St Finbar’s Place just before you get to the gates of UCC on the Southside of the road. (Note: St Finbar’s Place is on the opposite side of the road). He says those houses back onto the Lee and nearby what he describes as “big ugly apartments” nearby where the petrol station used to be. Tom says if you look at an old ordinance survey map of this area you can see there was an old outdoor swimming area on that part of the river. He says it was segregated and there was a men’s and a women’s area. That was south facing and a natural place for swimming he says and it is all gone now he says. He goes on to say that if you go to the other side of the river on O Donovan’s Road the houses along there have put big fences up so they don’t see the river or engage with it. In different countries people would have different attitudes to the river he says. He speaks about the town of Bamberg in Bavaria where they have rows of houses backing out onto the river and people would have a jetty or flowerbeds or a willow tree planted and people will have appropriated the river for their garden. He says it is the same along the Surrey reaches of the Thames it is considered prestigious to have a riverside home but here in Cork it is the opposite, we box it up and try to pretend it isn’t there and throw rubbish into it from behind the hedge. Tom say several of the houses which he was speaking about seem to have been bought by the same person and they have covered about a quarter of an acre in tarmac covering the gardens and built concrete walls facing the river. He says this is a dysfunctional relationship with the river. He says this is turning your back on the river. He says all these houses face the main road, he asks what is so great about the Western Road and says he would have it facing the river. He says we see the river as a threat and a source of problems, we don’t see it as a source of income or recreation. He says more power to the fellows who go fishing and those who go kayaking on the river as they are a tiny minority. </td> </tr> <tr> <td> 0.43.24 - 0.50.24 </td> <td> Continuing on this theme he says many people in Cork would be glad to see the river filled in. When asked by Kieran why this is he says he doesn’t know. He says attitudes are learnt. He says we need to educate ourselves to see it in a different way. He says it is hard to get that discussion going. He goes on to speak further about the long term relationship of the river with Cork. He compares it with that of Dublin which is often said to not have a great relationship with the river but he says in comparison most of the major buildings do face out onto the river and they seem to engage with it more. He speaks of the major buildings in Cork that do face the river such as City Hall and the Savings Bank on Lapps Quay and a few more. Quite a lot of Corks buildings turn their back on the river. He says a lot of buildings in Cork turn their back on the river and as an example he speaks of the quayside that runs from Lavitt’s Quay and takes in the Coal Quay and Bachelors Quay and Kyrl’s Quay. He speaks of “the monstrosity” Dunne’s Stores car park and he describes its designer Bertie Pope as “the world’s worst architect”. He says none of this is capitalising on the river and he says he speaks about the fact that Cork City Council built a four lane dual carriageway running from Merchants Quay to Bachelors Quay and how this has messed yup any chance to make further use of the river along there. He ponders on why this decision was made and if anyone in the Council voiced the opinion that better use could have been made of the river. Kieran asks as to whether there is a tension between transport infrastructure and the river. Tom says there is always going to be this tension as in Cork you have two main branches of the river and the island in the middle getting ion and out of the City is a problem and building more bridges is sometimes necessary. He says sometimes these can be beautiful and add to the City but they can also totally “banjax” areas of the City. He says as an example the De Valera and Collins bridges which run from Penrose Quay across to Lapps Quay and on to Albert Quay which were built in the mid to late 1980’s and carry the main Cork to Dublin Road. He says this lane of traffic has cut off and killed the Customs House and its surroundings. He talks about the fact that this building has changed hands and the plans to build a skyscraper at the end of the island it is on. A lot of people would like to see a cultural centre of some sort similar to Covent Garden in London which developed a former industrial centre. Tom says the Customs House area would be ideal and the light is fantastic and the views are great. However he says as it is cut off from the rest of the City by a national road he says it is hard to see how this could be made to work unless you build underpasses and overpasses etc. He speaks about the decision to build the two bridges thirty years ago and says in retrospect it would have been better to go down river and built a large bridge perhaps with a lifting mechanism. He says this would have been a bit more expensive in the short term. He says this could have gone across from Railway Street To Kennedy Quay and left the island as it was. He says then it would have been much easier to include the Customs House area in the City centre. He uses this analogy to illustrate how these bridges are needed but if they are ill thought out or badly located they screw up an area forever as he says no one is going to agree to demolishing these two bridges and starting again. He speaks about a proposed pedestrian bridge going across from Parnell Place to Patricks Quay but he says this has been talked about for ten years and it is something that developers dangle every now and again and is then forgotten. He say there is even talk of a second pedestrian bridge linking the bottom of Grand Parade with Sullivan’s Quay which he says is a stupid idea considering Nano Nagle Bridge is nearby. He says the proposed Parnell Place to Patricks Quay bridge would be a very good idea as it would really help McCurtain St. He says McCurtain St should be a main shopping St but is all taken up with taxi cabs and burger joints. He says this bridge would balance things around. </td> </tr> <tr> <td> 0.50.25 - 1.00.40 </td> <td> Kieran asks the Tom the hypothetical question of what he would do if he had the power to pull all the levers such as what he would change about the Lee if he had the power to do so. Tom says peoples attitudes are the hardest thing to change. He says it’s not just a Cork City thing and if you go canoeing down any river in Ireland you will see farmers throwing old gates, cars etc into the river. He says outside town’s people throw plastic bags of rubbish into the river and these attitudes are hard to change. He goes on to speak more on peoples attitudes to the river and convince them they are not dangerous and smelly. He jokes if he was a benevolent dictator that would be easy. On asked what are the threats that people see from the river he says the biggest threat are the plans to build walls high walls along stretches of the river in the city. (Note: this refers to The Lower Lee (Cork City) Flood Relief Scheme). This refers to the “St Finbars Place mentality” of not wanting to see the river. Once the river disappears behind the walls our poor relationship with it will be even worse. He goes on to speak about the negative effects of the proposed plan. He describes the way its been handled a s a total mess as its being treated as a drainage plan and not treated as piece of urban design. He says it’s being designed by civil engineers who know about flooding and drainage. He says there what he calls a couple of nasty things about it that have only become apparent to him recently. One would be trying to prevent upstream flooding. He says they describe the River Lee as flashy” as in it’s prone to flash flooding from water running off farmland etc. Tom says it would be possible to speak to landowners etc and try to get them to prevent the flashing. However he says they are a powerful lobby group and the OPW do not want to take them on and have put it up to the citizens of Cork. He says it is easier to go head to head with citizens who have a poor relationship with the river and no leadership than against powerful lobbies. He describes this as a quasi Stalinist system. The second thing is the idea of walling in the river some of which will be six foot high and he says some children will not be able to see the river. He compares it to Donald Trumps wall proposal to “keep out the baddies”. He says we are being sold the wall as a simple solution. He says what the OPW is not telling people is that no city in the world has done this before and it is not tried and tested. He says it is experimental and costly and there is no guarantee that it will work. He says for this wall to work every sluice and culvert and sewer would have to be found and sealed and the chances of this happening will be slim and the wall itself may fail. If the wall collapses it would lead to lack of life he says. He speaks of the Dutch and their methods of flood control and he says that they try to minimise the height of flood walls. He speaks of the government’s unwillingness to engage with the farming lobby. The other issue he raises is that of heritage and aesthetics. He speaks about the appreciation of heritage and craft but he says this is not a measurable argument to be put in place against the wall. He says we have to find other ways of fighting it. </td> </tr> <tr> <td> 1.00.43 - 1.09.24 </td> <td> Kieran asks if under an alternative plan we would have to accept limited folding in Cork. Tom says that most of the flooding in Cork is the regular flooding of the Oliver Plunkett St area and this is caused by high tides and easterly winds plus heavy rainfall. He says the proposed alternative plan by Save Cork City (the lobby group opposed to the OPW’s plan) would be for a tidal barrier in Lough Mahon. Save Cork City propose building this barrier across the mouth of Lough Mahon which Tom says would prevent high tides coming in and also provide capacity behind the barrier for flood waters coming down the barrier. He says it would be a case of closing the barrier when ever there is a flood warning and releasing the water as soon as possible afterwards. He thinks would stop nine tenths of the type of flooding we see in Cork, he said you would still get floods during once in a lifetime Hurricane Harvey type madness”. He goes on to say that a flood barrier is a tried and tested technology. When asked by Kieran where in Lough Mahon would the barrier Tom says he hadn’t been involved in the design but went to a presentation. He says the proposed tidal barrier would be located on the neck of Lough Mahon where it is narrowest from Fota Island across to Passage. He goes on to speak more about the possibility of flooding in Little Island and Hop Island and that needs to be addressed. He adds that the type of flooding that we see on Oliver Plunkett St and South Mall would be gone. Kieran asks if the barrier would disrupt shipping and Tom says the plan is to make a moving part of it that is almost always open. He speaks about the permission of Cork Port Authority to extend in Ringaskiddy so all the big deep water ships will be directed there instead of into the City apart from the Tivoli Container Port. He says this is also likely to close and everything to be moved down to Ringaskiddy. Kieran asks Tom the question of where he thinks the Lee ends. Tom says he supposes it ends at the Customs House, the character of it is very different after that where it is quite broad and tidal and sluggish but this he says is quite an arbitrary. A general discussion on this topic follows and Tom talks about the top of the tide which is the limit of where the tide will reach on the riverside. Tom speaks about the tides on the Thames and how the tide comes in as far from Teddington which is ten miles from London Bride and twenty miles from the mouth of the river. Comparisons with the Thames and the Lee are discussed. The tidal part of the Lee is quite short he says. Kieran asks Tom if he got his way what would the buildings along the Lee look like or what kind of activities would he envisage. Tom says some architects are starting to take the river into consideration. He speaks of the River Lee Hotel on the Western Road as having a balcony that is well used though it is not directly facing onto the river. He also mentions the Glucksman Gallery on the grounds of UCC as a building that takes into account its surroundings. He say regarding the City Centre there aren’t many large sites available on the river so it’s hard to answer that question. He mentions the former Dunne’s Stores site on North Main St and says it is disused for the last year or two. He talks about the Dunne’s Stores multi storey car park as being used. He says there is a delivery apron 100 feet wide outside the multi storey car park and he says he would like to se this redeveloped as a plaza/ accommodation / retail mixed use site. He says this stretch of the road isn’t the busiest so there might be a chance to do something here. He says the other site along the river with potential is the site at the top of the Coal Quay near the pedestrian bridge that’s had planning on it for the last twelve years and it’s a natural place to integrate into the river. Along with the Customs House these are the obvious spots he says are right. </td> </tr> <tr> <td> 1.09.25 - 1.13.25 </td> <td> Kieran asks Tom about leisure and use of the river. Tom says you see canoe groups and Meitheal Mara (a community boat building group) using the river for a long time. He mentions the little marina that Port Of Cork built on Customs House Quay as a getting a lot of use which he says is brilliant. He speaks of the excitement when the Tall Ships come to Cork. He believes water based events like this as engaging people with the water. He says he would like to see someone do water based tours around the city, the tides mitigate against it but he says it might be possible for some enterprising person to take people on water tours. Kieran asks Tom about the group Meitheal Mara and Tom say’s he is not involved in them, but he has friends who are. Meitheal Mara are involved he says in traditional boats and boat making and they run a workshop where they rebuild Curraghs and Ballaugh traditional Irish boats. He says they would get involved in things like the Ocean To City race and you would often see them training on the river. He says they would go up the river as far as Pres (Presentation Brothers College) he says there is a weir at Pres and it is harder to get up any further. Tom says that ironically there is no history of the kind of boats Meitheal Mara use being used on the river Lee so he describes it as an invented tradition. The subject moves to the subject of raw sewage visible at low tide. Tom says it’s milky and has lumps in it, he says it is small amounts but it is constant. He says the Cork Main Drainage takes away about 99% of the poo but engineers always have to make a call and sometimes you will get a sewer shared between five houses leaking sewage. He says to make the scheme work all of these drains will have to be blocked up and re diverted. </td> </tr> <tr> <td> 1.13.27 - 1.25.15 </td> <td> Kieran asks again about Hartys Quay in Rochestown and Tom says it is now a gated community. Tom thinks Harty were a local family. He says he remembers buildings on the quay like sawmills. He can’t quite recall if they were steel frame or wooden but he recalls them as big dark lumbering warehouse buildings there in the 1970s and 80’s. Kieran asks Tom does he remember any folklore or stories related to the river to which Tom says he doesn’t. Tom does add when they moved here that for ten to fifteen years heading into the early 1990’s there would always be a pair of wooden punts tied up in the river between Parnell Bridge and the Trinity Footbridge. He says they would always be tied up in the middle of the river and he never saw anyone getting into them. He says there would be another two boats upside down on the lean to on Georges Quay and Tom says he was always curious why these boats were always on the river. Tom says that someone told him that these boats were owned by a family called the O Flynn’s who had a license for salmon fishing between the City Centre and Blackrock Castle. He doesn’t know actual salmon fishing they did but they were keen to keep the license and one of the conditions was that they had to keep the boats on the river while they had their license. Tom says as time went on the boats on the river disappeared and the ones on the quayside became more and more rotten. Tom says he doesn’t know if that is all gone or if the O Flynns are all passed away. He believes this family also had a pub on Barrack St called the Clannad which he says was No 111 Barrack St. He says it was a different branch of the family that had this. Tom say those fishing rights probably go right back to the 17’th century and possibly further back and he says its interesting to see those rights still being exercised as recently as the 1980’s and 90’s. He adds that if you take a historical view of the river it’s a more pleasant condition and environment than at any time five or six hundred years. He says in terms of cleanliness and in terms of wildlife it’s in far better condition than it was in the 18’th century. He adds that in the 18’th century not only was the sewage going into it but waste from the Blackpool tanneries and food waste etc. He says there was an ongoing problem of dead babies being found drowned in the river. He says a lot of this was linked to unwanted pregnancies and prostitution. He says if you view it in these historical situations the river despite us turning our backs on it has improved. Kieran asks if there was anything that we did with the river in the past which was positive and which has now been lost and that we could revive again. To this Tom replies that we used to use the river as a source of energy and power. He says as an example the Lee Mills which is now the Lee Maltings and home to the Tyndall Institute of UCC maybe there is the potential for micro power generation. He says in the past the river infrastructure was maintained better and there are a number of weirs in the city that provided ways of pooling the water and slowing it down as well as creating fisheries. Tom says most of these weirs are in poor condition and not maintained. He says there used to be a crew with a small rowing boat employed by the City Council and they would go around and inspect quay walls and every bridge and repoint stones, remove vegetation. He says it was done from Pres, down the river up to the Beamish Brewery and this was their permanent job. He says they were abolished in living memory and a woman in her 70’s told him she remembers them as a child. He says since they were abolished there has been no probably preventative maintenance on the river. He says now the bridges on the river have been taken over by the National Road Network but there is no one looking after the quay walls etc and he says this is something that will return to “bite us in the ass”. Tom speaks about a word that came up called campshire. He describes it as a projecting part of a quayside with columns and a deck that overhangs and are a section of river infrastructure and used for loading. He says there is one on Georges Quay, one on Albert Quay and another on Albert Quay East. He goes on to say how a lot of this river infrastructure is in poor condition and. Tom say the campshire on Albert Quay East was in use till quite recently but not the others. He says they are falling down at the moment. He says they should be assessed for historical interest and kept if possible. He says if they were safe to use they could be used for a riverside amenity. He says on Albert Quay there is a modern wooden deck with a café and a few hundred feet away is the campshire which nobody uses. He adds that the boardwalk running along Lapps Quay and the one by the Electric Bar at the bottom of Grand Parade has also been a success and they have managed to avoid the problems of the Liffey Boardwalk in Dublin which include anti social behaviour, drunkenness and people taking drugs and stealing. He says he’s never seen any of that on the Cork boardwalks, there are homeless people there he says he’s never seen any hassle there. He says he can happily sit there with his kids unlike he says the Dublin Boardwalk which he says he wouldn’t dream of doing. He describes the Dublin Boardwalk as a disaster. He describes them as quite small and discrete though the bars and cafes are close to each other so they are monitored in a passive way. He also says Dublin has a much bigger anti social behaviour problem though Cork is not immune from this. </td> </tr> <tr> <td> 1.25.17 - 1.29.48 </td> <td> Kieran asks Tom about his experience of the river outside the City and its source. Tom says he used to canoe a lot on the Lee about twenty odd years ago. He and a friend from work would go after work and canoe a part of the river they would pick. They would canoe from the weir above the Inniscarra bridge near Ballincollig Regional Park and canoe from Ballincollig down to the City and canoed on the lake on Inniscarra Reservoir. Once he canoed from Bandon to Kinsale on the Bandon Road. He says it gives you a totally different view and he says some stretches are quite near the road and you can see and hear the traffic and then you might turn a corner and it’ll be peaceful and you might see Kingfishers. He says if you canoe down the Lee from the Anglers Rest bar into town all you can see of the City is the County Hall skyscraper which you can see sticking out of the trees. You can’t see any other buildings he says. He says it is staggering to see it shimmering in the sunshine. He says you then start seeing the old mental hospital (Our Lady’s Hospital on the Lee Road) and the Cork City Waterworks. He says it is the nicest way to enter the city by river from the west. He says the problems regarding canoeing are that the water is quite shallow there so you spend a lot of time walking carrying the canoe especially in the Summer. He says he has capsized a lot of times as well. Once you are down the river by the Straight Road the water is deeper. He goes on to speak about the riverside bird the Kingfisher. He says they are amazing to see and they seem much bigger than they really are. He says they are about the size of a robin but because they are electric blue and because they move so fast they appear the size of a crow. He says you see a blue/orange dart when they move which he says is like a bullet of iridescent blue. He says they might be sitting for ages and you might never see them till they move. He says that would be his experience of the river outside the City, swimming by the Anglers Rest as a child and canoeing. He adds that the river outside Ballincollig is “pretty stinky”. He doesn’t know if Ballincollig has anything other than primary sewage treatment which takes the lumps out with a big net but everything else goes into the river. He says when you go through Ballincollig the water is quite cloudy and there is a smell. Kieran asks Tom if he would feel any sense of danger swimming or canoeing in the river. Tom says no, he feels quite confident in the river and they always wear life jackets. He says if you capsize often enough in a canoe you know what’s coming next, he says the golden rule is don’t let go of the paddle. </td> </tr> <tr> <td> 1.29.50 - 1.38.27 </td> <td> Kieran asks Tom what are his hopes fro the river in the future. Tom says he hopes that they continue working on the water treatment plants on upstream towns. He says we are lucky in that there apart from Cork City there are really only two large conurbations on the Lee and those are Ballincollig and Macroom and if they would be up to high standards for sewage the river would be more or less pristine and the better the water quality the faster people will start using the river again. He mentions that there is now a canoe club on the Lee Road just at the back of UCC’s ERI building. He goes on to speak about the need to use the river and full, use of it while there is time. Kieran mentions that Tom wrote a book about the 1902/03 Cork Exhibition along with Dan Breen of the Cork Public Museum. Kieran asks if there was anything about how the river was used in relation to that. Tom says that when the Cork Exhibition in Fitzgerald’s Park was held in 1902 and 1903 it was a very interesting period worldwide for sport. For example he says that the GAA was twenty years old and was on an upward trajectory. Also the Great Exhibition in Cork had in terms of sport, hurling, football, lacrosse, tennis , hockey etc. He says the biggest crowd pulling events they held there was in relation to the water. Tom says that Kenneth Grahame’s the Wind In The Willows was published in 1907 and the background to that and the character of the water rat etc was a huge upsurge in interest in rowing and river based leisure activities in Edwardian times. He says it wasn’t just in Ireland but also Britain where they had the Henley Regatta, similar regattas on the Thames and the Cambridge boat race. He mentions the regatta on the Charles River in Boston and the Admirals Cup as all coming from that period. He says that the Cork Exhibition took place right on the river and you could rent a gondola a sailing boat, kayak or canoe or punt by the hour. People could paddle around Sundays Well between Pres and the Weir. This was the centre of a lot of people’s activities. He says a lot of film footage of people’s activities from this period revolves around water based activities. He says there were also two electric powered barges which were elegant timber boats with beautifully carved figureheads on the prow and these boats had DC motors and batteries. When they had important visitors they would bring them up and down the river on these barges. He says they had a rowing regatta at the Exhibition and they invited teams from across Europe and Ireland and Britain and eventually the final day came in July 1902 and it is estimated that between eighty and one hundred thousand people came to see this final. He says there were no sports ground in Ireland that would accommodate this event. This was bigger than an All Ireland Final, this was bigger than a rugby international. He says it was perhaps the biggest sporting single event seen in Ireland up to that point. There were crowds of people on the Tivoli side and on the Marina and the Tram companies got all the trams and lined them up to use as grandstands so people could pay to go up on them and see the race. He says they had a deep sea yacht race and a race with electric boats where they had electric launches racing each other up and down the Lee. He speaks of the famous water slide and mentions the photos of it. He says of this that they built a 250 foot wooden slide beside the site of the exhibition and the slide was in the river, they piled the river to put the legs of the slide into the river. He says you would climb up the top of the slide and then slid down the slide in a flat bottom punt which would hold about eight people, this would go 70 foot down the slide and would go About 50 miles an hour. He says this was faster than a steam train and the punt would skim along the water and bounce off it and land again. The boat was ran down wooden rails which were greased with fat to make it slide down faster. It was sixpence to go on it which made it the most expensive amusement. There were other amusements such as a rollercoaster but the waterslide was the big thing and if you could afford the sixpence you would spend it so it was a big money spinner for them. If you go to the park today he says some of the piles from 1902 are still visible in the river on low tide. These kind of rides were quite common he says up to the 1950s’, he says his father in law remembers going to Southend On Sea when he was living in London and they had one like it. He says it was a big excitement in 1902. Kieran asks Tom if there is any thing else he wants to cover and Tom says he has covered everything he thought he wanted to say. Kieran then thanks Tom and the interview ends. Interview ends 1.38.27 </td> </tr> </tbody> </table> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tom Spalding: River Lee Subject The topic of the resource Life History; Immigration; Childhood; River Lee; Cork Exhibition Description An account of the resource Tom is the author of several books on design history relating to Cork City such as “Cork City: A Field Guide To Its Street Furniture and “Layers”. Tom speaks about how he was born in England and came to live in Cork aged seven when his father got a job in the Chemistry Department of UCC. About growing up in Rochestown Road in the late 1970’s and 1980’s. About the lack of facilities there, description of a tin shack shop ran by an elderly lady which is no longer there. Description of the River Lee and the Douglas Estuary. The disused Blackrock Railway line and the metal pedestrian bridge which at the time was semi derelict. About mullet that swam in the estuary and his fathers attempts to fish for them from the pedestrian bridge in the belief that they were sea bass. About early years in Cork growing up in a number of half finished housing estates in Bishopstown and Rochestown and his father using discarded building materials to build sheds etc. He speaks about his fathers work in Leeds and Sussex universities before they moved to Cork and he describes a period of his young childhood when his father got a job in Ahmadu Bello University which is located in Zaria in Northern Nigeria and the family moving there. Tom’s description of the mainly western enclave they lived in, of picking up some phrases of the local language Hausa and of a prank where himself and some other boys set fire to the bush. He speaks of the difficulties he had in learning Irish in primary school in Cork and how in later years he came to appreciate the language and adds his thoughts on how the language is thought and its future. Tom speaks about the relationship Cork City has with the river Lee. About the mainly working class anglers you would see fishing near the Shaky Bridge aka Daly’s Bridge. About canoeing and boating on the river. The history of river ferries on the River Lee and one that was still running up to the 1980’s bringing GAA fans across the river from the Ferryboat Inn on Lower Glanmire Road across to the Marina. On the proposed Cork City flood defence walls and his thoughts on it and alternative options and the Save Cork City movement. Of the negative relationship Cork City has with the River Lee and comparisons with that of other cities. He speaks of the Cork Main Drainage project and how it has improved water quality in the City. About how sewage and effluent from farming would flow into the river. Of the killer whales that entered Cork Harbour and swam up the River Lee in 2001. He speaks about the group Meitheal Mara who sail currachs on the river Lee. He talks about the O Flynn brothers who were the last of the traditional salmon fishermen in the Lee and how their boats could be seen on the quayside by the Trinity Bridge. He speaks of the Cork Exhibition of 1902/03 and water based attractions such as the giant waterslide which was located on the riverside by Fitzgerald’s Park. About the huge rowing regatta which attracted record crowds and the general growth in popularity of water based activity during the Edwardian era. Date A point or period of time associated with an event in the lifecycle of the resource 1 September 2017 Contributor An entity responsible for making contributions to the resource Interviewer: Kieran Murphy Interviewee: Tom Spalding Identifier An unambiguous reference to the resource within a given context CFP_SR00636_spalding_2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork; Ireland; Rochestown; England; Nigeria; 1970s - 2000s Relation A related resource Other Interviews with Tom Spalding: <a href="http://corkfolklore.org/archivecatalolgue/items/show/66" target="_blank" rel="noreferrer noopener">CFP_SR00538_spalding_2015</a> Other Interviews in the collection: <a href="http://corkfolklore.org/archivecatalolgue/items/show/75" target="_blank" rel="noreferrer noopener">CFP_SR00630_ohuigin_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/82" target="_blank" rel="noreferrer noopener">CFP_SR00637_oduinnin_2017</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/83" target="_blank" rel="noreferrer noopener">CFP_SR00641_tanner_2017</a>. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource .wav Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound Ballincollig Blackrock Railway Canoeing Cork Exhibition Cork Main Drainage project Daly's Bridge England Ferries Fishing Fitzgerald’s Park Immigration Irish Language Killer Whales Meitheal Mara Nigeria River Lee Rochestown Save Cork City Shaky Bridge Tom Spalding University College Cork https://corkfolklore.org/archivecatalolgue/files/original/cfa7196e0a493281eeec4c8799adbfa5.jpg cbf1c711785600501bec005b1d811bed https://corkfolklore.org/archivecatalolgue/files/original/053322040bbc68d74df09c6af1e75c1d.mp3 44067a4ed918ab46394b23bfdd046978 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Cork Memory Map Collection Subject The topic of the resource A place-based interviewing project exploring everyday life in Cork City, with excerpts disseminated on a series of online digital maps. Description An account of the resource A place-based interviewing project exploring everyday life in Cork City, with excerpts disseminated on a series of online digital maps. In 2010, the Cork Folklore Project initiated a new collection and dissemination project, entitled the Cork Memory Map. We wished to step up our interviewing programme and enhance public access to our holdings through the creation of an online map of stories and memories. A central concern in this initial stage was to keep our research agenda as open as possible in terms of generating accounts of everyday life in the city down through the years. As we were not carrying out topic-focussed interviews (in contrast to previous projects on topics such as song in the Northside, drag hunting and occupational lore), the place-based focus enabled us to explore everyday life at different stages of interviewees’ life histories, remaining open to cues from the interviewees while maintaining a sense of direction and purpose for all involved. The fact that the interviews were structured around memories of place, rather than taking the form of life history interviews, also had an impact on the material gathered. The initial phase of interviewing was carried out in the main with older residents of Cork City, Ireland, who grew up in the city centre or adjacent suburbs and who were born between 1929 and 1950. Lasting between 45 minutes and two hours, individual interviews in the Memory Map project tend to follow a similar pattern. A description of the interviewee’s childhood neighbourhood is followed by a succession of ‘grand tour’ questions about daily routines, work and play within the neighbourhood. Places important or familiar to interviewees were explored, as were routes habitually taken through the landscape. This narrative base was used as a springboard for using cues provided by the interviewees as the basis for follow-up questions on significant people and activities mentioned. A sub-collection of shorter interviews was generated during Heritage Week (20-28 August) 2011. The Cork Folklore Project, in collaboration with Civic Trust House, launched the Memory Map Project with an exhibition and collection event throughout the week. Visitors to the exhibition were invited to ‘put themselves on the map’ through short interviews. The Memory Map also featured in a ten-minute Curious Ear documentary broadcast on RTÉ Radio 1 during Heritage Week, and available as a podcast (The Curious Ear/Documentary on One (Cork City Memory Map) http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/). The bulk of the interviews were carried out between July and December 2010 (21 interviews), with 9 full-length interviews carried out in the second half of 2011, along with 18 shorter interviews carried out during heritage week, 23-27 August 2011, and 9 interviews in the second half of 2012. 1 video interview was carried out in January 2014 with Memory Map interviewee Pat Speight. The design for the map and supporting database design was carried out by Cheryl Donaghue (UCC) as project work for an MSc in Interactive Media, with assistance from Colin Mac Hale. The Project received support for the further technical development of the map from the Irish Heritage Council in 2012. The map itself has undergone various iterations, the most recent being its preparation for use on the Omeka platform by the CFP team and PhD candidate Penny Johnston in 2016/2017. Existing and subsequent interviews from the CFP collections have also been utilised for the online mapping dissemination project: the interviews designated as ‘memory map’ interviews are those carried out specifically with the map in mind from 2010 onwards. Support: This project was supported by the Heritage Council of Ireland in the Heritage Education Community and Outreach grant scheme, 2012, and also received support from the Cork City Council Community Grants Scheme. For further description and discussion of the Cork Memory Map project, see: O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF Clíona O'Carroll (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. To view the Cork Memory Map Click <a href="https://corkfolklore.org/memory-map/">Here</a> Date A point or period of time associated with an event in the lifecycle of the resource 2010 - 2013 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1930s - 2010s, Relation A related resource O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> O'Carrol, Clíona (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. The Curious Ear/Documentary on One (Cork City Memory Map) <a href="http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/">http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio; Video Contributor An entity responsible for making contributions to the resource Interviewees: Breda Sheehan (2 Interviews); Geraldine Healy: Johnny 'Chris' Kelleher; Marie Crean; James 'Jim' Mckeon; Brenda Twomey (RA); Breda St Leger; Pat Speight (1 Audio, 1 Video); Sean Lane; Pat O'Brien (O'Leary); Eileen Jones; Pat Saville; Noel Magnier; Mary Marshall; Paddy Marshall; Denis Murphy: Helen Prout (2 Interviews); Donie Walsh; Margaret Newman (4 Interviews); Kevin Leahy; Marie Finn; Pádraig Ó'Horgáin; Michael O Connell; Mary Sheehy; Bernie McLoughlin; Derrick Gerety; Peggy Kelleher; Sandra Byrne (RA); Noreen Cronin; Liam Ó h-Uigín (2 Interviews); Nicole Meacle; Una Lyons; Helen Goulding; Bernard Casey; Dragan Tomas; Pete Newman (Duffy); Brenda Stillwell; Creena O'Connell; Joseph Lane; Mary Montgomery McConville; Michael (Mick) O'Callaghan; Phil Corcoran; Thomas Jones (2 Interviews); Patricia (Pat) McCarthy; Fergal Crowley; Pat O'Brien; Tony McGillicuddy; Alice Delay; Barry Murphy; Patrick Fitzgerald Interviewers: Breda Sheehan (6 Interviews); Gráinne McGee (7 Interviews); Cliona O'Carroll (12 Interviews); Stephen Dee (3 Interviews); Geraldine Healy (2 Interviews); Michael Daly; Helen Kelly (6 Interviews); Gearoid Ó'Donnell (6 Interviews); Tom Doig (2 Interviews) John Elliot (3 Interviews); Alvina Cassidy; Eanna Heavey: Majella Murphy; Mark Wilkins; Richard Clare; Louise Ahern; Ian Stephenson; Annmarie McIntyre; Identifier An unambiguous reference to the resource within a given context Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00387_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00388_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/104" target="_blank" rel="noreferrer noopener">CFP_SR00390_kelleher_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/105" target="_blank" rel="noreferrer noopener">CFP_SR00391_crean_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/106" target="_blank" rel="noreferrer noopener">CFP_SR00392_mckeon_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/107" target="_blank" rel="noreferrer noopener">CFP_SR00393_twomey_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/108">CFP_SR00394_stleger_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/3">CFP_SR00395_speight_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/109" target="_blank" rel="noreferrer noopener">CFP_SR00396_lane_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/110" target="_blank" rel="noreferrer noopener">CFP_SR00397_obrienoleary_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/111" target="_blank" rel="noreferrer noopener">CFP_SR00398_jones_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/112" target="_blank" rel="noreferrer noopener">CFP_SR00399_saville_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/113" target="_blank" rel="noreferrer noopener">CFP_SR00400_magnier_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/114">CFP_SR00401_marshall_2010</a>;<a href="http://corkfolklore.org/archivecatalolgue/items/show/115" target="_blank" rel="noreferrer noopener"> CFP_SR00402_marshall_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/116">CFP_SR00403_murphy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/117">CFP_SR00404_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/118">CFP_SR00405_walsh_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/119" target="_blank" rel="noreferrer noopener">CFP_SR00406_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/120">CFP_SR00407_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/121" target="_blank" rel="noreferrer noopener">CFP_SR00408_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/122" target="_blank" rel="noreferrer noopener">CFP_SR00409_leahy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/123" target="_blank" rel="noreferrer noopener">CFP_SR00411_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/124" target="_blank" rel="noreferrer noopener">CFP_SR00412_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/125" target="_blank" rel="noreferrer noopener">CFP_SR00413_finn_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/126" target="_blank" rel="noreferrer noopener">CFP_SR00414_ohorgain_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/127" target="_blank" rel="noreferrer noopener">CFP_SR00415_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/128" target="_blank" rel="noreferrer noopener">CFP_SR00416_sheehy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/129" target="_blank" rel="noreferrer noopener">CFP_SR00417_mcloughlin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/130" target="_blank" rel="noreferrer noopener">CFP_SR00418_gerety_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/131" target="_blank" rel="noreferrer noopener">CFP_SR00419_kelleher_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/132" target="_blank" rel="noreferrer noopener">CFP_SR00420_byrne_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/133" target="_blank" rel="noreferrer noopener">CFP_SR00421_cronin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/134" target="_blank" rel="noreferrer noopener">CFP_SR00422_ohuigin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/135" target="_blank" rel="noreferrer noopener">CFP_SR00423_meacle_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/136" target="_blank" rel="noreferrer noopener">CFP_SR00424_horgan_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/137" target="_blank" rel="noreferrer noopener">CFP_SR00425_lyons_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/138" target="_blank" rel="noreferrer noopener">CFP_SR00427_goulding_2011</a>; CFP_SR00491_fitzgerald_2013. Heritage Week 2011: <a href="http://corkfolklore.org/archivecatalolgue/items/show/139" target="_blank" rel="noreferrer noopener">CFP_SR00429_casey_201</a>1; <a href="http://corkfolklore.org/archivecatalolgue/items/show/140" target="_blank" rel="noreferrer noopener">CFP_SR00430_tomas_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/141" target="_blank" rel="noreferrer noopener">CFP_SR00431_newman_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/142" target="_blank" rel="noreferrer noopener">CFP_SR00432_stillwell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/143" target="_blank" rel="noreferrer noopener">CFP_SR00433_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/144" target="_blank" rel="noreferrer noopener">CFP_SR00434_lane_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/145" target="_blank" rel="noreferrer noopener">CFP_SR00435_montgomery-mcconville_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/146" target="_blank" rel="noreferrer noopener">CFP_SR00436_ocallaghan_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/147" target="_blank" rel="noreferrer noopener">CFP_SR00437_corcoran_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/148">CFP_SR00438_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/2" target="_blank" rel="noreferrer noopener">CFP_SR00439_ohuigin_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/149" target="_blank" rel="noreferrer noopener">CFP_SR00440_mccarthy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/150" target="_blank" rel="noreferrer noopener">CFP_SR00441_crowley_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/151" target="_blank" rel="noreferrer noopener">CFP_SR00442_obrien_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/152" target="_blank" rel="noreferrer noopener">CFP_SR00443_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/153" target="_blank" rel="noreferrer noopener">CFP_SR00444_mcgillicuddy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/154" target="_blank" rel="noreferrer noopener">CFP_SR00445_delay_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/155" target="_blank" rel="noreferrer noopener">CFP_SR00446_murphy_2011</a>; Video Interview: CFP_VR00486_speight_2014 Format The file format, physical medium, or dimensions of the resource 58 .wav Files 1 .mov File Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tom Jones Interviewer The person(s) performing the interview Gearoid O Donnell Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 23min 20sec Location The location of the interview Civic Trust House Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material for this interview or other interviews please contact CFP, folklorearchive@gmail.com TJ: My name is Tom Jones, and I’ve given a story before. It’s an incident and I just wonder how many people would actually remember this. It had to be, let’s see, somewhere between ‘50s and ’61. We were playing in what was called the field, at the bottom of Spangle Hill, and this helicopter and it really looked like it was flying low and of course just the fact that there was something in the air at that time was really dramatic. It was flying really low and it circles Spangle Hill, and every kid chased the thing. Eventually, it landed. There is an ESB power station right there between Mallow Road and Dublin Hill. It’s right there. It’s and ESB substation. It landed there, and of course every other kid rushed out to see this thing and I remember looking, when I got there, I remember looking back and there’s an indentation in the field there called Tuckers Field it’s directly opposite the main offices of Harrington’s paint factory. I remember looking across at that and seeing multitudes of kids cascading down there almost like locusts. Everyone wanted to get out there and see this helicopter. I guess years later, it just reminded me of the fact. It’s almost like the helicopter was our Moses. And all these kids were just swarming down there, as if this helicopter, this Moses was going to take them to the Promised Land. I know we talked about it a number of years later as we were kids. It’s just a simple incident and I just wonder how many people actually remember it. Cause there had to be, cause there was thousands of kids. I mean they were just flowing down from Spangle Hill, to get across to see this helicopter. That was quite an event. That’s basically it. I thought of that the other day as I left here. I wonder how many people would actually remember that incident. GoD: So, you’re saying it happened between ’58 and ’61. TJ: Somewhere there. I would have had to be of course under the age of twelve. Somewhere between ’57 and ’62. I would have to have to place myself somewhere between ages eight and twelve at the time. GoD: And you think other people of that age, would, of course, have to remember something like that. Wouldn’t they. So maybe it’s something we should start asking for. So, where would you give the exact location. If you were saying to them. Would you remember the helicopter where it landed? TJ: Yeah, it landed right in the substation? GoD: In the electricity sub station between the Old Manor Road and Dublin Hill. TJ: Right. Actually, the road heads up to Murphy’s Rock. From the Old Manor Road, there’s a road that heads up to Murphy’s Rock where we used to play. And the Mallow Road. There’s an ESB sub station right there and that’s where the actual helicopter landed. I’ve no idea why or what. I’m sure it had some business. GoD: Obviously. TJ: To us, that would have pre the airport. Also hadn’t been opened. GoD: Sure, there’d have been nothing in the sky before then. TJ: Right. And that fact that it was a helicopter alone. GoD: It would probably have been the first time people even saw it. TJ: And this would have been pre-television. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tom Jones: Shandon Street, Murphy’s Rock, Television Subject The topic of the resource Life History: Description An account of the resource Tom is from Shandon Street. In this interview, he remembers a helicopter landing in a field, sometime in the late 1950s or early 1960s, which caused great excitement amongst the locals. He mentions the arrival of televisions to Cork around 1963. Tom also describes how some children dammed some water at Murphy’s Rock to make a swimming pool. Date A point or period of time associated with an event in the lifecycle of the resource 27 August 2011 Contributor An entity responsible for making contributions to the resource Interviewee: Tom Jones Interviewer: Gearoid O Donnell Identifier An unambiguous reference to the resource within a given context CFP_SR00443_jones_2011 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1950s-1960s Relation A related resource Other Interview With Tom Jones: <a href="http://corkfolklore.org/archivecatalolgue/items/show/148" target="_blank" rel="noreferrer noopener">CFP00438</a>: <div class="element-text"> <div class="element-text">Other Interviews in the Colection: <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener"></a> <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00387_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/101" target="_blank" rel="noreferrer noopener">CFP_SR00388_sheehan_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/104" target="_blank" rel="noreferrer noopener">CFP_SR00390_kelleher_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/105" target="_blank" rel="noreferrer noopener">CFP_SR00391_crean_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/106" target="_blank" rel="noreferrer noopener">CFP_SR00392_mckeon_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/107" target="_blank" rel="noreferrer noopener">CFP_SR00393_twomey_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/108">CFP_SR00394_stleger_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/3">CFP_SR00395_speight_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/109" target="_blank" rel="noreferrer noopener">CFP_SR00396_lane_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/110" target="_blank" rel="noreferrer noopener">CFP_SR00397_obrienoleary_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/111" target="_blank" rel="noreferrer noopener">CFP_SR00398_jones_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/112" target="_blank" rel="noreferrer noopener">CFP_SR00399_saville_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/113" target="_blank" rel="noreferrer noopener">CFP_SR00400_magnier_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/114">CFP_SR00401_marshall_2010</a>;<a href="http://corkfolklore.org/archivecatalolgue/items/show/115" target="_blank" rel="noreferrer noopener"> CFP_SR00402_marshall_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/116">CFP_SR00403_murphy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/117">CFP_SR00404_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/118">CFP_SR00405_walsh_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/119" target="_blank" rel="noreferrer noopener">CFP_SR00406_prout_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/120">CFP_SR00407_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/121" target="_blank" rel="noreferrer noopener">CFP_SR00408_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/122" target="_blank" rel="noreferrer noopener">CFP_SR00409_leahy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/123" target="_blank" rel="noreferrer noopener">CFP_SR00411_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/124" target="_blank" rel="noreferrer noopener">CFP_SR00412_newman_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/125" target="_blank" rel="noreferrer noopener">CFP_SR00413_finn_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/126" target="_blank" rel="noreferrer noopener">CFP_SR00414_ohorgain_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/127" target="_blank" rel="noreferrer noopener">CFP_SR00415_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/128" target="_blank" rel="noreferrer noopener">CFP_SR00416_sheehy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/129" target="_blank" rel="noreferrer noopener">CFP_SR00417_mcloughlin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/130" target="_blank" rel="noreferrer noopener">CFP_SR00418_gerety_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/131" target="_blank" rel="noreferrer noopener">CFP_SR00419_kelleher_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/132" target="_blank" rel="noreferrer noopener">CFP_SR00420_byrne_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/133" target="_blank" rel="noreferrer noopener">CFP_SR00421_cronin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/134" target="_blank" rel="noreferrer noopener">CFP_SR00422_ohuigin_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/135" target="_blank" rel="noreferrer noopener">CFP_SR00423_meacle_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/136" target="_blank" rel="noreferrer noopener">CFP_SR00424_horgan_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/137" target="_blank" rel="noreferrer noopener">CFP_SR00425_lyons_2012</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/138" target="_blank" rel="noreferrer noopener">CFP_SR00427_goulding_2011</a>; CFP_SR00491_fitzgerald_2013. Heritage Week 2011: <a href="http://corkfolklore.org/archivecatalolgue/items/show/139" target="_blank" rel="noreferrer noopener">CFP_SR00429_casey_201</a>1; <a href="http://corkfolklore.org/archivecatalolgue/items/show/140" target="_blank" rel="noreferrer noopener">CFP_SR00430_tomas_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/141" target="_blank" rel="noreferrer noopener">CFP_SR00431_newman_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/142" target="_blank" rel="noreferrer noopener">CFP_SR00432_stillwell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/143" target="_blank" rel="noreferrer noopener">CFP_SR00433_oconnell_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/144" target="_blank" rel="noreferrer noopener">CFP_SR00434_lane_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/145" target="_blank" rel="noreferrer noopener">CFP_SR00435_montgomery-mcconville_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/146" target="_blank" rel="noreferrer noopener">CFP_SR00436_ocallaghan_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/147" target="_blank" rel="noreferrer noopener">CFP_SR00437_corcoran_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/148">CFP_SR00438_jones_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/2" target="_blank" rel="noreferrer noopener">CFP_SR00439_ohuigin_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/149" target="_blank" rel="noreferrer noopener">CFP_SR00440_mccarthy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/150" target="_blank" rel="noreferrer noopener">CFP_SR00441_crowley_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/151" target="_blank" rel="noreferrer noopener">CFP_SR00442_obrien_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/153" target="_blank" rel="noreferrer noopener">CFP_SR00444_mcgillicuddy_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/154" target="_blank" rel="noreferrer noopener">CFP_SR00445_delay_2011</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/155" target="_blank" rel="noreferrer noopener">CFP_SR00446_murphy_2011</a>; Video Interview: CFP_VR00486_speight_2014</div> <div class="element-text"> Published Material: O’Carroll, Clíona (2011) ‘The Cork Memory Map’, Béascna 7: 184-188. O’Carroll, Clíona (2012) ‘Cork Memory Map: an update on CFP’s Online Project’, The Archive 16: 14. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> Dee, Stephen and O’Carroll, Clíona (2012) ‘Sound Excerpts: Interviews from Heritage Week’, The Archive 16: 15-17. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/archive16.pdf">https://www.ucc.ie/en/media/research/corkfolkloreproject/archivepdfs/archive16.PDF</a> O'Carrol, Clíona (2014) 'The children's perspectives: Place-centred interviewing and multiple diversified livelihood strategies in Cork city, 1935-1960'. Béaloideas - The Journal of Folklore of Ireland Society, 82: 45-65. The Curious Ear/Documentary on One (Cork City Memory Map) <a href="http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/">http://www.rte.ie/radio1/doconone/2011/0816/646858-curious-ear-doconone-cork-city-memory-map/</a></div> </div> <div class="element-text"> To view the Cork Memory Map Click <a href="https://corkfolklore.org/memory-map/" target="_blank" rel="noreferrer noopener">Here</a></div> Creator An entity primarily responsible for making the resource Cork Folklore Project Publisher An entity responsible for making the resource available Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound 1950s 1960s Childhood Murphy's Rock Shandon Street Television Tom Jones https://corkfolklore.org/archivecatalolgue/files/original/f14721a31f016f8086ac89fcbb45e0c2.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/8d0bba1a9995961467f190f96088927c.mp3 ddfe84e453ae17d2105ce48f134f4ee9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Life Journeys: Living Folklore in Ireland Today Subject The topic of the resource Life history interviews from the inhabitants of Cork city's Northside. Description An account of the resource 27 oral history interviews focusing on the life of Cork city's Northsiders. This interviews in this collection were used in the Cork Folklore Project's (then the Northside Folklore Project) first book; Life Journeys: Living Folklore in Ireland Today. The book, published in 1999, was compiled and edited by former Cork Folklore Project researcher Stephen Hunter. Date A point or period of time associated with an event in the lifecycle of the resource 1996-2001 Contributor An entity responsible for making contributions to the resource Interviewees: Willy Good; Margaret Farmer; Eileen O'Sullivan; Tina Noonan; Michael Murphy; Sheila Dalton; Eibhlis deBarra; Denis P. Long; Catherine McCarthy; Helen Donovan; Billy McCarthy; Maria Lopez; Nicholas Hennessy; John Connolly; Liam Foley; John Collins; Jack Byrne; Thomas McCarthy; Rev John Farris; Brother Higgins; Mary Healy; Helen Prout; Eddie Daly; Alan Kennefick; Kay Dunne; George Glendon; Colin Rynne: Interviewers: Stephen Hunter (16); Caroline Crowley (4); Caroline Cronin (3); Lorraine Cahalane (1); Catherine Fray (1); Valarie Kelly-Curtain (1); Liam Hurley (1); Martin O'Mahony (1): Identifier An unambiguous reference to the resource within a given context CFP_SR00002_good_1996; CFP_SR00104_farmer & osullivan_1997; CFP_SR00127_mccarthy_1998; CFP_SR00134_noonan_1998; CFP_SR00140_murphy_1998; CFP_SR00154_dalton_1998; CFP_SR00176_debarra_1997; CFP_SR00177_long_1998; CFP_SR00181_farmer,mccarthy & donovan _1997: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland: 20th Century Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource .wav Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tom McCarthy Interviewer The person(s) performing the interview Stephen Hunter Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47min 12sec Location The location of the interview Montenotte, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cassette Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript relating to the audio extract above. Copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com TMcC: In 1972. And then I came up to UCC straight from the Leaving Cert. And that was really when I arrived in Cork in '72. So I've been in Cork for, what is that 27 years is it? Good God. Terrifying. SH: Was '72 with the Northern situation in a way, it was almost in the sense of em, you know actual military hostilities and the number of people engaged and riots and demonstrations was almost like, the peak of the troubles, of the modern phase of the troubles in one sense like it's become a lot more sophisticated perhaps, a lot of the military activity since then but it never really has reached a no-go areas and things like that. Was there a sort of feeling that this thing was just going to go on escalating or could go on escalating and possibly engulf the whole of Ireland somehow? TMcC: Well you know, I suppose my own situation was peculiar in that really in 1972 at the age of eighteen I was really only interested in myself and my own poetry you know. Everything else that happened was a very distant second. SH: Was it quite a good feeling to be distant from something like that? TMcC: Well, for me it was absolutely necessary because something terrible had happened. Em, when I was a young man, in fact, I was involved in the Fianna Fáil party which would see itself as mainly as the inheritor of old Sinn Féin, as the Republican party, very anti-Britsh, very anti-English and adamantly and furiously confident that Ulster would become part of Ireland, that the British administration of the six counties was only a temporary arrangement. Em, but you see I 1970 when I was sixteen the arms trial blew up in the face of the Fianna Fáil party and split it. So, em by 1972 when I was 18, really I was utterly and absolutely uncomfortable with the Fianna Fáil party. I suppose the kind of people I hung around with, people like John Freher and George Armstrong of Lismore and Ned Lonegan of Cappoquin and that, these kinds of people, they would have been in the PD wing of Fianna Fáil, the kind of Desmond O'Malley wing, not really the Republican wing you know? And so they were horrified by what had happened you know and believed a lot of the anti-Haughey propaganda of the time. And eh, so when I say I was only interested in my poetry and in myself it was probably a kind of survival mechanism as well, I didn't want to really have to deal with all these problems that arose for Fianna Fáil after the arms trial you know. I describe that time actually, and the year 1973 as well, in the novel I wrote 'Without Power'. It's very much sort a way of recapturing that time you know. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thomas McCarthy: Waterford, UCC, Fianna Fáil Subject The topic of the resource Life History; Description An account of the resource Tom is a poet from County Waterford, who describes what University College Cork (UCC) was like in the 1970s. He is an admirer of Fianna Fáil and he discusses the party’s politics. He talks about his work and about other poets. Tom was born in Cappoquin, County Waterford in 1954. His mother’s family were heavily involved in Nationalist politics. Cappoquin was contiguous with the Ring Gaeltacht and he spoke Irish to native speakers; a relative of his was recorded by RTE reciting poems in Irish and by a local folklorist. He came to UCC in 1972 and has been in Cork ever since. He was involved with the Fianna Fáil party and wrote a novel based on the party’s history. He describes the party’s reading of Irish history. He talks about the political and social culture of UCC in the 1970s. He was a poet, and after college he became a full-time writer. Date A point or period of time associated with an event in the lifecycle of the resource 25 May 1999 Contributor An entity responsible for making contributions to the resource Interviewee: Tom McCarthy Interviewer: Stephen Hunter Identifier An unambiguous reference to the resource within a given context CFP_SR00266_mccarthy_1999 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ireland; Waterford; Cork; 1900s Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource .wav Type The nature or genre of the resource Sound Cappoquin Fianna Fáil Poetry Politics Tom McCarthy UCC University College Cork https://corkfolklore.org/archivecatalolgue/files/original/b55520a0c60ae31b5b497cf6d0d0b711.jpg 290ae32767f3c348d2b46af1ac213a07 https://corkfolklore.org/archivecatalolgue/files/original/c5185d92b3968177c470ce3a93c31ea9.mp3 95da8c4c4d517ab0d094ad6a293130c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stonemason Oral History Project Subject The topic of the resource Life History; Occupational Lore; Trades; Description An account of the resource This collection consists of 14 interviews with 12 people (11 male stonemasons and one female family member). It was carried out between November 2015 and April 2017 and documents the experiences of stonemasons based in Cork throughout the twentieth century. The interviews were carried out by CFP Researcher Michael Moore, himself a qualified stonemason. The collection explores the occupational and social context of stonemasonry; work practices, the social context, occupational lore, the secret language Bearlager na Saor and family ties. Most of the interviews are focused on the mid to late twentieth century with some stories and histories dating back to the eighteenth century This project’s second interviewee, Jim Fahy of the Cork Mason’s Historical Society, was inspired to include an oral history element to his ongoing research and documentation of stonemasonry, and this material is being accessioned to the CFP. Michael Moore characterized the project as an attempt to capture a snapshot of the lives and voices of stonemasons and ‘to record their insular world for posterity’, pointing out that ‘There is a need to document the living tradition of stonemasonry by recording people who work or have worked in masonry, particularly those born into it as part of familial ties.’ (Moore, 2016: 8). Date A point or period of time associated with an event in the lifecycle of the resource 2015-2017 Contributor An entity responsible for making contributions to the resource Interviewer: Michael Moore Interviewees: Murty O'Sullivan; Jim Fahy; Joe Fahy; John Steele; Dan Jones; Joseph Fahy; Mary O'Sullivan; Jack Johnson; Mary O'Sullivan; Thomas Lysaght; Patrick Varian; Patrick Cooney; Tom McCarthy; Edward Buckley. Identifier An unambiguous reference to the resource within a given context <a href="http://corkfolklore.org/archivecatalolgue/document/178" target="_blank" rel="noreferrer noopener">CFP_SR00565_osullivan_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/179" target="_blank" rel="noreferrer noopener">CFP_SR00566_fahy_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/180" target="_blank" rel="noreferrer noopener">CFP_SR00569_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/181" target="_blank" rel="noreferrer noopener">CFP_SR00570_steele_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/182" target="_blank" rel="noreferrer noopener">CFP_SR00574_jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/183" target="_blank" rel="noreferrer noopener">CFP_SR00577_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/184" target="_blank" rel="noreferrer noopener">CFP_SR00581_osullivan_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/185" target="_blank" rel="noreferrer noopener">CFP_SR00583_johnson_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/186" target="_blank" rel="noreferrer noopener">CFP_SR00589_lysaght_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/193" target="_blank" rel="noreferrer noopener">CFP_SR00590_varian_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/194" target="_blank" rel="noreferrer noopener">CFP_SR00595_Jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/195" target="_blank" rel="noreferrer noopener">CFP_SR00609_Cooney_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/196" target="_blank" rel="noreferrer noopener">CFP_SR00610_McCarthy_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/197" target="_blank" rel="noreferrer noopener">CFP_SR00611_Buckley_2017:</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ireland; Cork; 1700s; 1800s; 1900s; 2000s Relation A related resource Published material related to the collection: <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive20-WebEdition.pdf" target="_blank" rel="noreferrer noopener">Moore, Michael (2016) ‘A Tale of Two Masons’, The Archive Journal, Vol 20: 8-10. </a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English; Bearlager na Saor (Stonemasons Language) Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource 14 .wav files Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tom McCarthy Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37min 38sec Location The location of the interview Ballyphehane, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit/48kHz Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.00.00 - 0.04.33 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The McCarthy family history, ‘McCarthy Generations’ book, Tom McCarthy, Denis McCarthy and Theo McCarthy Tom started his trade in 1949 which was a continuation of his family tradition, his great-grandfather was a stonecutter Tom uses the book ‘The McCarthy Generations’ written by Deirdre Coleman, to point out pictures of his grandfather and great grandfather in 1874 Tom’s grandfather was 5 years old in 1874 Some of Tom’s family emigrated to America, his grandfather, Tom, went over and worked on the Chicago City Hall He returned from America and opened a stone yard in Copley Street, and a dancing academy too Tom’s grand-uncle, Denis McCarthy was the clerk of works when the spire was being added to Trinity church, Cork. Tom shows more pictures from the book Denis McCarthy opened a stone yard in White Street The building of Cobh Cathedral was 1868 to 1915 The Holy Trinity church was built 1832-1850- the steeple was added in 1891 Tom tells an anecdote about Theo McCarthy, “a pugnacious and belligerent fella” he had a dispute with his family and went to Australia and ended up fighting in WWI in the Dardanelles [also called Gallipoli Campaign], “he was a bit cracked after that, what he went through was horrific” </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.04.34 - 0.06.28 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> ‘Toss the Boss McCarthy’, Clerk of Works, the Customs House Crest Tom shows more pictures of his grandfather from the book, his nickname is “Toss the Boss McCarthy” because he came back from America with an American accent The clerk of works was in charge of all the stone, which had to be cut to particular shapes and proportions by the stone cutters- then the building masons would build it Tom shows a picture of a coat of arms up over the Customs House- designed by Marshall Hudson, a teacher in the School of Art, it was built in Copley Street, built in portions Tom shows more pictures, of a crest done for Duffy’s circus </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.06.29 - 0.10.09 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Starting his trade, working on St Francis Church, the School of Art, monuments at Crossbarry, Kilmichael, the Lusitania Memorial in Cobh Tom started his trade at 15 in 1949 He lived next door to the stone yard in Copley St. Two years into his trade, he worked on St. Francis Church, sent out to Maguire’s who had the contract for the stone. two apprentices with him were Declan Cahill and Donie Ring 7m30s “They had to get a load of very old stone cutters out of retirement because a lot of them had packed up over the mass concrete in relation to church building and all that kind of thing” There is a big ornate window at the front of St Francis church made out of stone, Tom worked on that, trefoil window [Trefoil is a term in Gothic architecture given to the ornamental foliation or cusping introduced in the heads of window-lights, tracery, panelling, etc., in which the centre takes the form of a three-lobed leaf (formed from three partially overlapping circles)] Tom was delighted to start his time as he hated school Part of serving your time you had to sign up for the school of art as well, to get the layout and design of letters, all the different fonts Tom shows pictures of monuments he laid out by freehand and carved by chisel, at Kilmichael and Crossbarry This can be done by computer and sandblasting now Tom shows a picture of a rifle on the monument carved by Liam Cosgrave and Taighee McCarthy- who was a relation of Tom’s Cosgrave was a beautiful carver Tom’s father put the angel up over the Lusitania Memorial in Cobh </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.10.10 - 0.13.17 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The wages, a 7-year apprenticeship, the union, using the hammer and point on stone ‘sparrow picking’ The basic income was from stonecutting “The apprenticeship was supposed to be for 7 years but that was only to rob us to give us minimum wages” Tom shows a picture of Trinity church Tom used to be sent with the union dues to the Grand Parade, the stonecutters were affiliated with the plasterers rather than the masons, tom does not know why Tom describes some of the things an apprentice would do, the little perforations they made with a hammer and a point in stone are called sparrow picking, you did that until you got used to the hammer and then you would advance Part of their job was making a rough boulder into an oblong shape, it took a while by hand- put a chisel on it and put a chase on it- Tom describes this It was all hand-stuff they would be doing- chisels etc. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.13.18 - 0.14.00 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The first pneumatic hammer in Cork around 1900 Then they started using small foot-long pneumatic hammers with a compressor Tom’s grandfather was supposed to have brought the first one back from Chicago to Cork, Ingersoll Rand [famous brand] was the name of the hammer, around the turn of the last century, 1900 maybe [Type X portable compressor line was introduced by Rand 1902] </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.14.01 - 0.17.29 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The School of Commerce, Seamus Murphy and the inscription, working with Seamus Murphy, and the trade nickname ‘the dust’ Tom’s father worked on the school of Commerce, the stonecutters cut the stone and the masons built it Tom describes some features of the building Seamus Murphy, the famous sculptor has a foundation stone down at the corner Tom worked with Seamus Murphy He shows a copy of his book ‘Stone Mad’ 1970 with the inscription, “To Tom McCarthy one of the dust from his friend Seamus Murphy, the second of January 1970”. The nickname of the trade was the dust because they used to be covered in dust Seamus was very jovial, great conversationalist, a lovely man Tom shows a picture of his great-grandfather and says he looked like him Tom was about 40 when he worked with Murphy when he got old he would mark out the letters because he had his own particular style of lettering and Tom would cut them out with the hammer and chisel He worked with him on and off over the years He worked on Sherkin Island with him in 1968/69 doing Simian’s headstone [no record of this is showing up on google search] </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.17.30 - 0.18.49 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> ‘Bud Alfred McCarthy’, Joe Mac of the showband, ‘The McCarthy Generations’ Tom shows pictures of his uncle Bud Alfred McCarthy, the father of Alf McCarthy the actor and on the radio Joe Mac [McCarthy] of the showband is Tom’s brother The McCarthy Generations book was done by Tom’s cousin, Deirdre Coleman, she tracked a lot of things down for it. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.18.50 - 0.21.01 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Describing the work and working conditions Tom liked the job, he had protection from his family, they all worked together on Copley St It is a very cold job in the winter As he developed he took to engraving the lettering in the cemeteries, that was tough in the winter, but lovely in the summer There was about 13 working in the yard at one stage They were monumental and ecclesiastical carvers, they did churches, alter rails, holy water fonts, pulpits and all by hand But then the machinery came in, the Ibix [U.S. company] sandblaster The major development in the last 40 years was the sandblasting They can do the stencils by computer and then sandblast it </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.21.02 - 0.23.03 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The wages, handing the money up to his mother, going to the pictures with his pals Tom started work at 8.30 and they did a half-day on Saturday and that was the payday Tom was paid ten bob for the first 8 months, he should have got about 17 and 6, he was told to see the union by an older worker He used to hand up the money to his mother and he would have got 5 shillings back He would go to the pictures and have milk and cakes on the way home, a crubeen [pigs feet fried or boiled] if you were very hungry Tom would pal around with other apprentices, bakers, painters, and they didn’t drink The pictures were a big deal, the ‘Assems’ if you were short of cash (Assembly rooms in the South Mall) or if you were short, the Imperial in Oliver Plunkett St. that was known as Miah’s </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.23.04 - 0.25.22 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Moving the Tracton Memorial from St Nicholas’ Church to the Crawford Art Gallery The sculpture gallery in the Crawford used to be the School of Art- there’s a huge figure in it called the Tracton Memorial, it used to be in St Nicholas’ church, the corporation took it over and the statue had to be moved, Tom’s son devised a method to get it out without damaging it [Sculptor, of London, for whom see Rupert Gunnis, Dictionary of British Sculptors 1660-1851 (revised edition, [1968]), 24-28. John Bacon the elder was the sculptor of the fine monument to James Dennis (d. 1782), first and last Baron Tracton, which was formerly in the Church of Ireland church of St Nicholas, Cork, and is now (2010) in the Crawford Art Gallery, Cork. The monument, dating from 1788, consists of a large statue of a standing female figure with right arm outstretched; a roundel on the base depicts Lord Tracton on his deathbed, attended by his wife, who attempts to ward off the skeletal arm of Death.] When they were examining it, they found on the left shoulder T Mac and M D, and that was his great grandfather, Tom McCarthy and Mary Daly- you can see it inside there still They had to use a forklift to get it out, moved inch by inch </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.25.23 - 0.26.38 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> A lovely quote describing how Tom used to make a chisel by fire and anvil 25m23s “When you started learning your trade, you’d have to be acquiring tools, you know, chisels and points and hammers and, now a lot of the older stonecutters could sharpen their tools with an open fire and an anvil and all this kind of thing and temper them, I was never very good at it, I’d always lose the temper when the blue would run out of, there’s a blue band would run down the bit of steel, and you had to keep the copper end. There’s copper and, that was very technical now I don’t know how, anyway. MM The blue was the heat, was it? TMC Yeah the heat, you’d have to, you’d have to get em red hot in the fire, take them out, punch them out on the anvil until you get the width that you wanted in the chisel and then you’d have to temper that in the water, with a bit of, you’d just gently put it into the water and get the steel running up, I was never good at it, but anyhow we survived and we got on anyway” 26m38s </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.26.39 - 0.28.08 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Using a hay fork to get a chisel, mallets made from crab trees They made the tools mostly when Tom started and then they bought them years later 26m52s “One of the best lettering tools you could get was fork off a hayfork…very thin steel and you just put a chisel top on that…” The mallet was timber, the best wood was from a crabtree The mallets gave a softer touch There is ridging on the stone done by the mallet </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.28.09 - 0.30.03 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Working on the Munster and Leinster bank, what they cut, stone and quarries, mullions Years later Tom got a job with Sisk doing the extension on the Munster and Leinster bank in Marlborough St It had to match the original, all done by hand Mullions, windowsills, ashlar plinths, it was unbelievable but took them a long time to do it There were 6 stone cutters on it It was limestone from Walsh’s [quarry] in Carlow The original stone was local, Cloyne or Little Island Tom loved it, though it was tiring The mullions are the uprights at the sides of the window- they are rounded [a vertical bar between the panes of glass in a window.] </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.30.04 - 0.31.50 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Getting a ‘feel’ for the mallet, stone from quarries, using heated beeswax to glue stone breakages Tom describes getting a feel for using the mallet on the chisel- soft top ridging There was a joke going about the spire on Trinity church, that if there was really hot weather then it would collapse- it was done with a local stone (could be Beaumont or Little Island quarry) it was notorious for breaking off, it was shaley in parts- they’d be just cutting a corner and it would fall off- so they had a technique using beeswax, heat it up and stick the part back on </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.31.51 - 0.35.14 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Quarries, blasting stone, proper ledge cutting at a quarry called ‘feathering and wedging’, old quarries in Little Island, Beaumont and Cloyne Originally the stonecutters would go to the quarries but when Tom started, the quarries would deliver There was Beaumont [very near Blackrock] quarry which was finishing “you can destroy a quarry if you blast it, it has to be taken out in ledges, the headstone, to get the correct thickness of the stone… they’d feather and wedge…if the layers of limestone were solid enough they’d drill holes down say six feet in from the face and then they’d feather it out [track seems to skip during this passage] There was Beaumont, little Island, Cloyne was a huge quarry and O’Connell’s had their own yard in Watercourse Road and their quarry was in Copstown up by Mallow, that was a fairly good stone Seamus Murphy’s yard was next to O’Connell’s, there is a bank there now, Murphy’s yard was next to it, there was a pub next to it The interviewer talks a little bit about the old technique of feathering and wedging stone in quarries They have huge saws now that can do all that </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.35.15 - 0.36.28 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Tom’s favourite stone, and bad stone for carving Tom’s favourite stone to work with was marble For lettering, you’d get a nice letter on marble limestone The polished black granite came in, that was tough to cut The chisels would hop off it- which is why they introduced sandblasting Sandstone was too soft to use, and the grit in the stone would wear your tools very rapidly </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 36.29 – 0.37.16 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Workers in the yard There was banter in the yard, but most of them were head down fellas- they’d be very busy in the day Tom saw the fellas polishing the stone by hand with lumps of End of Interview [The power goes on the digital recorder, and the last 13 minutes of the interview failed to record. There is a detailed note in the folder CFP00610] Some topics discussed in the lost 13 minutes, as best I can recall were: Tom said how much he loved his trade and he missed it and is sorry to see it fall away in later years Tom spoke towards the end of the interview about Seamus Murphy, the famous sculptor. He told how he was very radical in his views, but then would not elaborate on this, despite been asked several times. He told how when he went to Dublin to do a bust of the archbishop Charles McQuaid, that McQuaid was sitting for the sketches. He held out his hands to Seamus to show them off, and said: “what do you think of my hands, aren’t they beautiful?” Seamus Murphy looked at him and replied that “the long frock suited him”. This was a slur on his masculinity and probably his sexuality. This is a fascinating story and I am very upset that it was not recorded. </td> </tr> </tbody> </table> Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material for this interview or other interviews please contact CFP, folklorearchive@gmail.com Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tom McCarthy: Stonemasons, Sculpture, Seamus Murphy Subject The topic of the resource Stonemasons: Occupational Lore: Description An account of the resource Tom belongs to a long line of stone craftsmen. In this interview je outlines McCarthy's relation to the trade. He talks about his early days in the business and that it took seven years to complete his apprenticeship. Throughout the interview, Tom speaks of the famous sculpture Seamus Murphy and their relationship. Tom also makes mention to his brother the musician Joe Mac from The Dixies. Tom describes working conditions, wages and friend in the trade. Other topics of note are the tools that are used in the trade, from the old wooden implements to the new electric tools. Tom also describes sourcing stone and his prefered stone to use. Date A point or period of time associated with an event in the lifecycle of the resource 05 April 2017 Contributor An entity responsible for making contributions to the resource Interviewee: Tom McCarthy Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00610_McCarthy_2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 20th Century Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 2.wav files Relation A related resource From Stonemason Collection: <div class="element-text five columns omega"> <a href="http://corkfolklore.org/archivecatalolgue/document/178" target="_blank" rel="noreferrer noopener">CFP_SR00565_osullivan_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/179" target="_blank" rel="noreferrer noopener">CFP_SR00566_fahy_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/180" target="_blank" rel="noreferrer noopener">CFP_SR00569_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/181" target="_blank" rel="noreferrer noopener">CFP_SR00570_steele_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/182" target="_blank" rel="noreferrer noopener">CFP_SR00574_jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/183" target="_blank" rel="noreferrer noopener">CFP_SR00577_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/184" target="_blank" rel="noreferrer noopener">CFP_SR00581_osullivan_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/185" target="_blank" rel="noreferrer noopener">CFP_SR00583_johnson_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/186" target="_blank" rel="noreferrer noopener">CFP_SR00589_lysaght_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/193" target="_blank" rel="noreferrer noopener">CFP_SR00590_varian_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/194" target="_blank" rel="noreferrer noopener">CFP_SR00595_Jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/195" target="_blank" rel="noreferrer noopener">CFP_SR00609_Cooney_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/197" target="_blank" rel="noreferrer noopener">CFP_SR00611_Buckley_2017:</a> </div> Published material related to the collection: <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive20-WebEdition.pdf" target="_blank" rel="noreferrer noopener">Moore, Michael (2016) ‘A Tale of Two Masons’, The Archive Journal, Vol 20: 8-10. </a> Type The nature or genre of the resource Sound 1960s 1970s 1980s Apprenticeship Joe Mac McCarthy's Sculpture Seamus Murphy Stonemasons The Dixies Trades https://corkfolklore.org/archivecatalolgue/files/original/bdf4d8df6466e254c3397ee9f07c8044.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/21a5d79e81b07d9bbc3044d0eb0b3959.mp3 c5571ef344aedbe799b6333a22dbc294 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Life Journeys: Living Folklore in Ireland Today Subject The topic of the resource Life history interviews from the inhabitants of Cork city's Northside. Description An account of the resource 27 oral history interviews focusing on the life of Cork city's Northsiders. This interviews in this collection were used in the Cork Folklore Project's (then the Northside Folklore Project) first book; Life Journeys: Living Folklore in Ireland Today. The book, published in 1999, was compiled and edited by former Cork Folklore Project researcher Stephen Hunter. Date A point or period of time associated with an event in the lifecycle of the resource 1996-2001 Contributor An entity responsible for making contributions to the resource Interviewees: Willy Good; Margaret Farmer; Eileen O'Sullivan; Tina Noonan; Michael Murphy; Sheila Dalton; Eibhlis deBarra; Denis P. Long; Catherine McCarthy; Helen Donovan; Billy McCarthy; Maria Lopez; Nicholas Hennessy; John Connolly; Liam Foley; John Collins; Jack Byrne; Thomas McCarthy; Rev John Farris; Brother Higgins; Mary Healy; Helen Prout; Eddie Daly; Alan Kennefick; Kay Dunne; George Glendon; Colin Rynne: Interviewers: Stephen Hunter (16); Caroline Crowley (4); Caroline Cronin (3); Lorraine Cahalane (1); Catherine Fray (1); Valarie Kelly-Curtain (1); Liam Hurley (1); Martin O'Mahony (1): Identifier An unambiguous reference to the resource within a given context CFP_SR00002_good_1996; CFP_SR00104_farmer & osullivan_1997; CFP_SR00127_mccarthy_1998; CFP_SR00134_noonan_1998; CFP_SR00140_murphy_1998; CFP_SR00154_dalton_1998; CFP_SR00176_debarra_1997; CFP_SR00177_long_1998; CFP_SR00181_farmer,mccarthy & donovan _1997: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland: 20th Century Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource .wav Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tina Noonan Interviewer The person(s) performing the interview Catherine Fray Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 62min 58sec Location The location of the interview NCE Ltd, Sunbeam Industrial Estate, Mallow Road, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Casstette Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript relating to the audio extract above. Copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com C.F: Did you mention earlier on that your father was the Lord Mayor of Blackpool? T.N: That’s right, me father was the Lord Mayor of Blackpool there we’ll say about three years ago or something like that. C.F: Right, how did he get that achievement? T.N: Oh, he was, I think it was through to the club, they used to go to Delaney’s club and he was up there and he was picked from the am... C.F: Right. And do Blackpool have a new Lord Mayor every year like you know the City would have one, do Blackpool have an honorary member to become Lord Mayor of Blackpool as well? T.N: I’m sure they do now because after my Dad now there was somebody else Lord Mayor and I think... C.F: Do you know who? T.N: At the, no, ‘twas my Mam now, my Mam and Dad would know who he is, I can’t remember the name. C.F: Jack Lynch lives in Blackpool; do you know anything about Jack Lynch? T.N: Jack Lynch. I always remember Jack Lynch because I think he had a brother teaching in the boy’s school. C.F: In Blackpool School? T.N: In Blackpool School, I think am... C.F: Right, what was he name up there? T.N: Am...all I remember, we wouldn’t remember the first names now like, we’d have to call him like as Mr Lynch or whatever so ‘twas my brothers remember him more. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tina Noonan: Blackpool; Sunbeam; Childhood **Restricted Content** Subject The topic of the resource Life History; Description An account of the resource Tina’s father was from Blackpoool, and her mother was from Cove St. She has 8 siblings. She went to Blackpool School, which was since demolished; there they used to be given milk and buns. Tina recalls some of a skipping rhyme she used to sing as a child. Her first job was in the Sunbeam factory, when she was about 14. She remembers holidaying in Youghal, travelling there by train. As a child she swapped scrapbooks with other girls. She talks about children’s lives now and as they were when she was growing up. She remembers pulling apples from the trees at the Sunbeam factory. Funerals today compared to long ago. Date A point or period of time associated with an event in the lifecycle of the resource 06 April 1998 Contributor An entity responsible for making contributions to the resource Interviewee: Tine Noonan Interviewer: Catherine Fray Identifier An unambiguous reference to the resource within a given context CFP_SR00134_noonan_1998 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ireland; Cork; 1960s; 1970s Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource .wav Type The nature or genre of the resource Sound 1960s 1970s Alcoholism Bonfire Night Childhood Childhood Games Christmas Funerals Murphy's Rock Sunbeam Tina Noonan Youghal