10 20 249 https://corkfolklore.org/archivecatalolgue/files/original/cad95ed3723199f123593890cbab0068.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/1cda31288e836ff7708e23cd60a4d17e.mp3 f81fe601043526f871720adc866aedb9 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 Eddie Daly Interviewer The person(s) performing the interview Liam Hurley Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19min 43sec 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 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 L H: So em what's your interest in road bowling, it comes from your youth? E D: That's right yea. L H: Em was it due to friends or family? E D: Due to friends really and ea you know we used to in our time in we had a very good couple of bowl players well they would be seeing us that time in Clohroe village we had two prominent very prominent men there em Paddy Cotter and his son Tony and Syril Horrigan was also a great bowl player. In our village, they were living actually a couple of doors away from me. L H: Right. E D: So that's how we grew you know we got to follow the bowling, go out of a Sunday they would be playing scores and I used to go out with my Father watching um and famous roads I remember ea Waterloo and Berrings they were two very famous roads, that’s in my early youth in the 1958/59/60. L H: To a person who is not that familiar with the game how would you describe it, what's the game of it or how is it carried out? E D: Ea well it's basically it starts at one particular point a starting point and there's a finishing point and it's aim is to go to that finishing point in the least number of shots to your opponent. L H: Right what's a score? E D: The length of a score? Ea L H: That's the distance between a and b or whatever? E D: It could consist of a mile and a half it could be a mile and a half usually about 20 shots which would be a mile and a half of road. L H: Even when you were younger would it have been a similar distance? E D: Oh it would have been still the same distance as it is now. L H: And would you have been playing with other kids around the area or would you have been? E D: No we would have been playing with our own friends in the area you know at the time like. L H: Would your own Father have played or? E D: No he never played it, never played it, but followed it all his life yea. L H: Right he would have gone out. E D: Oh he would have gone out following it he would yea he would. L H: And one thing I have come across is that Cork and Armagh seem pretty dominant places in Ireland for it, it's played very little anywhere else is there any reason behind that? E D: Well no not really it started I suppose with the great famous scores between Armagh and Cork you had Danny Mc Farland and Mick Barry they were two famous names Danny Mc Farland was a famous name in Armagh at the time and ea actually it's not called bowels in Armagh it's called bullets they call it bullets in Armagh and I suppose it stent from there really you know going back to 1960s and early 70s, there was some famous all Irelands between Armagh and Cork but now it's getting into parts of eh, Dundalk. Louth and Dublin there playing a bit of it in Dublin now as well but definitely the two famous places are Armagh and Cork. 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 Eddie Daly: Road Bowls Subject The topic of the resource Life History; Description An account of the resource Eddie plays road bowling. He talks about the sport, about how he became involved in it, and about some of the players and characters associated with it. Eddie (born circa 1949) grew up in Cloghroe, where road bowling was popular and started playing when he was 11. He briefly describes how the sport is played. Cork and Armagh (where it is called ‘bullets’) are the strongholds of the sport but it is being played a little elsewhere. There are underage teams and girls play too. Gambling is a big part of the sport and a player may have several backers who bet on him. He has been living in Carraig na Bhfear for 20 years and is involved in the sport there. He tells a story about player Mick Barry throwing a ball over a viaduct. Date A point or period of time associated with an event in the lifecycle of the resource 16 June 1999 Contributor An entity responsible for making contributions to the resource Interviewee: Eddie Daly Interviewer: Liam Hurley Identifier An unambiguous reference to the resource within a given context CFP_SR00272_daly_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; 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 Bowling Bowls Cloghroe Eddie Daly Mick Barry Road Bowling https://corkfolklore.org/archivecatalolgue/files/original/f4c35e60afc96f9ec6cbc9d0c3afe66e.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 Dermot Casey Interviewee The person(s) being interviewed Eddie Kay Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33min 44sec Location The location of the interview Bridge St, 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 D C And could you tell me a bit what like drag, how would you define drag like? E K How would I define drag? Well, I think drag has changed over the years, drag has gone from very straight up guy in a frock lip-synching to more performance art, to now it has evolved so much over the years. Now there is drag where people don’t even consider it drag, because it is just what people look like or decide what they want to wear or you know, you know drag is a kind of a funny one really you know because, again it all depends on what you, what you consider drag and the era of the drag artist. D C Yeah. E K You know, that they take on. So I mean, you know you have guys with beards these days who just wear makeup and that is considered drag, you know, you have, [pause] then you have got your Drag Kings, which I guess has been happening for quite a long time, where you have women who dress as men or you know women who have facial hair and call themselves Drag Kings. And so like I think, drag to me is fun it is not to be taken seriously and it is that’s what I think drag would be and it is about expressing yourself really I guess and kind of unleashing a side to you that you might never get a chance to do unless your that other alter ego I suppose, you know? D C So do you think it kind of had an impact on Cork and influenced people? E K Hugely. D C And changed -- E K I think that most definitely, I think that I found with Alternative Miss Cork at the start when we just started it off it was mainly just gay, do you know what I mean, it was just gay people you know, who came to the show and then the second year you could see gay peoples friends coming along. Then the third year you could see just gangs of straight people coming in because they have heard, they heard it was such a good laugh and so different, and then again you know, you saw even with the last Alternative Miss Cork we ever did, like you know over the years we went from doing small venues, to, to, to packing out the Savoy where you have got like eleven hundred people coming to this Drag show do you know what I mean, competition, drag, this, this drag competition you know, and I mean [pause] there was just like, it was actually half straight and half gay by the end of it you know. You had couples coming in, one of the shows we did was on Valentines night I think like there was an awful lot of straight couples went to it because they were just so bored of like going sitting in a restaurant with a candle between them, you know, it kind of gave people something else people to do. But I think it definitely influenced Cork I think it opened up a lot of peoples minds to diversity and to people’s sexuality as well and I think it also helped the gay scene to unite a bit because and create a bit of competition but it kind of pulled a lot of people out of the woodwork who wouldn’t necessarily be on the gay scene all the time and I think there was a lot of friends made from Alternative Miss Cork, and I think in general it was really good for the, for the, the, the Gay scene and [pause] the entire city. 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 Eddie Kay: Drag queens, Gay scene, Alternative Miss Ireland, Subject The topic of the resource Stories and memories of LGBT life in Cork City and County. Description An account of the resource Eddie Kay was interviewed for an article on the Alternative Miss Cork competition that will feature in the Archive Magazine Issue 18. He was chosen as an interviewee because of his experience of organising and co-founding the Cork event. The interview came about due to knowing the interviewee socially, and from having experience of volunteering for the Alternative Miss Cork. Eddie talks about the establishment of the Alternative Miss Cork show as part of the city’s gay scene. Eddie explains how it was organised tentatively until it blossomed into an event attended by both gay and straight communities and eventually filled The Savoy theatre. After 20 years the Alternative Miss Ireland competition in Dublin closed and the Cork competition did the same. The Cork show broke down barriers between the gay and straight scenes and between the gay scene and local businesses. Date A point or period of time associated with an event in the lifecycle of the resource 8 January 2014 Contributor An entity responsible for making contributions to the resource Interviewee: Eddie Kay Interviewer: Dermot Casey Identifier An unambiguous reference to the resource within a given context CFP_SR00502_kay_2014 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, 1970s-2010s, 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> 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 Type The nature or genre of the resource Sound 1990s 2000s 2010s AIDS Alternative Miss Cork Alternative Miss Ireland Drag Kings Drag Queens Eddie Kay Gay Pride Gay Rights Half Moon Club HIV Karl Spain LGBT Loafer's Maeve Higgins Panti Bliss Rachel Allen The Olympia The Savoy https://corkfolklore.org/archivecatalolgue/files/original/40b12d116359ada34b8950cce7206a67.JPG d2945cbd454dd92e5b0c7eb767750c2e https://corkfolklore.org/archivecatalolgue/files/original/0b731fec4ee0599b22c348adbb672f49.mp3 3a78ada4b4fb7413099886b9c3c2bc00 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Mark Wilikins Interviewee The person(s) being interviewed Ed Hinchy Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 91 Mins, 11 seconds Location The location of the interview Ballintemple, 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 please contact CFP, folklorearchive@gmail.com M W: So it's like the percentage of Celebration beer is stronger than your normal, was stronger than the other products that were popular at the time. E H: It was stronger for its original gravity. M W: Right. E H: But, I mean there were other types of beer which do that still today. I forget what they are called now, they are malt liquors or something like that, they call them. It’s a, it's not something we wanted to continue with anyway, you know, we had that time, we had very good products. We had Beamish which was getting funding to relaunch it and you can see later that there was a version of Beamish called Tower Stout put out. It was, I think a little cheaper. M W: And what year was that? Would that have been? I can’t remember Tower Stout at all. E H: Yeah, that would be, being around the same time in the, between 1966 and 1970 ish, you know, around that time. M W: Right. E H: But then you know, you had a dilemma between two different versions of the same stout and that idea didn’t work. And it was withdrawn again, and the company just promoted the one stout, you know from then on. M K: I think, I am just thinking as we are talking to me there as well, ‘cause I know that Guinness’ who obviously would have been, probably your main competitor E H: Yes. M W: would have had the monopoly obviously because they are such a huge, you know pan-global you know company, hadn’t they at some stage over the years, haven’t they brought out various products that kind of fell, variations of Guinness that just fell by the wayside? You know or that didn’t quite take off the way, maybe they would have liked it. I’m just wondering with Beamish is it that people get so used to one brands that’s Beamish that people just associate with, almost, almost have a, I won’t say a psychological attachment but some sort of, you know. E H: Feel that it's some other, it was inferior. M W: Yeah, you know. E H: Yeah. Yes, that is a fact. People would be suspicious and yes Guinness did launch quite a number of versions of stout, even as late as the second millennia. I have tasted a few of them, up, up in Guinness itself. The thing is, you know that the, the technical staff of breweries meet regularly and they don’t have any difficulty with, with discussing technical matters often, quite often, but when you get to commercial [word unintelligible] that’s a different question. [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 Ed Hinchy: Beamish & Crawford Subject The topic of the resource Beamish and Crawford Brewery Description An account of the resource Ed talks about his involvement with Beamish and Crawford Date A point or period of time associated with an event in the lifecycle of the resource 21 May 2012 Contributor An entity responsible for making contributions to the resource Interviewee: Ed Hinchy Interviewer: Mark Wilkins Identifier An unambiguous reference to the resource within a given context CFP_SR00448_hinchy_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; 1960s - 1970s; 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 Relation A related resource <a href="https://www.youtube.com/watch?v=8o28aWtm-3M">The Counting House: Beamish Brewery in the '60s & '70s. </a> A Short film produced by Mark Wilkins for the Cork Folklore Project using audio from this collection over images from the Roy Hammond Collection. Other CFP Related Material: <a href="http://corkfolklore.org/archivecatalolgue/collections/show/4">Cork' Main Streets Collection</a> Type The nature or genre of the resource Sound 1800s 1920s 1930s 1960s 1970s Ale Bass Beamish and Crawford Beer Brewer’s Guild Brewery Bushmills Canadian Breweries Carlsberg Charringtons United Breweries Cork Ed Hinchy England Group Theatre Guinness Ken Richards Les Auchincloss Lloyd George Mark Wilikins Richard Beamish Roy Hammond Sharman Crawford South London Brewery South Main Street Stout Tied Houses United Kingdom University College Cork https://corkfolklore.org/archivecatalolgue/files/original/2be5ebce0d2cfd52efd4c6de5a98264d.jpg cbf1c711785600501bec005b1d811bed https://corkfolklore.org/archivecatalolgue/files/original/fa7aa580c5c75479005bee2c4e493dd9.mp3 414ae5c6d1f02da6c3839e7588e931e8 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. Interviewer The person(s) performing the interview Gearoid O'Donnell Interviewee The person(s) being interviewed Donnie Walsh Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57min 32sec Location The location of the interview Old Blackrock Rd, 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 <p style="margin-left:1.27cm;text-indent:-1.27cm;margin-bottom:0cm;border-top:none;border-bottom:1px solid #000000;border-left:none;border-right:none;font-weight:normal;line-height:200%;padding:0cm 0cm .07cm 0cm;">D W: Well, when my father was alive they socialised all the time. My father was very heavily involved in the IRA and they were all interned in the Curragh way back in the Forties like Brendan Behan, em, Gerry Adams uncle, McGuinness' uncle there. They’d all be interned together and eh, we’d a lot of stories coming back that time. And what I could never understand for years that, every summer the father used go down to Mount Mellery. Down to the monks in Mount Mellery and ‘tis only years later when, when you went into Mount Ellery, em, you took a vow of silence. And I think you’re allowed one visitor every now and then, so I think what happened is that em, people in the IRA that were on the run went into Mount Mellery and they took a vow of silence and they couldn’t be eh, arrested then or anything. He also got excommunicated from the Church for his eh, political beliefs and he was a man that used go to eh, he used go to mass every morning and say the rosary every night. He was very, eh, religious type of person, he was. 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 Donnie Walsh: Gardiner's Hill, Sport, Republicanism, Subject The topic of the resource Life History: Description An account of the resource Donie was born in 1948. His family lived in Stream Hill, and then in Gardiner’s Hill. He used to visit his grandmother’s house in Carrigadrohid, which had no running water nor electricity. He talks about going to the well and collecting rainwater. His father was involved with the IRA during the 1940s, and was interned in The Curragh. IRA men used to go to Mount Mellery because they would be bound to silence there. People bought vegetables at the Coal Quay; he got them instead from a local farmer. He got an athletics scholarship to study at university in America in the late 1960s. He talks about his interest in GAA and athletics. How the Catholic Church was viewed then and now. He founded the Leevale Athletic Club in 1967. He talks in detail about the club, its finances and competitions. Date A point or period of time associated with an event in the lifecycle of the resource 8 June 2011 Contributor An entity responsible for making contributions to the resource Interviewee: Donnie Walsh Interviewer: Gearoid O'Donnell Identifier An unambiguous reference to the resource within a given context CFP_SR00405_walsh_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, 1940s-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/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</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 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 Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound 1940s 1950s 1960s 1970s Bonfire Night Catholic Church Coca-Cola Donnie Walsh Electrification IRA Puck Fair Sport The Curragh Well’s https://corkfolklore.org/archivecatalolgue/files/original/cf155f1117d108de1420e76d6313264c.mp3 bda2cac14952c68ba8b65eedc05a966a Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Donal Ring Interviewer The person(s) performing the interview Tim McCarthy Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 109m05s Location The location of the interview City Lights Killeens, Commons Road, Cork Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td> 0.00.03 - 0.07.53 </td> <td> Interviewer Tim McCarthy begins by giving a brief biographical rundown of Donal Rings career saying that Donal started playing the accordion at the age of thirteen and he was influenced by his father who was a melodeon player and he was playing professionally from the age of fifteen thus winning the acclaim of his peers. He speaks of how Donal garnered a large fanbase locally and internationally. Tim states that much of Donals story has been documented by local media and he states that Brian Lawlor of the Irish Traditional Music Archive, which is housed in Merrion Square Dublin, did two extensive interviews with Donal in 2009 so he states that today they will seek to focus on more local topics and general topics that Brian and other interviewees may not have covered. Tim makes a statement to the effect that Brian’s interviews are available online and the Cork Folklore Project will request his permission to refer to them in relation to whatever they discuss today so it will all be unified. Donal says his musical influence started with his father who he says would play morning noon and night and liked playing. That was for the first couple of years and then Donal became friendly with the late Donal Coleman and they got together playing. Donal Coleman was from Grenagh Parish and they joined a little band in Mallow called the Celtic Ceili Band and they were there for two years with a man called Joe Boyle who was from Clonmel Co Tipperary and married in Mallow. After two years they (the two Donals) left and formed the Blarney Ceili Band and joined up with the Murphy’s of Blackstone Bridge who Donal says were very good fiddlers and bass players etc. Donal Ring was there for three years and then decided to go out on his own. He became friendly with a man called Noel Crowley from Dillon’s Cross in Cork City whom Donal says was a great accordion player and who has passed away in the last year. Himself and Donal started a band and the way it started was they tossed a penny, Donal says at the time he was saying the Rosary in Commons Road and each was saying to other to put their name on the band so in the end they tossed a penny and Donal’s name came up so that was how the band started (the Donal Ring Ceili Band). Noel was with him in the band for five or six years and then they organised a tour of London and Noel didn’t want to go as he didn’t like travelling. He says Frank Fitzpatrick went instead and Donal says they got on reasonably well adding you can’t expect miracles starting out. They went to London and had thirteen dates supposed to be booked and when they arrived it was seven. He says they were green and walked into it, he says you learn fast. They enjoyed it and it was a challenge he adds. He adds they went again the following year and it was a great success. It was a great tour he says. He says after this they were trying to get on television, (on RTE) There were two programmes called Beirt Eile and Club Céilí and they were writing in to RTE to get on the programmes and RTE got back to say they were on the casting file and they would get in contact when they (the band) were required. He says it went on like this and Donal says he was very friendly with Tony Hegarty who was managing the band at the time. Tony asked Donal if he knew Jack Lynch to which Donal said he did. Tony advised Donal to go to Jack Lynch’s office on the Grand Parade on a Saturday morning so Donal went down to him. When he called there Jack Lynch asked him if they had ever done broadcasting to which Donal said they had done live broadcasting from Union Quay for RTE. Donal showed Jack Lynch the letters he had got from RTE and Jack said to leave it with him and he would have a word with Mr McCourt (Note: Kevin McCourt, Director General of RTE from 1962 to 1968). Tim asks Donal if he was a judge in Midleton to which Donal says he doesn’t know but that he was the “bossman” in RTE. Three weeks later RTE got in touch to say they were on. He says that was a lucky break and it was thanks to RTE that they got it. From there on the whole thing blossomed he says. Donal adds that Jack Lynch was quite cautious too as he wanted to know whether they had done Live broadcasts and it was the makings of them and they got a lot of work off it. Tim asks Donal if Tony Hegarty is the well known Cork comedian. Donal says he was and he was a great friend. When Donal had no money Tony often gave him 50 pounds and Donal will never forget that. He says he was a great friend and a good manager but he pulled out because they got too busy and there was no need of a manager. He says it was not like today, today he says you have to ring somebody to look for work and he says back then it was the opposite. They (venues) would ring you and book dates with you and confirm them in writing. He says they did the rest themselves. He says Tony Hegarty was their only ever manager and after that he did it himself. He says there isin’t that much to it. He says doing it himself you get to know people better. He says sometimes you could go to a place and you could be told that you weren’t booked at all. He say it happened a few times, he says going back fifty seven years ago they went to Kiskeam (in North Cork) one night to be told they weren’t booked at all and Donal says they were. Another night one New Years Eve they drove up to Kildare as they were booked into a venue only to be told that there must be some mistake and he told them they had been there twelve months previously and the venue had rebooked them but they repeated that there was a mistake. He said all they could do was to get something to eat for the band and drive them home and he jokes, take some abuse because they haven’t some sort of contract with them. He says you wouldn’t get a lot of abuse. He says the contract wasn’t in writing but he would always honour it whether it was or not. He says at that time contracts were mostly in writing but it was starting to go out. He says regarding dances everything would be conformed about the dance only the fee. (Note: from 7.51 to 7.53 Donal says a saying which sounds like “there was no quarrel with the price you bring them” though it is not 100% clear on the recording) </td> </tr> <tr> <td> 0.07.59 - 0.11.13 </td> <td> Tim asks Donal if all of the band travelled together to which he says they did. He says they always had a Volkswagen minibus and he says he had eleven of them in total down the years all of which he wore out. He says the Volkswagen are a great machine. Donal then mentions the name of the local motor supplier of the time, (Note: at 8.20 Donal mentions the name of his local car supplier of the time who would supply him with the minibuses, it may be Thomas Transport but it is unclear on the recording). Donal says the manager of the motor supplier whom he would buy the minibuses from was Michael McCarthy who was always very good to him and whenever an exceptional Volkswagen came in Michael would have Donal in line for it. When asked how the band members spent the time in the van on the road he says they would play chess. Jer (or Jerry) Casey and Gary Cronin would be playing chess, Jer was a genius he says. Gary had a miniature board and he would be half an hour making a move Donal says. Jerry would be in the front beside Donal and he straight away make his move and then hand the board back over the seat to Gary who would then take another half an hour to make the next move. He says you would have arguments over very small things when people would get tired and cranky, he says they would tend to pick on the weak points to get the next fellow going. He says they were all great lads even though he had at least fifty band members travelling in the van down the years. Tim asks Donal if he has done a “family tree” meaning a history of the band members. Donal replies to say that his niece in San Francisco is doing a family history of the Ring family which he says is fairly big. Tim says he has seen a fair few bands do a history on their members showing who was connected with whom. Donal says their connection in that respect would be the McCarthy’s and starting with the Cork songwriter Jimmy McCarthy. Donal says he might not have his facts exactly right but he says his own grandmother was a McCarthy and he thinks she was a grandaunt of Jimmy McCarthy. He also mentions a Margaret McCarthy who plays the fiddle in blarney and she played for President Barack Obama in the White House on St Patricks Day. He says she played the fiddle and danced the hornpipe at the same time. He says she is fantastic. Donal says he saw his grandmother dancing the hornpipe and playing the melodeon so it is in the blood. He says the grandchildren from his fathers side the music came from. He says his mother’s side of the family isn’t musical at all. </td> </tr> <tr> <td> 0.11.14 - 0.14.56 </td> <td> Tim asks Donal if they wore uniforms in the band to which he says they did. He says it was important to be dressed neatly. He says they got Irish plaid suits one time which were made by the late Tom Aherne who had a tailors shop on the North Main St in Cork. He says this was in the early 1960’s. He says they also had lovely coats from John Culhane (note: He probably means John Mannix of Mannix & Culhane on Washington St) and they got coats and jackets from a man called Nick Buttery. They had jackets of different colours. When asked did someone design them Donal says they were just made to measure and jokes that they weren’t that important. Donal says band members helped with the driving and loading of gear. He says when he started first he had two brothers in the band. Jerh Ring was the bass player, Donal says he was killed outside Blarney. He was a good driver he adds. Another brother Michael was also in the band but he didn’t drive. He had another man in the band the late Liam Kelleher who was a good driver. He says it is grand to sit in and not worry about the driver but there are many that you would worry about them driving and you’d get no peace that way. Donal says it was mostly himself driving and he says he started driving trucks which he says he drove for years. He says you’d have to be handy at it or you’d kill half of Cork. He talks for a bit about the truck driving and he says he was glad to get away from it. He says he finished up driving trucks for John O Hoolihan for whom he was driving multi wheeled Atkinson trucks which had no power steering and he would be hauling twenty five tons into Cork and he describes trying to take a turning by the Capitol Cinema on Washington St. He says it was tough work but he enjoyed it. Tim says he used to do this himself and asks what sites he was working from. Donal says the big job he was involved in was the building of the oil refinery in Whitegate. He was working for a firm called Ellis and was hauling material to the site in Whitegate and he was doing this for two years. After that he went to work on the building of Cork Airport for a couple of years. He says this was the biggest project of the time. He says he was hauling blocks for building sites. He worked for a man called Willy Desmond drawing sugar beet to Mallow and picking up the grain in the fields. He says there would be one man on the ground handing in a twenty stone bag. He jokes that you wouldn’t be breaking wind on Patrick St that night. Tim says there wouldn’t have been health and safety to which Donal agrees, he says that has gone too far these days and you’d see fellows working on the roads and there’d be cones on the road for half a mile and then nothing happening at the end. </td> </tr> <tr> <td> 0.14.58 - 0.21.10 </td> <td> Tim asks if any of Donal’s band members achieved success in other areas. Donal says Ger Casey is a professor of archaeology in Dublin now and he was in Donal’s band for eleven years. The first ever violin player he had was Declan Townsend and he is a bachelor of music now. He says several great players never progressed to anything bigger like Tony O Sullivan and Frank Fitzpatrick who he says are still great players. He mentions his own brother Michael who became a panel beater, he says he plays accordion and he is still in the band. He left and he came back a few times he says. Tim asks how the set up of having two accordion players work. Donal says they spent years at it and when there are two playing they have to be bang on and they won’t get away with any discrepancies. They have to keep rehearsing and practising melodies and harmonies. He says when you are playing out in the country at ceilis you are playing jigs and reels and a second box is a great help. Things will go wrong one night and then other nights will go perfectly. Tim mentions that in the case of the Everly Brothers that it was said there was an affinity that produced a natural harmony and would Donal agree with that? Donal says there is no doubt about this. He adds that when Noel Crowley started out the band he was very meticulous as to getting the arrangements right, all the bass parts and piano parts had to be written out. That continued on with Gerry Casey who taught Donals daughter Mary and now she and Donal’s son write the arrangements for the band. Donal says they are not going to record anymore as the age of the cd is gone which he says is hard to believe. He says he has cds recorded and can’t sell them as everyone is downloading now from the internet. Tim asks Donal what he thinks of this, in reply he says his son was in Scotland this year and he played in a place called Dufftown. He was there playing on a Friday night and by example Donal says he was in Pa Johnsons pub on Devonshire St Cork on the following Monday night. He adds that there is an accordion night there on the last Wednesday of every month. On this occasion when Donal was there the proprietor Barry Johnson had the internet on (on a computer or device) and Donal says there was Donals son Donie and Terry McCarthy playing in Dufftown, he adds someone had uploaded two hours of it. Donal says you can’t sell cds under those circumstances. There follows a discussion with Tim and Donal as to whether this puts the focus back on live performances. Donal says that with live performances musicians have to be at the top of their game because anyone can film them with a mobile phone. Donal says that today the band consists of his brother Michael, Donal’s daughter Mary and he has a singer from Ballyroe called Con Hegarty and himself. He says they play in Blarney every Sunday night from 9 to 11. He says he himself will be 80 at the end of the week so playing two nights a week would be too much. He says his grandchildren are all playing, his grandson Aidan plays and another grandson Der plays with Robert Mizzell who is a big Country N Western act and plays the North a lot, Robert Mizzell is American he adds and his grandson is drumming with him. He compares musical ability to hurling and says it is in the blood. He says his grandchildren often play with him. </td> </tr> <tr> <td> 0.21.12 - 0.25.36 </td> <td> Donal says the five row accordion is quite complex to play and he calls it ultimate accordion. He says he didn’t play it as it wasn’t there in his time. He was he was the “push and draw man” and he says he went as far as he could on that. He bought a Shand Morino accordion which is what Jimmy Shand, the famous Scottish accordionist played which is a very advanced push and pull keyboard. He adds that the five row is the most advanced and he says it is a superb keyboard. He says there is the two and three row which are push and pull. He goes on to speak more about the five row. He talks about the Shand Marino and talks about Jimmy Shand who he says was a marvellous man and the king in his book of playing terms. He says he was 100 years ahead of his time. He speaks about the Gallowglass Ceili Band and their influence. He says there were some great bands from up the country played the City Hall in Cork. He lists these acts such as Jackie Hearst from Newry, Sean Donoghue and his five sisters from Galway and Astor Row (?) from Donegal. He said they had some great nights there especially with Na Piarsaigh hurling club who he says held great Ceilis. He says Ceilis in the City would draw crowds of a couple of thousand. He says the golden era was from when Jimmy Shand came and as Donal says got the whole thing going. Donal thinks he came first to Cork around 1956 and came again in the early 60’s. Then the Gallowglass Ceili Band came and he says it took off. He says there was nearly thirty years where it was at its peak. He goes on to say that Tony Hegarty was running a ceili in the City Hall and Donal’s band were booked for it and also the Gallowglass were booked and also Jim Cameron from Scotland. Donal was up in the Hall with Tony on Saturday and Tony said he would have to have two thousand for the audience and it ended up having two and a half thousand. Donal recalls on the night that there was a queue on the footpath all the way up Angelsea Street and he adds there was no drink served, just a mineral bar. He says there was never a bar at the ceilis. He says in time the regular bars started building lounge extensions and running “bits of dances” then the normal dance halls, not all of them he adds, had to add a bar to compete. Donal adds any big dance they run now has a bar, they are doing one in Glenville on the week of the interview he says. He says those people drinking would just be having a couple of drinks and maybe a short. </td> </tr> <tr> <td> 0.25.37 - 0.33.16 </td> <td> Tim asks Donal if there were two scenes going on then, the Showband scene in tandem with the music scene Donal was involved with. Donal says the Showband scene was very big. He mentions Brendan Bowyer. He speaks about the “wagons” the Showbands had, ie their tour buses. He says the wagons would be specially designed and very large. He goes on to say that nearly every parish ran a festival and Donal and the band would have one Irish night during the week. Donal and the band would get the date and they would be going non stop. The Irish night was always a great success because you would get an older crowd coming in for it. He says they often subsidised the Showbands with the crowd they would bring. He says they did the Rose Of Tralee for twenty one years, Upton Steam Rally for fourteen years, Cobh Festival for eighteen years and all these festivals would keep them busy. He says they had a slot on St Francis Hall as well for fourteen years every Tuesday night. Tim says he recalls St Francis Hall as being a popular spot and he asks what else went on there to which Donal says they used to have karate classes and card drives. He says it was owned by St Francis Church (on Liberty St, Cork). He says he thinks now it is a nightclub, they had some great nights there he adds. Tim asks Donal if they came across a lot of Cork Showbands and Donal mentions the Dixies. Tim asks about the connection between Donal’s band and the Dixies and Donal says the connection was with Terry McCarthy sings with Donals son Donie and they play a wide variety of material. (Note: Terry McCarthy has been part of the Dixies lineup). Donal says he knows Joe Mac of the Dixies well. He says they’re the same age. Donal says he never played with Joe Mac. He says Terry McCarthy played with Donal and his band in Scotland twice and he says his main ambition is to make the night a success. Tim asks about the Cork band the Arrivals and Donal says he knew them all, he mentions Declan Ryan. Donal says there were some bands in Cork from that time who didn’t receive due recognition, he says one was a group called the Modernaires who used to play in the Palm Court Ballroom on Oliver Plunkett St, he says it used to be the ESB office. Alderman John W Reidy bought it and converted it into the Palm Court Ballroom and it was a lovely place but it has since been sold and it is now known as the Oliver Plunkett. Tim mentions that it used to be the Black Bush and Scotts at various points. Donal goes on to mention the Regal from Bantry who he says were a great band. Tommy Power from Douglas also had a band. He also mentions Chris Mahon, he mentions them as being both passed away. He remembers when he was young seeing a band led by a man called Pat Navin or Navan. He doesn’t know where he was from. He says there would be fourteen band members of Pat Navin’s loaded onto a mini bus. He says it must have been a great wagon to take that load. Tim asks Donal if they ever had members from pipe bands or brass bands from the City. Donal mentions one man from the Blarney Brass & Reed Band. He says he was a good saxophone player but didn’t stay with them. He was the only one he thinks. He mentions another man called Jerry Casey who didn’t play with them but all of his sons did he says, he played with a brass and reed band in town. Tim asks if the saxophone was common with ceili bands at this time to which Donal says the Gallowglass Ceili Band was the first to use it. He says they picked it up from listening to Jim Cameron who had a cornet which he says was like a trumpet. The Gallowglass went to the sax, he says if you have a good man playing it can be lovely. Donal had the late Paddy Carey on the sax for thirty one years. He could play every note of it he says which is unusual for a sax player, he could play the C melody which would be part of old saxophones. The Sax player for the Gallowglass Mick Dempsey was a great player and a nice man he says. Donal says they would have recorded with the sax, he says they did about eight LP’s with the sax. Mick Dempsey tutored Paddy Carey on the sax, he says the weakest sax reed you can get is a number three and Mick used to shave it down to one and a half and he would be doing things like burning the top between two pennies. Donal speaks about the trumpet and how Jim Cameron would always play to the side and not directly out to the audience to dampen the sound. </td> </tr> <tr> <td> 0.33.18 - 0.38.42 </td> <td> Tim asks what were the best years for the music and for the best for the money. Donal says the best years money and work wise were the mid 70’s to late 80’s. Donal says there was a belief that with ceili bands they didn’t need to be paid at all whereas with Showbands they would get a “thousand smackers” and they might have to be fighting for 350 pounds which was their fee in their heydays. He says they came from nothing and had nothing to start with and when they got the work you took it. He says the music didn’t suffer because of the money, they would play their best at all times. He speaks about the problems of having to make sure everyone in the band were paid. He says he had a seven piece band and then it would go down to six and then down to four because of the issues involved with paying everyone. He says nowadays you are down to about fifty or sixty people per gig because he says just the old people are dancing now. On asked did the recession affect things he says it did and he also speaks about drink driving regulations effecting gigs. On asked how did he get the contacts for gigs Donal says the promoters got to know them rather than vice versa and he adds that TV made them. He mentions a singer they had called Pat Daly. He says they never had any breakdowns going to the gigs except for one occasion where they ran out of petrol going from Dublin and they ran out of petrol by Glanmire. He mentions again the reliability of the Volkswagen. He says you would have to fight your corner with some promoters to get your money. He gives an example of a time they played one time they were playing for the GAA in Kilcormac County Offaly and they were booked to play from 10 to 1. He says at quarter to 12 there was no one there and they were practising and then two people came in, by the next half hour it was full, they had all been in the bars he said. Next thing they were told they had to play till half past 1. He says afterwards five members of the committee came up to him to pay him and they said to Donal that they must give him a cut. They said to him that they hadn’t started playing till quarter to 12 to which Donal said they had no one to play to and they had them booked from ten to one. One of the men then said to Donal, “do you know who I am?” “I’m JJ Spain and I’m the referee in the All-Ireland Semi Final tomorrow”. Donal told him he didn’t give a damn who he was and to this JJ Spain “fired” the money at him. Donal says you get an odd one like that here and there but the majority were great. He mentions Sonny Maybury of Dunmanway and Pat McCarthy of Cappamore in Co Limerick as grand people to play for. He says that with Pat McCarthy he booked him for ten nights and they never discussed money because they had an understanding and he says it would be the same with Sonny Maybury. </td> </tr> <tr> <td> 0.38.42 - 0.49.06 </td> <td> Tim asks Donal if they did a lot of work for charity to which Donal says they did a pile of it. He says one thing the band would do every Christmas Morning would they would play the hospitals. They would play St Finbars and the Mercy Hospital which were the two they play the more often. They would also play St Patricks Hospital (Marymount). They did for about twenty five years. He says he did about twelve albums, when asked were any of them recorded in Cork he says one was done in Ballyvourney, another in Fermoy and the last one they did was in was in Youghal. The rest were done in Dublin and he adds it was expensive, he says it cost 100 pounds an hour and it was no place to be rehearsing as you’d want that done. He says they held a record for the fastest LP recorded and mixed at nineteen hours. He says you’d be talking about a couple of thousand pounds. He talks about one place that rigged the breakdown of the cost of recording. He says the studio suffered a power cut and that Donal walked outside and up the street, he says every house along the street had power so this proved that the studio had rigged the power cut to drag out the recording time and get paid more. They hid it rigged in the studio to cut the power off. Donal says there were two more numbers to record and they had to go back again. He speaks more about the recording process and getting the takes right, the pressures of getting it right etc. He advises always do an extra track. The entire band would play together in the studio. He mentions Bill Somerville- Large of Windmill Lane Studios in Dublin as a great engineer; he adds that he was a jazz pianist. He also worked for RTE he says. He speaks of his work with them on recording and how he helped them out with a piano piece. He says they recorded in Tadhg Kelleher’s studio in Ballyvourney which he says was top class. He speaks about recording in Brian O Reilly’s (of the band Loudest Whisper) studio in Fermoy. He says one thing he found there was you would want to be playing very tight and there would be no looseness at all. He mentions the Youghal recording as having been done in Clay Castle Studio. The differences in styles and age gaps are discussed. Bill Somerville-Large was the main producer in Dublin he says. He mentions Trend Studio and the engineers Paul Waldron and John Dallat. He mentions Fred Meyer as a good engineer; if you were in the studio mixing you’d come out nearly stone deaf as he’s have big speakers on. A discussion on mixing in the studio follows. The instruments of the band are discussed. Donal says he bought his accordion from Jimmy Shand. His brother Michael also bought his instrument from him. He says Jimmy Shand was over in Cork and Donal showed him his own accordion to which Jimmy said the keyboard was buckled, Donal adds that at this time he was driving the lorry and had “fingers like crowbars”. He tells a story about another accordion he was having tuned and how Jimmy Shand advised him to never sell it. He tells how Jimmy sold him a fiddle on the same occasion. Tim asks Donal if Jimmy Shand would have seen him as a protégé to which Donal says he thought a lot of the band and he would give credit where it was due. He tells how Jimmy wrote the Bridie Ring Polka for Donals wife to play and he wrote one for Donal and ones for the band, he was a gifted man he says. Further discussion of Jimmy Shand’s life and career follow. </td> </tr> <tr> <td> 0.49.09 - 1.00.23 </td> <td> Tim asks Donal if he ever featured on a radio show called the Galtee Programme to which Donal says he doesn’t but he would listen to it a lot. It used to go out on a Monday at quarter past one. (Note: possibly a reference to Galtee Radio, an independent radio station that ceased transmitting in 2001) Crowleys music shop in Cork is discussed. Donal says he often dealt with Michael and his father Mick Crowley. Donal mentions a man known as Sham or Shan who worked in Crowleys shop when it was on Merchants Quay. He mentions another man whose surname was Welsh who worked for Crowleys. He says it is sad to see Crowley’s gone today. Tim says that Sheena Crowley, the daughter of Michael Crowley is running Crowley’s music shop from above the Palm Court (now the Oliver Plunkett). Tim asks Donal if he ever pass on his skills or teach anyone outside the family to which he says he has a bad patience that way, he says he might give them a hint but he never took up teaching. A discussion on the conditions in the venues follows, Donal says there was no such thing as dressing rooms, there was no heating or fan onstage. He says it improved in time and they got lighting and dressing rooms etc. He says how the cold would effect the instruments such as frost. He says you would have to be hardy. He says sometimes they had problems with band members drinking and disappearing off. He recalls one night when they were playing in Upton and three of the band were drinking. There were spot prizes such as bottles of whiskey. Donal says what he didn’t know was that the three band members had stolen the bottle of whiskey and they didn’t want him to see it so he says they went outside and he describes where the back wheel of the Volkswagen had a panel hiding half the wheel and they put the bottle into this and on top of the tyre where it couldn’t be seen. He says when he was unloading the wagon the bottle fell down with a bang and broke. He jokes that the lads were nearly in tears. He says drink is an awful scourge in a band. Donal says he doesn’t drink other than the off half pint. He says fellas would be falling off the stage or falling off a chair. He describes one time how Paddy Carey who didn’t drink was “fool acting” on stage when they were playing in Cahir Co Tipperary. Next thing before he knew where he was he had fallen into the pit. He describes another occasion when they were playing in Portarlington Co Laois and there big lampshades made from aluminium and hanging over the stage. Next thing he heard a crack and the rope holding up the lampshades broke and it fell down missing drummer Pat Riordan’s head by six inches, he says it would have killed him stone dead if it had hit him. Tim suggests that the Stardust fire in Dublin 1981 changed all that to which Donal agrees. He says fire chiefs came into St Francis Hall in Cork at this time when Donal’s band were playing there and pointed out that all the timber in the venue would have to be removed or else treated with fire proof paint. The fire proof paint option was chosen and Donal says they put no dryers in the paint and it took several months to dry by which time their audience from that venue was scattered and they never got them back. Tim asks about punters to the gigs going out all dressed up to which Donal says all the women would be for an hour before the men would come and they’d be on one side of the hall and then the men would arrive in from the bar. He says the style would be fierce. He talks about the dancing. He talks about how bars bringing in lounges affected dancehalls. He speaks about how dancehalls closed around the country and what a shame it is as he says it was a great outlet and people were happy dancing. He says the dancing was great exercise, they would start out the night with waltzes then two steps. He says in his time the foxtrot was considered a sin as it was too modern. He goes into detail about different dances such as the Siege Of Ennis, two hand reel, the Kipe, the stack o barley, the sweets of may, the Slosh which he says is very popular as its non streneous. He speaks about a man from the Northside of Cork City who was called “The MP” Foley. Donal says he did a lot for dancing and the dancers we have today we can give credit to the MP for. Donal says he was a very strict dance teacher. He says he wouldn’t allow close dancing and you wouldn’t be allowed in the door if you didn’t have a tie. Donal says he used to operate in Inniscarra, in Mourneabbey and then would run dances in Macroom, Glanworth. He was all over the place and taught the whole County Donal says. He made money from it but he earned it Donal adds. </td> </tr> <tr> <td> 1.00.24 - 1.04.55 </td> <td> Tim asks Donal about Ladies Choices and if it was popular Donal says it was popular, and they don’t have that anymore. He says there would be “murder” if a girl refused a dance with a fellow. He says their MC would come up to him and complain that such a lady had refused such a fellow a dance. Donal says he took no notice but that it considered an offense. He says he often saw a fellow getting two or three refusals. He says he never saw any trouble over a refusal. Though he says there would be bitterness. He mentions his memory of the smell of paraffin oil and candle grease which was the treatment of the floor for dancing. When you went into the dancehall run by the MP in Inniscarra there would be a smell of paraffin oil and candle grease and the floor would be like glass. He says then crystals but they can’t be used today because of health and safety. Tim asks him about the competition from set dancing and the contrast with ceilis where the emphasis was more on fun and craic. Donal replies by saying that he thinks set dancing killed the whole thing, (the dancehalls). He says when the set dancing started to come in you had the ceili crowd sitting down watching polka set after polka and unable to contribute and then leaving. He says the set dancing crowd would have towels wiping the sweat off themselves. He says its very competitive and not every couple would dance with the next couple, they would have their own sets. Tim mentions that Donals son Donal Jnr that said before the interview that he had played for Irish dancers, Donal says that is competitive Irish dancing. He says the children are under too much pressure and the parents would be pushing them into it. He speaks about one night when there was a waltzing competition in Timoleague, there was a couple from Blackpool who were good dancers but didn’t win. He says they” lost it completely” and Donal said to the man whose name was Joe that tomorrow night there’ll be another competition and that he would win it but there was no getting through to him, he lost all sense of direction. He say competitions are fine if people are prepared to take their beating if it comes. </td> </tr> <tr> <td> 1.04.56 - 1.09.45 </td> <td> Tim asks if there were any sayings or colloquialisms or phrases that were used to describe events in the venues that you wouldn’t hear anywhere else. To this Donal mentions the late Fr Roberts a Franciscan who used to be in St Francis Hall where there used to be a social for the Total Abstinence Association (the Pioneers). He would come in and he would always say to the Carrignavar boys “Where ever you go don’t go far, and keep away from Carrignavar”. He says he heard him saying that numerous times. He was a character Donal says. Donal tells a story about one night when they were starting off and they were playing in Fermoy. It was a two band session and they were on first. Donal and Paddy Carey went to the toilet and he says and while they were in there the MC announced over the speaker “for the last hour and a half you were listening to the Donal Ring Ceili Band” and a fellow in the toilet said “we were then”, Donal jokes that he wasn’t too impressed. He was the smoking in the halls was fierce, he adds that he was a smoker himself for forty three years. He says he had an operation, a quadruple bypass. He says he wasn’t long stopping after that, he says it is all psychological and he had been smoking forty a day. He goes on to talk about the efforts to give up smoking. He says Paddy used to smoke a pipe and there was a lot of smoke from it. He talks about a place in Middlesbrough, England where they played and the smoke was so thick your eyes would be sore. He says it was like thick fog. He speaks about another place in Crosshaven called Johnny’s Return where the smoke was unbelievable. They were playing there when the smoking ban was coming in and Donal said to himself it wouldn’t stop this crowd smoking and he came back three weeks later and there was a case of someone in Donegal who had been fined a thousand Euro for smoking and he says he couldn’t believe, there were no smokers in the venue. He says at the end of the day it was no harm to get rid of the smoking. He speaks about the smell of cigarette smoke on the instruments. </td> </tr> <tr> <td> 1.09.46 - 1.17.46 </td> <td> Tim asks were there any accidents as a result of dancing. Donal says he saw a lot of bad falls but they always got up, except in one case where a man didn’t get up. He says he died dancing the Siege Of Ennis. He learned after that the man had heart problems and was warned to take it easy but he ignored the advice and he was dead before he hit the floor. He can’t think of anyone breaking a leg or arm. When asked would you see fights break out he says you would the time of the drink but not anymore. When people drinking you might se a skirmish. He recalls one time when they were playing and Ger Daly was the bossman. He says in the mineral bar a bit of an argument started and Ger Daly said “lads, lads, lads, and straight away that stopped it. When asked did they have bouncers in the halls he says they did, you wouldn’t want to get on the wrong side of them he adds. He mentions the Galtymore dancehall in Cricklewood North London as a great place to play. He says the bouncers would have anyone misbehaving by the scruff of the neck. He says you would conduct yourself there. He says the Irish people who would go to the Galtymore as great. He says it was a great place for the grub. He talks about when they had finished playing there and were about to head for the ferry they got beef sandwiches given to them by the venue. He says they were very honourable and mentions the Byrne family who ran it. He speaks about another venue in Cricklewood they played in called the Spotted Terrier which is not far from the Galtymore. They played for a family called the Caseys who also had the Elephant And Castle. Donal says that they played all over London till they went and played Scotland in 1988. He says once they started playing Scotland they never really went back to England. He says it’s a different country and different scene. He says with them you’d have to play right and play so many bars for each dance and he jokes they’d be standing on the floor looking at you if you did it wrong. Tim asks Donal if they ever came across a tough element in London such as gangsters. Donal says they never encountered that. He says the only trouble they encountered was that most times they played London a bomb might go off. He says they were playing in Dublin the night Nelsons Pillar was blown up. In answer to Tim’ question of did they play the North Of Ireland he says he never played there. There follows a discussion about the Miami Showband Massacre of 1975. Tim says he saw them play the Seaview in Salthill Galway the night before it happened. Donal says they weren’t asked to play in the North during the troubles, after the Troubles when they played Scotland they got a slot in a place north of Belfast (he remembers later it was Ballymena). Donal says he was worried and said it to his friend in Scotland Brooke Lindsey in Scotland who said it to two friends in Belfast who were two brothers, Rea who play accordian. They in turn said that Donal needn’t be worried coming to the North. He says there was no problem but there was a split in the camp, (with the band) which he says is very common. He says they didn’t have a bad night or a great night. He says it was unsettling and you’d prefer to be somewhere else. Tim asks Donal if he ever composed any tunes himself. Donal says just one which is named Donal Rings Jig. He talks about the process of how he composed and recorded it. He says it has been recorded in Scotland since as a man rang and asked could he record it to which Donal agreed. When asked did he get any royalties from it he says not at all and he says people think that if they hear you on the radio you are making money. He says he is registered with IMRO or The Irish Music Rights Organisation.[Restricted Access section here 1.15.43 to 1.16.46 ] </td> </tr> <tr> <td> 1.17.47 - 1.25.55 </td> <td> He speaks about playing in the Opera House with a tenor called John MacNally for a fortnight one time. Tim says that’s a name he hasn’t heard in a while and that he was very prolific at one stage, Donal says he was a lovely singer and thinks he went to Australia after. Tim asks Donal if he ever played the old Opera House, Donal says he didn’t but he did see it burning down. He goes on to speak about this, he says he was over the other side of the river watching it. He watched the tail end of the fire early in the morning as the Opera House smouldered. There were a lot of people looking on. He was young at the time and it was a shame to see it burning. He says his parents never went into the old Opera House, they were tough times he says. He says maybe a small bit of snobbery attached to the Opera House and a certain clique if you wanted to get work there you couldn’t get work if you attached to them. He doesn’t know if that still applies to the modern Opera House but he has heard they are tough. Tim asks does he play music by local composers. Donal mentions Jerry Casey as one, also Noel Crowley who wrote a few melodies for them. There were a few tunes written for their band here and there by various people. Tim asks were there a lot of people writing at the time, Donal says a man did several of what on the recording sounds like “poetry” on the band (Note: cannot quite make out this word) written by a man from Whitegate whose name he can’t recall. He says he has some at home and must root them out. He says they did a lot of rehearsing before they did recordings, as he said before the recording was expensive so they couldn’t rehearse during it. He says they would rehearse without amplification out in the hall. He says in relation to the amps and equipment that they started out with rubbish. He says they would be buying stuff that they thought was great and then it would turn out to be not that good. It would be a long time before you buy the right stuff. He says he bought a Thule speakers and amplifier in America in 1974 that he still uses. The amp is only 100 watt and he says today everyone is using 2000 watt amps. He says he can put it up against any of them. He never had to open them bar one speaker when the wire fell off of it. He speaks about using the PB501 microphone for the accordians and how he came about using it. He says you can’t get them anymore. He has two of them and several members of the band of them. He says a “bomb came down” on a factory that manufactures components for it and you can’t get it anymore. Tim mentions Peavey to which Donal says they wouldn’t be as good as Thule. He always used mikes he says. It didn’t restrict them onstage he says. He says Paddy O Connor of RTE gave him advice on microphones and sound and said don’t forget to play nice and easy. He never used sound engineers in the band. He did the sound himself he says. He says in certain halls you would have feedback problems. He remembers one hall in Portarlington Co Laois and a man said if you can get sound in here I life my hat. Donal says when he put the speakers up on stage the sound was desperate. Eventually he put them on the floor off stage and the sound was perfect. The man who was talking about the sound couldn’t get over it. He says how when he went into a hall for the first time he would whistle and if you heard it echoing back you knew you were in trouble. </td> </tr> <tr> <td> 1.25.56 - 1.35.23 </td> <td> Tim asks Donal if he ever played up the Glen, the Glen Hall in Blackpool. Donal says that’s where they started, they didn’t play the new one. He says the place was “black” with people, packed out completely. He say Jimmy O Rourke was running it and Donal says he was the man with the scoreboard afterwards at GAA matches at Pairc Ui Caoimh. Tim mentions that Donal had a song “the Bold Christy Ring” and asks did he know him. Donal says he did and that he was a great man. He says he didn’t talk a lot but he was very sincere. He says he met him after a County Final on a very wet day when the Glen were playing Youghal, Donal and Christy walked out together and they were talking about hurling. Christy said to him “look, if you’re a good player you’re a marked man, and you’ll know after a second ball whether they’re out to get you or not, and if you can’t take care of yourself you’ll be in big trouble”. He doesn’t know who wrote it. (Note: online sources indicate it is set to the tune of the Bold Thady Quill and the author of the lyrics remains unknbown) He never spoke about the song to Donal, it was very popular especially in Tipperary he says. He speaks about Paddy Carey singing it at shows and putting in mentions the Barrs, Jack Lynch and Glen Rovers, The Redmonds, Sean Og O Halpin and Julie Coughlan. He speaks of banter between Paddy and people from other counties at shows when he would sing it. Donal says he never met Sean O Riada, he says he did a lot for music. He says he was playing in Cashel County Tipperary recently and a lady came up speaking to him. She said she went to Coolea Irish College and she knew Sean O Riada and her father was a Clareman. She said she had read it the previous week that Sean O Riada was born in Cork and she couldn’t conceive that. Donal says he was a great man and his influence was enormous. He heard that he also played in Ceili bands. Donal speaks about the Cork singer Sean O Se. He sang with Donal often and they backed him. He is a fine artist he says. Donal says he knew Rory Gallagher, he says Rory used to go into Crowley’s. He says Rory played the Shand Marino accordion for a while with a band in West Cork and Donal says he has a photo somewhere of it. He thinks the name of the band was the Hawthorn or something like that. Tim mentions that Rory played with a band called the Fontana. Donal mentions a now deceased man called Joe Hayes who said to Donal did he remember when Donal said to Rory Gallagher that he should cut his hair. Donal said that he didn’t remember this. Joe said that it was as Rory was going into Crowley’s Music Shop and Donal who was walking outside on the footpath said to him “hello Rory, you should cut the hair, its getting very long”. Donal says he was a great man. Donal mentions a Cork tenor called Paul O Leary whom he says was the best tenor in the city. Tim returns to the subject of Rory Gallagher and asks Donal what he thought of his success. Donal says it was unbelieveable. He says he never played with him. Tim speaks about how Rory was experimenting with trad before his death and had worked with Ronny Drew. Donal speaks again about Rory starting on off the accordion. Tim asks did they work to a set list. Donal says they did within reason. It would happen in Scotland all right, they would get a setlist sheet he says. He remembers once they were playing in Dufftown in Scotland and at quarter to two there were three dancers left and he was convinced they would finish up but they kept going to get value for money. He doesn’t think anyone wrote a song about him, he jokes that a fellow has to die before they will talk about him. Tim says when he was young he would hear of a man who was nicknamed “Take the floor” Dinjo. (Note: Denis Fitzgibbon who hosted a popular Irish music dancing radio show called Take The Floor) Donal says he had a great influence on the scene. His father was mad for listening to him on the radio. Donal says he worked with him once when they did a tour with the Blarney Ceili band. They did a tour of Kerry and parts of Cork with Dinjo. He agrees that the Irish dancing came across well on the radio because you could hear the tapping. Donal thought it was a great idea. He says he knew the folklorist and broadcaster Ciarán Mac Mathúna as well, he did great work for Irish music he says. He says Paddy O Connor was talking about doing the recordings with him on the radio recently. He lived for Irish music he says. Tim mentions a number of names of traditional Irish musicians, Jackie Daly, Matt Cranitch and Seamus Creagh. Donal says he went to school with Matt Cranitch’s father and knows Matt well. Donal says he has a saying which he has often told. If you got a line long enough and start in Kinsale and divide Ireland in two up to the North every musician on the East Coast is superior to those on the West which he admits is a controversial opinion. He says all the best musicians were on the Eastern side of the line, he lists some. The Gallowglass Ceili Band, Jackie Ahern, Dermot O Brien, Blarney Ceili Band, Jackie Hearst.. He admits that the Kilfenora Céilí Band were very good and his own father was a great Kilfenora man but he says he never liked the pure trad style, he likes a cleaner style but he says they were a dance band. He says he has a cousin in Ballingeary who is a great player and he jokes he will kill him for saying it but he says when musicians from the West and East coasts play together they’re not together. There’s different interpretations of the tune by different players. </td> </tr> <tr> <td> 1.35.25 - 1.42.05 </td> <td> Tim mentions the renowned Clare fiddle player Martin Hayes and asks if he was a member of the Kilfenora Céilí Band to which Donal says he thinks he was. He say the Kilfenora have come along in a big way and he’s delighted for them. Tim mentions Dermot O'Brien the musician from Co Louth who was also a GAA footballer. Donal says the best the three best accordion players in the country were from Louth, he lists them as Dermot O Brien, Fintan Stanley and Paddy Neary. When Tim asks Donal where he would put himself Donal says he was alright to which Tim says he heard he was one of the best. Tim asks him if he knew other well known Cork characters such as Bernie Murphy and Bishop Con Lucey. Donal says he knew Bernie Murphy well and he mentions another Cork character from Fairhill who would do a trick where he would flip a penny up in the air then kick it up again with the heel of his shoe and then catch it in his coat pocket. He can’t think of his name but thinks his first name was Donie. Donal says he would do this trick for fun. He was famous for this trick and would do it on the street. (Note: this mans name was Donie Murphy and his nickname was Mad Donie. This information was found on the Facebook group Old Photographs Of Cork City And County). Donal mentions another Cork character who was known as the Bowler. He would bowl the bowls down Patrick Street. Donal says he came from Shandon. He would wear a white raincoat and a cap and Donal was selling confectionary at the time and he would meet him and the Bowler would say to him “I bate Mick Barry boy!” (Mick Barry the famous bowler). Donal would be ribbing him and said he didn’t to which the Bowler would say “watch this” and he threw the bowl down Patrick Street. Donal says there wasn’t as much traffic on the street then but it was still dangerous as it was an iron ball. Donal says he met Mick Barry the Cork bowler once when he was sick out in Ballincollig, Donal says his wife Bridies uncle beat him at bowling once, Jamsey Sullivan (James O Sullivan) from Killeens and he had the cup to show for it. He says that Jamsey threw a bowl up on top of the viaduct (on the Cork to Bandon road) but Mick Barry threw the bowl over it which was a sixteen ounce ball. He says the O Sullivan’s were all great bowlers and he mentions another Paul O Sullivan another from Blackpool Benny. He mentions they were also great tug o war men. There was a tug o war team in Killeens one time and in connection with this he mentions a Dan Twohig, he says the Twohigs were great men. He says you could hurt yourself easily at tug o war. Tim asks what did Donal think of Riverdance and he said it was unreal. He says it didn’t do themselves in the band any harm audience wise. He says Michael Flatley is a great dancer and Donal went to see the live show, he says everything about it is spot on. He can see it continuing on, he agrees that it fed the competitive side of dancing. Tim asks Donal if he thinks RTE were good to Cork music in general to which Donal says he doesn’t think so. He says they had to fight to get on it. He says that they were lucky that Donncha O Dulaing liked the band and put them on a lot of shows. He says Gina Dale Haze And The Champions who he says were a great band never got a shot on RTE, he says it was the same with the Gallowglass Ceili Band. He can’t understand it, he says they got on radio all right and the Blarney band but he says “if you’re not in Dublin you’re only in Ireland”. Tim asks about the BBC if they ever contacted them to which Donal says they did a few shows with BBC Scotland. Tim asks if the clergy ever got involved in the dancing (in an authoritarian way) to which Donal says they never interfered with them. He mentions a Fr Jim Donovan in Blackpool who was then moved to Dunmanway and he would book them for Dunmanway, he got them a lot of work there. He is now in Ballinlough he says. Tim ask if he has seen any young up and coming Cork acts that appeal to him and how he sees the ceili business going. He mentions that his son Donie started an accordion night in Pa Johnsons, the pub and people come from all round for it. </td> </tr> <tr> <td> 1.42.07 - 0.00.00 </td> <td> Donal speaks about his hopes for the future of ceili. He would like to see it continue but the thinks when his generation are gone we will have to wait a good few years for it to come Back and he believes it will come back in a cycle, he says everything gets a cycle but he can’t see it coming back for a long time. Tim asks him does he go see live acts these days to which Donal says now and again. He says a lot of them are one or two man bands, he says they are earning their money as it is tough with just one or two in terms of setting up equipment etc. Tim asks Donal if he used to read Spotlight Magazine and if he ever made the cover. (Note: Spotlight was an Irish music magazine mainly focusing on Showbands, it was later re- named New Spotlight). Donal says he heard of it. He mentions that Top Of The Pops was in that and a song he recorded called “Beautiful City” in Top Of Pops for six weeks. (Note: The reference to Top Of The Pops appears to be a reference to a music charts related section of Spotlight rather than the BBC music programme). Donal says he got a call from John Woods of Polydor Records, Donal mentions that he was a brother of Michael Woods the Fianna Fáil TD. John said to Donal that there was big demand for a song called Beautiful City and he asked would Donal and his band record it. Donal says the tenor Paul O Leary whom he mentioned earlier was singing it. They left and Donal was in his car and Paul was after buying a Renault. Donal says he passed Paul, then Paul passed him and vice versa. They arrived in Portlaoise and they were booked in there for lunch. Donal says a Mrs Grey came out and said they were in big trouble and one of the band were after going into the bog in Urlingford. Paul O Leary, and Donal’s brother Michael and Paul O Leary were in the car. She said no one was hurt but they were shaken. Paul had lost control coming into Urlingford and the car swung around and went into the bog. He mentions that Beautiful City was six weeks at number two in the Irish charts; they were just behind the Dixie’s. He says they didn’t come close with anything after. A discussion of Donal’s collection of photographs follows, talk of looking through them on another day is discussed. Tim mentions that Donal was winner of Cork Person Of The Month. A reception in City Hall for him is discussed and Donal says the president of the time Mary Macalise was there. Donal says that the man who set up the Cork to Swansea ferry won it (Cork Person Of The Year), Conor Buckley. He mentions that the service is now gone again. He says of his own night in the City Hall it was a bit nerve wracking. The City Council were very good to him he says and it was a great night. He got Cork Person Of The Month for March he says. He says that Sean McCarthy, the Cork sculptor did a bust of Donal which is out in the hall of his home for the bands 50’th anniversary. He mentions that he’ll be 80 soon and will be having a big night in Glenville at the end of the week. He says he might do simple stuff like Waltzes as jigs and reels are too strenuous at 80. Tim thanks Donal for speaking to him and wraps up the interview. Interview ends 1.49.05 </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 Donal Ring Date A point or period of time associated with an event in the lifecycle of the resource 06.10.2015 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_SR00564_ring_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 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 Audio/Wav Description An account of the resource Donal speaks about his career in music with the Donal Ring Ceili Band. How his interest in music stemmed from his father, a melodeon player. His first band with Donal Coleman from Grenagh. The Celtic Ceili Band from Mallow. Accordian player Noel Crowley from Dillon’s Cross. Donal’s early manager the comedian Tony Hegarty. Trying to get onto RTE television, the RTE shows Beirt Eile and Club Céilí. The story of how Jack Lynch helped to get Donal’s band their first television slot on RTE. Kevin McCourt, Director General of RTE. Denis Fitzgibbon. Take The Floor Dinjo. Stories of touring around Ireland to concerts in Donals Volkswagen mini bus. Dancehalls. Showbands. The Dixies. Joe Mac. Gina Dale Haze And The Champions. The Miami Showband Massacre. Playing in Northern Ireland. How the Troubles effected touring to the North. Donal’s job truck driving and involvement in the construction of Whitegate oil refinery and Cork Airport. Involvement in transporting sugar beet. Health and safety. Different makes of accordion. The Shand Morino accordion. Scottish accordion player Jimmy Shand. Louth accordian players Paddy Neary ,Dermot O Brien, Fintan Stanley. Scottish musician Jim Cameron. Anecdotes about Rory Gallagher and Crowley’s Music Shop. How Rory Gallagher played accordion in a ceili band in his youth. Singer Sean O Se. Sean O Riada. Country N Western star Robert Mizzell. Windmill Lane recording Studio. Bill Somerville- Large. Clay Castle Recording Studio Youghal. Jackie Daly, Matt Cranitch and Seamus Creagh. The Gallowglass Ceili Band, the Celtic Ceili Band, the Blarney Ceili Band. Blarney Brass & Reed Band. The Regal Showband. Cork band the Arrivals. Concerts in Cork City Hall. The Palm Court Ballroom. (the Oliver Plunket) . St Francis Hall. Fr Roberts a Franciscan priest of St Francis Hall. The effect on Dancehalls of the building of lounges in pubs. Types of dances, the Foxtrot, jigs and reels, Siege Of Ennis, Riverdance, Michael Flatley, the Kipe, the stack o barley, the sweets of may, the Slosh. Dance teacher The MP” Foley. Fiddler Margaret McCarthy. Waltzing competitions. Set dancing. Road bowling. Bowler Mick Barry. Jamsey Sullivan bowler from Killeens. Tug o war. Dan Twohig. Donal’s memories of Cork hurler Christy Ring. Christy speaking to him about the techniques of hurling. Na Piarsaigh hurling club. An eccentric character from Shandon nicknamed “The Bowler” who would claim to have beaten Mick Barry and who bowled a ball down Patrick Street. Fairhill character Donie Murphy “Mad Donie” and his famous coin trick. How downloading has effected the sale in cds. GAA. Hurling. The Barrs. Pairc Ui Caoimh. Songwriter Jimmy McCarthy, Donal’s family connection with him. Cork sculptor Sean McCarthy. Spotlight Magazine. The song Beautiful City and how Donal and his band had a hit with it in the Irish charts. Donal being awarded Cork Person Of The Month. The Kilfenora Céilí Band. Clare fiddle player Martin Hayes. The Stardust fire and its effect on fire safety regulations. Dress attire at dances. Men asking women to dance at dances. Ladies Choices. Recording sessions and how recording studios charged by the hour, how some orchestrated power cuts deliberately to draw out the recording process. Comical stories of life on the road touring. Playing chess on the tour bus. How a lampshade nearly fell on a bandmember. Traditional Irish music folklorist Ciarán Mac Mathúna. accordion band Brendan Bowyer Career Cars Céilí Ceili Band Clothes Dancehalls Dillon’s Cros RTE media Music Sean O Riada Sean O Se Showbands https://corkfolklore.org/archivecatalolgue/files/original/063b7d79cfc9c286adab2d7b99bdf590.jpg cbf1c711785600501bec005b1d811bed https://corkfolklore.org/archivecatalolgue/files/original/978cf13fde1c71fa2f55f998ba1df962.mp3 64b043de0fd787e2b2d8909429e8e21d 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 Derrick Gerrety Interviewer The person(s) performing the interview Derrick Gerrety Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 120min Location The location of the interview Douglas Street, 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 DG: Douglas Street is a fantastic place to live. I mean it took a while for people to get the hang of what exactly was going on in that bar yeah I mean there were old men, it was the early ‘80s there were quite a few old men who would start drinking at one end of the street and work their way along the street and would always come into me and I’ve great memories of some old guys with soft hats, and eh pipes and whatever and would always eh and even when the bar got busy and even when the bar became quite gay those guys still came in [laughs] I loved that, I loved that. Now I was always particularly attentive [pause] I loved that anyway. So I would always be particularly attentive to older people and whether they're comfortable eh I suppose I got that from my parents. There was one man who lived two doors up Charlie Callnan and he used to come in and he had a soft hat, and he was just a sweet man and he always referred to his wife as The Queen. Yeah. And I actually became very friendly, she was very tall, very elegant lady. Mrs Callnan and I used to be quite, eh a little fearful of her she was quite a formidable looking lady, yeah and actually poor Charlie got Alzheimer’s in the end and I knew, you could see how he was getting. He didn’t know who I was after a while it was kind of sad then. And he used to tell wonderful stories about the pub. Yeah. Which he lived next door to all his life. So he had fantastic stories about who ran it and who lived in it and you know all the people who used to drink in it and all the crazy stories from years ago. AC: What type of thing did he tell you? DG: Ah, things like they used to do on Good Friday. On Good Friday the pub would close and eh rather than not drink on Good Friday the fellas would contrive all kinds of schemes and he told me this great story of some fella he used to drink in the bar used to drive a Tayto van and Good Friday all the lads eh he kitted the van out as a bar just for Good Friday, the madness of it like, they drove down to the Monahan Road and parked the van, the boys went on the piss for the day in the back of the van like, just because it was Good Friday you know. Crazy stuff like that. And fellas then who were [pause] in those days there was a snug. There was a little mark on the ceiling in Loafers which was the snug, the mark of the snug and of course in those days the snug was for women. Women would come in and have a bottle of stout in the snug right and he told me this lovely story of this woman who eh came in with a friend of hers and she had her bottle of stout in the snug and her husband didn’t think she drank and her husband never drank, well it was The Shamrock Bar in those days, her husband never drank in The Shamrock Bar right but on this particular day she was doing her shopping and came in with her friend and had a bottle of stout and went into the snug and closed the door. Whilst she was in there her husband and a few friends came in and she couldn’t leave. [laughs loudly], so that was another story and also Lunhams Bacon factory was in, when I opened Loafers there was a laneway directly opposite into what was the car park. That was Lunham’s Bacon factory which I remember from when I was a young fella in Cork and all the workers from Lunham’s Bacon Factory used to drink in all the pubs along you know and at lunchtime what they would do they would bring over a lump of bacon and the people who used to own The Shamrock Bar, the lady of the house she would boil up the bacon and then she’d have sandwiches and stuff ready for them at tea time and they’d come in and sure they’d stay there half the night then eating the bacon sandwiches that she was after making, stuff like that. Real old. And I remember Douglas Street from when I was, the early 60’s from when I was a kid and I remember actually number 27 Douglas Street which I eventually made and made part of Loafers was O’Callaghan’s bicycle shop and eh I remember bringing my bicycle in to have the puncture repaired in to Mr O’Callaghan little did I know as a 15 year old that I would eventually own the building but yeah so I always loved Douglas Street, because Douglas Street was always like to me the main street of a country town as opposed to being a town in the city it had that kind of atmosphere and it had a lovely curve on it. You couldn’t stand at one end of Douglas Street and look directly down it because of this little kind of a mischievous curve that was in it and all the higgledy-piggledy buildings you know there were two storey houses and three storey houses it always gave off that atmosphere to me of a main street in a country town and actually when I moved, when I bought Loafers in 1960 eh, losing track of time here, 1983 there was actually a little shop in Douglas Street run by an old woman and all she sold was tea towels and if you can imagine this little Dickensian shop about seven feet wide and a little counter and a woman in there sitting there and selling only tea towels. 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 Derrick Gerrety: Douglas Street, Loafers, Dublin, Subject The topic of the resource Life History: Description An account of the resource Derrick was born in 1950. He grew up in St Joseph's Square, Vernon Avenue, Clontarf, in a working-class enclave within a middle-class area. He describes his childhood as idyllic. The houses in the square were rented from the Sisters of Charity; nearby lay the estate of Lord Ardilaun, one of the Guinness heirs. He recalls his neighbours in the square. When Derrick was 11 or 12 he joined the Sea Scouts. He became an engineer cadet in Irish Shipping and moved to Cork. He sailed to New York, South America and the Far East. He was a seaman for 18 years. How he opened Loafers, a gay bar. The experience of being gay-bashed. How people managed to drink on Good Friday. Derrick recalls characters who frequented the bar. Gay haunts around Cork. He describes some of the businesses of Douglas Street. He talks about his house, and about Cooper Penrose Date A point or period of time associated with an event in the lifecycle of the resource 18 July 2012 Contributor An entity responsible for making contributions to the resource Interviewee: Derrick Gerrety Interviewer: Alvina Cassidy Identifier An unambiguous reference to the resource within a given context CFP_SR00418_gerrety_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, Dublin, 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/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</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 1980s 1990s Cooper Penrose Derrick Gerrety Douglas Street Dublin Gay life Irish Shipping LGBT Loafer's Lunham’s Bacon Factory Murphy’s Brewery Quay Co-op Robert Emmet Sarah Curran Woodhill House Working class https://corkfolklore.org/archivecatalolgue/files/original/2cf83d06c6b57a57dc86ebf3673d6d3f.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 https://corkfolklore.org/archivecatalolgue/files/original/cedb71e9b34a3251bebb00411cefd3de.mp3 669027436f120dc95201dd4a40413033 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 Denise Gabuzda Interviewer The person(s) performing the interview Mark Wilkins Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 24min 13sec Location The location of the interview St Lukes, Cork City, 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 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 I think probably the most distinctive thing about Quakerism is that it is based on the premise that everybody is equal. Religion really equal and that we don’t need any kind of intermediary between us and God or the Spirit and, for that reason, back when Quakerism came into being in the 17th Century they decided they didn’t need priests or Ministers or any kind of Pastor and, essentially, the whole structures of how Quakers do things are based on the idea that we can have that direct contact. So the appearance of a Quaker meeting on a Sunday morning, Quaker meeting houses are very different than what most people are used to in terms of churches or temples or synagogues or whatever. The building will be very simple, very little adornment and there’s no programme at all. There’s nobody leading the service. We just sit in silence for about, mostly silent for about an hour. Occasionally somebody may get up and say something that they feel moved to say and, in principle, we believe that sometimes when this happens that person is actually moved to say something by the spirit of God and so, in some sense, they are acting as the Minister of the meeting during the time that they get up and speak. So that’s what a Quaker meeting is like. That’s the form of worship that Quakers use, mostly silence with a bit of sort of inspired ministry from a number of people during the course of about an hour. All the work that would normally be done by paid clergy or priests or Ministers is done by committees essentially, by officers who are appointed for a few years and then they may step down and somebody else will be appointed to do the job. 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 Denise Gabuzda: Quakerism and the Cork Quaker Meeting House Subject The topic of the resource Built Heritage: Description An account of the resource Denise Gabuzda briefly discusses Quakerism in general and the Cork Quaker Meeting House. Date A point or period of time associated with an event in the lifecycle of the resource 10 September 2014 Contributor An entity responsible for making contributions to the resource Interviewee: Denise Gabuzda Interviewer: Mark Wilkins Identifier An unambiguous reference to the resource within a given context CFP_SR00527_gabuzda_2014 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 1600s, 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 Format The file format, physical medium, or dimensions of the resource 1.wav File Type The nature or genre of the resource Sound Cork Quaker Meeting House Denise Gabuzda Quakerism https://corkfolklore.org/archivecatalolgue/files/original/64e82dec054a2f1ab12d78f96c615d8b.jpg cbf1c711785600501bec005b1d811bed https://corkfolklore.org/archivecatalolgue/files/original/eda9e60f9a3c12ae0b180195bd2ad0c2.mp3 e5d8c38317fdcf400ce0e327606feffe 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. Interviewer The person(s) performing the interview Gearoid O'Donnell Interviewee The person(s) being interviewed Denis Murphy Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 58min 16sec Location The location of the interview Blarney, Co. 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 <p style="margin-left:2.54cm;text-indent:-2.54cm;margin-bottom:0cm;border-top:none;border-bottom:1px solid #000000;border-left:none;border-right:none;font-weight:normal;line-height:200%;padding:0cm 0cm .07cm 0cm;">DM: When I was growing up it would in latter years would always be Blackpool, Dublin Hill looking down on the city. A sense of my own place there like you know what I mean walking through it but I have to say since I’ve been involved in the Cork Foyer Project in the Assumption, sit down there, have your cup of coffee, look down over Blackpool, rained like last winter, last Christmas there when the snow, sit down enjoy inside in the glass house looking out, Jesus ‘twas a piece of heaven, you know what I mean that would be, I’d have to say that scene is good enough for me at the moment anyway. 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 Denis Murphy: Blackpool, Pubs, Food, Subject The topic of the resource Life History: Description An account of the resource Denis was born in Dublin Street, Blackpool. [1960s.] His family owned a pub there called the Bowler’s Rest. His parents were from West Cork. He went to school in Rathpeacon. Millfield Cottages were built near the mill houses that existed there since the 16th Century. He recalls 7 shops in Dublin Street. Cows and sheep were herded through Blackpool on the way to export by boat. At one time there were 5 bacon factories in Blackpool. Many people kept pigs and chickens. He remembers a delivery man who used to drink on the job. He tells a funny story about skipping His interests lie in gardening and growing food. He talks about traditional local food and asks why it is not more celebrated, such as tripe, drisheen and crubeens. Blackpool has a rich history, in crafts and industries, such as whisky distilling. He recalls a few characters from his days in the pub trade. He talks about the decline of the trade, and of the role of drink-driving laws and of societal changes. He likes. Blackpool but thinks it has been neglected. Date A point or period of time associated with an event in the lifecycle of the resource 15 September 2010 Contributor An entity responsible for making contributions to the resource Interviewee: Denis Murphy Interviewer: Gearoid O'Donnell Identifier An unambiguous reference to the resource within a given context CFP_SR00403_murphy_2010 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-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/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</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 1960s 1970s 1980s 1990s 2000s Alcoholism Blackberry-picking Blackpool Crubeens Denis Murphy Distilling Drisheen Food Gardening Glennamought Millfield Millfield Cottages Pubs Rathpeacon Schooldays The Bowler's Rest Tripe Tripe and Drisheen Whisky Woollen Industry https://corkfolklore.org/archivecatalolgue/files/original/70f544ae25025d49c5288eeb550ce5b7.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/86dd377f795139cb9cdaa800f9ed884b.mp3 bb4b8148e0458e4e46a4181f8a1b16bf 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 Denis P. Long Interviewer The person(s) performing the interview Stephen Huner Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43min 04sec 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 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 S H: Incredible. You obviously have a great love of Blackpool and adjacent areas. D L: I have, yes. S H: You would regard the Bride Valley, this whole valley here as a special place? D L: Oh, a very special place. I really think that over a hundred years, hundred and fifty years ago, I really think it was isolated from the City of Cork. That it was a place unto its own. A place that people would refer to; “Blackpool ". And not even mention Cork. S H: So where do you think the “dark pool” part actually came from? D L: Well, Blackpool was a very boggy area and there was three different rivers coming into Blackpool. And it was really a very boggy area and it took them a long time to get the rivers to run into one course. I'm just looking for a little bit here now. Anyway, they got 'em to run into one river and that carries on into the Northern part of the city and down into the River Lee. But um....what did you say then? S H: Oh, I just said.... well, has the physical appearance of the area changed much over last sixty years or so? D L: It has. Blackpool was made up of a lot of lanes. Small lanes. And the people that lived down there, most of them were related to one another. S H: And then those big anonymous blocks of flats were put up, it changed, I suppose. D L: They did. This is... I describe Blackpool as “A comfortable and long-established district, nestling between the hills of Farranree and the heights of Farrancleary ". And I said: " From such a hard and humble beginning, there are now many fine buildings and splendid streets, from Hatton's Alley, where was situated the original 'Blackpool' ". There was some leather-works or something there and the water took on a dark colour, and of course, that was “Blackpool", “Linn Dubh” in Irish. "The streets and lanes have spread out, northwards there is Great William O'Brien Street, Brocklesby Street, where our beloved school is situated, Commons Road, Thomas Davis Street, named after the great Irishman who said ' Educate, so that you may be free ', Dublin Street and Dublin Hill, Mallow Road and Millfield Village. Then towards the city, there is Watercourse Road, O'Connell Street, called after the great Statesman who won emancipation for the Catholic Irish; then, to manifest the genuine core of its honest Irishness, let the long list of the lanes of Blackpool be written. Spring Lane, Walshe's Lane, Green Lane, Foster's Lane, Slattery's Lane, Wherland's Lane, Broad Lane, Narrow Lane, Sunday School Lane, Quarry Lane, Peacock Lane, Keller's Lane ". That was Blackpool, compact, close, you see. 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 Denis P. Long: Working Life; Balckpool; Austrailia Subject The topic of the resource Life History; Description An account of the resource Denis grew up in Blackpool. His father was a train driver. He worked for the ESB (Electricity Supply Board) but wanted to earn better money and went to Australia in the 1950s. He tells a funny story about visiting a rocket range and meeting someone who recognised him from Cork. He describes Blackpool as having been made up of numerous lanes and observes that its name derived from it being a boggy place full of streams. He comments that the River Lee is said to claim at least one life by drowning a year. There were two holy wells at Sunday’s Well; another called Lady’s Well at Leitrim Street. He talks briefly about Poulraddy Harbour, Micah’s Harbour, and Corkeran’s Quay. The latter two places had grand names but were insignificant. He sings a verse of a song about the latter called “The Cruise of the Mary Jane” and a song that a teacher made Denis remembers that there was an incident with a harbour ferry in the 1940s which lost its steering and caused great panic. He recalls the sports played in Cork, including bird-catching. Denis wrote a book called The Spirit of the Glen, about Glen Rovers GAA club. There was a flood in Blackpool in 1935, and he recounts a funny story about a boy floating by on a sofa. He remembers that a local man developed a way to generate his own electricity using water power. He was a teacher; under the system then, school monitors could become teachers without passing a teaching exam. Date A point or period of time associated with an event in the lifecycle of the resource 12 January 1998 Contributor An entity responsible for making contributions to the resource Interviewee: Denis P. Long Interviewer: Stephen Hunter Identifier An unambiguous reference to the resource within a given context CFP_SR00177_long_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: Australia: 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 1920s 1930s 1940s 1950s 1960s Australia Bird-Catching Blackpool Corkeran’s Quay Denis P. Long Glen Rovers Holy Wells Micah Carroll Michael Carroll Sunday’s Well Teaching https://corkfolklore.org/archivecatalolgue/files/original/0ac0da4da61bf5c007875b7025acce03.jpg 3eba409b002f9f36433bec89d90737a2 https://corkfolklore.org/archivecatalolgue/files/original/a84afb2cac9cbf00e4aa0f7f0db58eae.mp3 739f571453164ad7a510f58780a674c8 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 Francis Quirke Interviewee The person(s) being interviewed Dearbhla Kelleher Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35m 41s Location The location of the interview Ballyvolane, 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 F Q Now we’ll get to night-time when you are going out, when you’d be going out at night, what places do you like? D K It depends what night it is really I suppose, ‘cause Thursday’s night our college night, so what we do of a Thursday night is usually go up to Brannigan’s ‘cause its thirsty Thursday up there, and the pints are cheaper so [laughs]. We usually take an interest in that now straightaway. So we’d go to Brannigan’s now alright, we go to Bruno’s, that’s nice pub, that’s down there by the Mardyke and or else would we go now. Oh, I’m trying to think there now, so many of them there we go, well I’d call into Axies, because my friends, one of my friend works in there like so I’d call in for one maybe in there. And then afterwards, we’d go to the, probably Club One, down by Phoenix Street. F Q Oh yeah, yeah. D K So I like that place, do you know so? Its kind of a mixed crowd in there really, so its grand, do you know there is a lot of different people, do you know different nations and different age groups. F Q Is there yeah? D K Yeah, I like that place in there now so that’s usually where we go at night now or unless we, that’s usually on a Thursday night now unless it’s a Saturday night when town is packed altogether, you just go where you can go. Go where you can get in so. F Q So like besides that Club One, is there any other clubs that em? D K That I go to, some of my friends love Vibes, you know Mangan’s, the old Mangan’s, they always go in there but I’ve been in there too much so I’m getting sick of it.[laughs] F Q Would that be a late bar? D K Newport next door that’d be a late bar, and then Mangan’s would be the club. F Q Oh yeah, yeah. D K They’d be open to about maybe two-ish, then after that get kicked out. Get your munch up in Hillbillys then. F Q What would ye go for something to eat then? D K Oh, I have to get Hillbillys, I get a breast in a bun. Oh yeah. F Q Where’s that in MacCurtain Street is it? D K Oh, there’s one alright in the Grand Parade but the one in MacCurtain Street is lovely. It's nicer. F Q Is it? D K I don’t know what the difference is but we always go up there. F Q What about now we’ll say before you go out, the ritual of going out, would, getting ready like, would ya? D K Ah yeah. F Q How long would it take you to get ready? D K Ah God, depends if I’m in a rush or sometimes I could do it, then in about ten minutes. No, but, come home now and , come home from work or whatever go in for a shower and I’d start getting ready around, I don’t go out ‘till late, you see, I don’t go out until maybe around half nine, ‘cause I just can’t stand being out and nobody out like so, I start getting ready about maybe half seven, quarter to eight kind of way, and I get out and all for maybe around half nine so. Ah, It doesn’t take me that long but you know I could be just. F Q I know just. 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 Dearbhla Kelleher: Clubbing, Slang, Social life, UCC, Subject The topic of the resource Life History: Youth; College; Description An account of the resource Dearbhla is from Ballyvolane . She is interested in music and drama and has appeared in several productions. Her father was from Sheare’s Street, and she briefly relates some of his childhood escapades. She talks about going out socialising and the rituals of the night and getting ready. She discusses some Cork slang words. 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 20 December 2004 Contributor An entity responsible for making contributions to the resource Interviewee: Dearbhla Kelleher Interviewer: Francis Quirke Identifier An unambiguous reference to the resource within a given context CFP_SR00357_kelleher_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; 2000s; Relation A related resource Published Material; ‘How’s it Goin’, Boy? radio series (six thirty-minute episodes, broadcast 2005 and available oCork 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>:n the Cork Folklore Project website) 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 Clubbing Cork 2005 Dearbhla Kelleher Education Slang Social life UCC University College Cork https://corkfolklore.org/archivecatalolgue/files/original/6ceaff5b5047eee61624a84548ba8ed2.jpg 36af5612c55c8935be741a54859e878a https://corkfolklore.org/archivecatalolgue/files/original/47e3f418937b4152e65cdf9d53cc6ebe.mp3 7ee55b89265ca66ff55ec35959c74ac9 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 Lee Cassidy Interviewee The person(s) being interviewed David Walker Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 12m 03s Location The location of the interview Washington St, 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 L.C.: So Dave em can you tell me a little bit more about you know what a treat was for you as a child can you think of any more examples. D.W.: We didn’t by then we didn’t real do much I mean birthdays were, there be a birthday cake and stuff it was no it wasn’t a big deal, presents tended to be because I‘m born on the 25th of November there was either one big present for both Christmas and birthday or a couple of little ones. Em we didn’t used go much visit relatives maybe, well I’d say trips to the cinema and that was more we’d used go and stay with my gran and granddad in Girvan for a week at a time in the summer holidays as much to give my mum and dad a break I suppose, so we used to go to the cinema then and as part of that whole seaside town, I associate the seaside, the beach, and the cinema and café and Ital the was loads on the west of Scotland more throughout Scotland there was loads of Italian cafes there all run by Italians who turned up around the World War Two and they all made I don’t know about now, but they all used to make their own ice cream you’d get a real proper ice cream in cones not this stuff with the flake in it you know what I mean . It wasn’t the fl.. it wasn’t so much the flavour we used to get vanilla and stuff but big cones of it and getting all sticky and ice cream everywhere it was great its was and the cinema as well and it wasn’t the whole range of like snacks and lemonade and stuff you know at all. There was just you know popcorn I remember crisps actually I don’t know if I remember popcorn, crisps and orange juice, like fizzy orange yuck horrible I mean now its horrible it just so sweet but as a kid it was great you know. So I can remember going up the steps and in the doors and everything big yeah and sitting on those seats would fall down and as kid you would be really careful because if get it wrong they flip up on ye you know and yeah I remember the dark just that anticipation waiting for the film to start because it was all, we didn’t have a tele for years and years. The first thing I really remember on the tele would be 63, 64 or something I was about eight or nine years old by then, I don’t have any of tele’s before that really. 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 David Walker: Family, Cinema, Holidays, Scotland, Subject The topic of the resource Life History; Family; Description An account of the resource David talks briefly about his childhood in Scotland. David’s father was the manager of a country estate. He talks about the idyllic life there and recalls childhood activities such as going to the cinema. 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 17 December 2004 Contributor An entity responsible for making contributions to the resource Interviewee: David Walker Interviewer: Lee Cassidy Identifier An unambiguous reference to the resource within a given context CFP_SR00356_walker_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; Scotland; 1950s - 1960s; 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/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/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 https://corkfolklore.org/archivecatalolgue/files/original/2b4070e9e95e4121ae0aab3ff71bf7b3.jpg bd5d42f7d9fcced0a799914d09964403 https://corkfolklore.org/archivecatalolgue/files/original/f960d33a294c42aa1ccc2aacc433cbf3.mp3 31dd07aecb0f9ba174e7744ec8119feb 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 Walls Could Talk: Stories of Cork's Built Heritage (2013) Subject The topic of the resource Built Heritage: Description An account of the resource In 2013, 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 the Trinity Presbyterian Church, the National Sculpture Factory, the Custom House/Port of Cork, the Pavilion, the Masonic Hall, Triskel/Christchurch, Cork Vision Centre, South Presentation Convent, Elizabeth Fort, St. Fin Barre's Cathedral, UCC Crawford Observatory and Blackrock Castle Observatory. The overall built heritage project was continued throughout 2013 and 2014 in order to create an interview collection and DVD on the other buildings featured in Cork Heritage Open Day. Interviews about UCC Boole Library and Cork City Opera House, which were not featured in the first DVD, form part of this collection. The DVD was edited by Ian Stephenson, and featured music by Mark Wilkins and photography by Gráinne McGee. The project was co-ordinated by Mary O’Driscoll. The film contributed to Cork City Council’s Cork Heritage Open day, winning the Irish Heritage Council Heritage Week 2013 Award for the Best Interactive Event. A second DVD was produced by the Cork Folklore Project in 2015, drawing on further interviews carried out by Mark Wilkins, entitled If the Stones Could Speak. Support: this project was part-funded by Cork City Council. 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 2013 Contributor An entity responsible for making contributions to the resource Interviewees: Kitty McSweeney; John X Miller; Eibhlin Gleeson; Geraldine Healy; Mary McCarthy; Carmel Hartnett/Maeve O'Sullivan; Michael Holland; David Ryan; Ria O'Sullivan; John Faris; David J Butler; Patrick Walsh; Roger "Ronnie" Herlihy; Interviewers: Mark Wilkins; Ian Stephenson; Rights Information about rights held in and over the resource Cork Folklore Project Relation A related resource If the Walls Could Talk: Stories of Cork's Built Heritage (2013) <a href="http://corkfolklore.org/films/">Film</a> If the Stones Could Speak: More stories from Cork's heritage (2015) Links to: <a href="http://corkfolklore.org/archivecatalolgue/collections/show/12" target="_blank" rel="noreferrer noopener">Catalogue Collection</a> <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">Film</a> Format The file format, physical medium, or dimensions of the resource 13 .wav files 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 Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/document/6">CFP_SR00492_herlihy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/7">CFP_SR00493_walsh_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/8">CFP_SR00494_butler_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/9">CFP_SR00495_faris_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/10">CFP_SR00496_osullivan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/11">CFP_SR00497_ryan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/12">CFP_SR00498_holland_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/13">CFP_SR00499_hartnett&osullivan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/14">CFP_SR00500_mccarthy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/15">CFP_SR00505_healy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/16">CFP_SR00506_gleeson_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/17">CFP_SR00507_miller_2013</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 city and surrounds. The 1700s to 2000s, with some reference to 500-1700. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Mark Wilkins Interviewee The person(s) being interviewed David Ryan Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 26m 14s Location The location of the interview Triskel Christchurch, Tobin St, Cork City, 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 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 DR Ok, well the current Christchurch building that’s ya know here at the moment it was the third building on this site to the best of our knowledge. Eh it was built in the 1720’s, we think it was 1726 when it was completed and it was a Cork architect by the name of John Coltsman who was responsible for the building. Eh the only other projects we know he was definitely involved in were the current Southgate Bridge and the Old Northgate Bridge. Now we don’t know ya know what other projects he might have been involved in because despite being from Cork we haven’t actually managed to keep much information on him. Eh now even ya know back then sure it would have looked slightly different because the original design involved a tower. Now the tower was originally meant to go up to...I think it was 176 feet, eh but when they got to 130 they realised that it just wasn’t going to work, that it just wasn’t stable, because as everyone knows the word Cork comes from the Irish ‘Corcaigh’ ‘bog or marsh’ and back then a portion of Cork was still very boggy and marshy. So the Christchurch tower started to lean and there was a saying in Cork at that time ‘all to one side like Christchurch tower’ and many of the people living along eh what was then Christchurch lane would have obviously been concerned that the tower was going to collapse and take them with it. So in the 1820’s they got rid of the tower finally. Now the current church was Anglican Church of Ireland up until it was deconsecrated in 1978 and at that time, Cork city council offered to purchase it for 20,000 pounds and they also paid decided they’d throw in another 20,000 as you did for the organ. And it was then used for the as a home for the Cork archives Institute which eventually became the Cork City and County archives who are based up in Blackpool. So they left the building in 2005 and Triskel reached an agreement with Cork City Council to take over management of it and 4.8 million Euro was spent on the restoration. Half of that came from European funding, the rest was from the city council. 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 David Ryan: Christchurch, Siege of Cork, Sir Henry Browne Hayes, Triskel Arts Centre, Subject The topic of the resource Cork's Built Heritage Description An account of the resource David talks about the history and use of Christchurch and the adjoining Triskel arts centre. He describes the Siege of Cork in the 1690s when the church was badly damaged. He relates the story of Sir Henry Browne Hayes, who kidnapped Quaker heiress Mary Pike, was transported to Australia and is buried in Christchurch. This interview was conducted for the DVD If the Walls Could Talk. Date A point or period of time associated with an event in the lifecycle of the resource 17 October 2013 Contributor An entity responsible for making contributions to the resource Interviewee: David Ryan Interviewer: Mark Wilkins Identifier An unambiguous reference to the resource within a given context CFP_SR00497_ryan_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 City; Ireland; Built Heritage; 1770s-200Os; Relation A related resource If the Wall Could Talk: Stories Of Cork's Heritage Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/document/6">CFP_SR00492_herlihy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/7">CFP_SR00493_walsh_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/8">CFP_SR00494_butler_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/9">CFP_SR00495_faris_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/10">CFP_SR00496_osullivan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/12">CFP_SR00498_holland_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/13">CFP_SR00499_hartnett&osullivan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/14">CFP_SR00500_mccarthy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/15">CFP_SR00505_healy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/16">CFP_SR00506_gleeson_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/17">CFP_SR00507_miller_2013</a>; Published Material: If the Wall Could Talk: Stories Of Cork's Heritage (2013) DVD If the Stones Could Speak: More stories from Cork's heritage (2015) DVD 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 Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound Built Heritage Christchurch If the Walls Could Talk Material Culture Siege of Cork Sir Henry Browne Hayes South Main Street Tobin Street Triskel Arts Centre https://corkfolklore.org/archivecatalolgue/files/original/adaa6cf9e69308013908a658ccdbb3c6.JPG 42115237ae89008107b27ea029da07f6 https://corkfolklore.org/archivecatalolgue/files/original/33d8c194befc682270c5ef74a1bffc44.mp3 db515fb76803c6256f59c1f7fe6224e4 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 Walls Could Talk: Stories of Cork's Built Heritage (2013) Subject The topic of the resource Built Heritage: Description An account of the resource In 2013, 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 the Trinity Presbyterian Church, the National Sculpture Factory, the Custom House/Port of Cork, the Pavilion, the Masonic Hall, Triskel/Christchurch, Cork Vision Centre, South Presentation Convent, Elizabeth Fort, St. Fin Barre's Cathedral, UCC Crawford Observatory and Blackrock Castle Observatory. The overall built heritage project was continued throughout 2013 and 2014 in order to create an interview collection and DVD on the other buildings featured in Cork Heritage Open Day. Interviews about UCC Boole Library and Cork City Opera House, which were not featured in the first DVD, form part of this collection. The DVD was edited by Ian Stephenson, and featured music by Mark Wilkins and photography by Gráinne McGee. The project was co-ordinated by Mary O’Driscoll. The film contributed to Cork City Council’s Cork Heritage Open day, winning the Irish Heritage Council Heritage Week 2013 Award for the Best Interactive Event. A second DVD was produced by the Cork Folklore Project in 2015, drawing on further interviews carried out by Mark Wilkins, entitled If the Stones Could Speak. Support: this project was part-funded by Cork City Council. 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 2013 Contributor An entity responsible for making contributions to the resource Interviewees: Kitty McSweeney; John X Miller; Eibhlin Gleeson; Geraldine Healy; Mary McCarthy; Carmel Hartnett/Maeve O'Sullivan; Michael Holland; David Ryan; Ria O'Sullivan; John Faris; David J Butler; Patrick Walsh; Roger "Ronnie" Herlihy; Interviewers: Mark Wilkins; Ian Stephenson; Rights Information about rights held in and over the resource Cork Folklore Project Relation A related resource If the Walls Could Talk: Stories of Cork's Built Heritage (2013) <a href="http://corkfolklore.org/films/">Film</a> If the Stones Could Speak: More stories from Cork's heritage (2015) Links to: <a href="http://corkfolklore.org/archivecatalolgue/collections/show/12" target="_blank" rel="noreferrer noopener">Catalogue Collection</a> <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">Film</a> Format The file format, physical medium, or dimensions of the resource 13 .wav files 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 Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/document/6">CFP_SR00492_herlihy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/7">CFP_SR00493_walsh_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/8">CFP_SR00494_butler_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/9">CFP_SR00495_faris_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/10">CFP_SR00496_osullivan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/11">CFP_SR00497_ryan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/12">CFP_SR00498_holland_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/13">CFP_SR00499_hartnett&osullivan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/14">CFP_SR00500_mccarthy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/15">CFP_SR00505_healy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/16">CFP_SR00506_gleeson_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/17">CFP_SR00507_miller_2013</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 city and surrounds. The 1700s to 2000s, with some reference to 500-1700. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Mark Wilkins Interviewee The person(s) being interviewed David J. Butler Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 20m 24s Location The location of the interview Masonic Hall, Tuckey St, Cork City, 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 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 D B: William Henry Beamish who was probably managing director or managing partner of Beamish and Crawford was provincial deputy grand master or vice president as such of the province of Munster for a long time he was deputy to Lord Bandon, the fourth Earl of Bandon whose portrait is on the stairs, that was very much in those days a ceremonial title and it was the deputy who did all the work. We have two oil portraits in the Lodge Room one over each of the entrance doors, one is of William Henry Beamish and one is of a man called Anderson Cooper who was head of the provincial Bank of Ireland here in Cork for a long time. Freemasonry always been a bit unusual in that it attracts people of rank and no rank, privilege and no privilege in equal measure and even today you would have, from the unemployed student and the taxi driver through the farmer and shopkeeper to the substantial property owner and you know, the modern day successor of the so called ‘landlord’, and it was always like that. I think, in some families it might of ran in families in inverted commas but there, I think the oldest family with continuous linkage with Freemasonry proven back as far as the 1720’s when our records begin in 1725, would be the Noonan family and they would have been property owners in Cork and in Carrigaline for a long number of years. But it would vary hugely you would have a lot of generations skipped in families you know it doesn’t always follow through. M W: If you went back a little bit of, back there a small bit to Elizabeth St. Ledger, did she continue as a Freemason?, I mean -- D B: She did M W: She did? D B: To her death. M W: Yeah, so it wasn’t just that like she stuck, you the legend is you know she stumbled across the ritual and they, you know -- D B: And they had to initiate her -- M W: Had to initiate her and -- D B: And in those days there, there were only two degrees of membership, now, since then are three or it was divided out a bit more to three but no she was given the then two full degrees of membership and it would appear that she became chairperson of her lodge in time and [pause] some of the organisations even still extend today even the women only some of them refer to each other as brother and worship and master even though they are women, they don’t say sister and worship and mistress at all. So it is a bit peculiar and I am not sure how it works in co-masonry. But from what I can see, she was, I think she was subscriber to a Masonic publication where she would have given money to purchase a copy before it came out to help it on its way. And -- M W: Because you know like I was just reading up on when she was buried in St. Finbarres like didn’t the, I can’t remember the details now but didn’t the like the Cork Freemasons probably this crowd here didn’t they? D B: They would have attended I am sure. M W: They would have attended like yeah. D B: Well she probably got a Masonic funeral which isn’t something that has happened for a long time it is long gone. I think it was still happening in the mid to late eighteen-hundredths but not since it wouldn’t, I suppose it would have involved people attending wearing their officer's attire and so on and you know that kind of thing. It gives a bit of pomp and circumstance. 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 David J. Butler: Elizabeth Aldworth, William Henry Beamish, David J Butler, Anderson Cooper, Freemasonry, Elizabeth St Leger, Tuckey Street Subject The topic of the resource Cork's Built Heritage Description An account of the resource David is a member of the Freemasons and talks about the Masonic Hall building on Tuckey Street. It dates back to the late 1700s when it was used as a meeting place for several different groups until it was bought by the Freemasons in 1844. He lists several links between Saint Fin Barres Cathedral and the Cork Freemasons and mentions some local historical figures who were Cork masons, such as William Henry Beamish. He portrays Freemasonry as a classless fraternity and explains that the criterion for membership is a belief in a Supreme Being as the originator of the universe, regardless of a person’s religious denomination. He talks about Elizabeth St Leger, a rare woman Freemason. Note: this interview was conducted for the DVD If the Walls Could Talk. Date A point or period of time associated with an event in the lifecycle of the resource 15 October 2013 Contributor An entity responsible for making contributions to the resource Interviewee: David J. Butler Interviewer: Mark Wilkins Identifier An unambiguous reference to the resource within a given context CFP_SR00494_butler_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 City; Ireland; Built Heritage; 1770s-200Os; Relation A related resource If the Wall Could Talk: Stories Of Cork's Heritage Catalogue Numbers: <a href="http://corkfolklore.org/archivecatalolgue/document/6">CFP_SR00492_herlihy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/7">CFP_SR00493_walsh_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/9">CFP_SR00495_faris_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/10">CFP_SR00496_osullivan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/11">CFP_SR00497_ryan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/12">CFP_SR00498_holland_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/13">CFP_SR00499_hartnett&osullivan_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/14">CFP_SR00500_mccarthy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/15">CFP_SR00505_healy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/16">CFP_SR00506_gleeson_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/17">CFP_SR00507_miller_2013</a>; Published Material: If the Wall Could Talk: Stories Of Cork's Heritage (2013) DVD If the Stones Could Speak: More stories from Cork's heritage (2015) DVD Publisher An entity responsible for making the resource available Cork Folklore Project Format The file format, physical medium, or dimensions of the resource 1 .wav File Language A language of the resource English 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 Anderson Cooper Built Heritage David J Butler Doneraile Elizabeth Aldworth Elizabeth St Leger Freemasonry Freemasons If the Walls Could Talk Material Culture Tuckey Street William Henry Beamish https://corkfolklore.org/archivecatalolgue/files/original/611baff2fac876eadaf9316673850c6e.jpg ec5857039d96e7fe6e4687e5073aa14b https://corkfolklore.org/archivecatalolgue/files/original/27b1285887f8227734ecfcaf768f18dc.JPG c54a75c29aa3e8009e7074830b8ac78b https://corkfolklore.org/archivecatalolgue/files/original/db91be7ba6b23ad610b18dba029c6d10.mp3 245e377861b7aaf24a17d46a87a3f6e8 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 Daniel Tanner Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 143m 57s Location The location of the interview Mardyke 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: Do you have any further experiences or anything else stand out? DT: Well I guess as it developed beyond when I started going to college I used to walk along the river everyday. That was my main interaction when it was just walking along it to work. KM: So what route would you have taken? DT: I think I took several other ones. Wherever I lived I would always just go to the river and then walk along it. But I used to walk along from Sawmill Street, which is on South Terrace. I used to walk from South Terrace and then join it up there and walk along. I had many nice experiences walking in the morning, like public experiences for everyone, like a seal with a huge salmon in it's mouth. Everyone was looking at it, I saw herons catching fish, cormorants catching fish. I saw a baby seal on the steps. I saw an otter with a fish. But these weren't all during that time period. But this was just kind of the same relationship I have to the river now, that I just like walking along it and looking in it. So I saw loads of things catching fish. I always interpret, whenever I see a wild animal, I interpret it as kind of a good sign or good omen. I interpret the animals behaviour in some sort of way. Like if a heron catches a fish I'm going to catch a fish today. They never mean anything bad but I always use it as a tool to elevate my mood beyond just that it's nice to see the thing. But then you're also like, oh now I can take all these risks, or if I see a seal swimming out to sea I'm like oh that's me headings towards something. Heading back to my opened or I'm so free or whatever you know? The baby seal resting on the steps, I'm having a nice rest. KM: So you see some meaning in what you see in the river in your own life? DT: Yeah yeah. Or I interpret it as a good or that it augurs well or a good omen. If there's such a thing as a good omen. Can you have a good omen or does omen mean bad? 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 Daniel Tanner: River Lee Subject The topic of the resource Life History: Skateboarding, Carrigaline, Description An account of the resource Daniel grew up in Carragaline. He went to college and studied Physics first in Trinity and then in UCC because he missed Cork. He says he is now a post doctoral researcher in the Mardyke. He talks about how knowledge contained in folklore is superior to that contained in modern sciences. Daniel used to skate near the Lee the end of the south mall and by the opera house. He recalls being told a story of killer whale in the river. He talks about skateboarding culture and skating across the river from Charlie’s bar on the South Mall and how the council tried to stop skating on the streets Daniel says he had some great experiences along the river like seeing a seal with a salmon in its mouth, herons and cormorants catching fish. Otters, baby seals. He says the primary way he now interacts with the river now is by walking alongside it especially the north side of it out across from the Lee fields out towards the Anglers Rest pub. He talks about swimming in the Lee. Date A point or period of time associated with an event in the lifecycle of the resource 24 October 2017 Contributor An entity responsible for making contributions to the resource Interviewer: Kieran Murphy Interviewee: Daniel Tanner Identifier An unambiguous reference to the resource within a given context CFP_SR00641_tanner_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; Carrigaline; Ballingeary; 1980s - 2000s Relation A related resource <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>; 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 https://corkfolklore.org/archivecatalolgue/files/original/dd5b3c6d93ddda142feecf833dac094c.jpg c61e646d3c2fe3afd5fb6a2c805366dd https://corkfolklore.org/archivecatalolgue/files/original/15f80203302d84295bb0b2fb19c617ae.mp3 b2127db8dbfe4db4c27bb5ca1f8034a8 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 Dan Jones Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 67min 38sec Location The location of the interview Old Market Place, 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 Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> File 1 0.00.00 - 0.03.35 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Early years in Bandon and Cork Dan speaks about his early years. He states that he was born in the Cottage Hospital in Bandon (1931). He says that he was taken to live in Cork at the age of four, where he attended Ss. Peter and Paul School for a year or two, before returning to live in Bandon until the age of sixteen. Dan explains that he feels that the separation of his parents, when he was young, contributed to making him more self-sufficient in life. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.03.35 - 0.10.20 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Early jobs from the age of twelve to sixteen: delivering milk - paper boy - wheelwright’s assistant Dan recalls that while still at school he started his first job, at the age of twelve, delivering milk in a churn each morning and evening for three shillings a week. On leaving school at fourteen, he says that he worked as a paper delivery boy for eight or nine months. He remembers collecting Examiners and Echos’ off the morning and evening trains from Cork city, for twelve shillings a week. Dan is proud that his pay was increased to fifteen shillings after three weeks. He recalls that after this in 1945/46, he went to work for a wheelwright - Louis Fulham - operating the bellows. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.10.20 - 0.11.30 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Move to Cork Dan speaks about how he moved to Cork city with his father - a stonemason - around 1947/48; and explains that he lived ‘in digs’ from about the age of sixteen to twenty-four, while he served his time as an apprentice stonemason. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.11.30 - 0.15.00 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> The first return visit to Bandon after nearly thirty years Dan explains that he did not return to Bandon for nearly thirty years as it held too many painful memories for him. He relates how he finally returned by going to sing at an old folks’ concert, on the urging of an old Bandon friend, Delia, and recalls how he met his first girlfriend there again. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.15.00 - 0.19.15 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Parents separation; rift with brother Dan discloses that the reason he stayed away from Bandon so long was due to his parents’ separation. He speaks about his mother with whom he did not get on and he also relates how the separation caused a rift between him and his only sibling, a brother, who went with his mother. He says that the separation meant that they ‘were never really brothers’. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.19.15 - 0.20.10 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Early married life Dan says that he ‘never had a home before he got married’ as he had spent so many years ‘in digs’. He reflects on early married life when he and his wife, Kay lived in a flat in Brown Street - a street which no longer exists. CFP Note: Brown Street was located in the Paul Street area around what is now Rory Gallagher Place; it ran down to the quay at the back of the current Paul Street Shopping Centre Car Park. See photo at: <a href="https://www.photosales.eecho.ie/v/photos/74373pks/1351997210?pcp=21">https://www.photosales.eecho.ie/v/photos/74373pks/1351997210?pcp=21</a> consulted on 04/04/2017. Dan recalls that he went to work in England for a while and he says that when he returned, it was to a home that his wife Kay had set up for them in Mary Aikenhead Place, off Cathedral Road. He says that he still lives in the same house, sixty years on. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.20.10 - 0.21.30 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Dan’s present partner Dan speaks warmly about the very good relationship that he has with his present partner, Sheila. He says that though they lived near each other for many years, they did not meet until about twelve years ago. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.21.30 - 0.22.30 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Dan’s mother-in-law Dan relates that his late wife, Kay came from the Coal Quay. He speaks about her mother, Laurie Collins, known as Laurie Connors, who ran a fruit and vegetable stall there. He recalls that she had a kidney removed at seventy but went on to live to be ninety. It is at this point that he talks about his wife’s early death at forty-four. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.22.30 - 0.23.20 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Dancing days Dan reminisces about when he used to go dancing six to eight times a week - sometimes twice on Sundays - and says that he was one of the top twenty ballroom dancers in Cork. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.23.20 - 0.25.30 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Appreciation of life Dan reveals that the highlight of his life was getting married and having six children. He says that his youngest son, Alan - forty-four, at the time of this interview - lives with him. Dan advices that it is important to make the most of life and says that he and his partner Sheila take a few holidays each year. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.25.30 - 0.32.00 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Bowl-playing; Bol Cumann na hÉireann Dan recalls how he used to go bowl-playing in Blarney and was classed as Junior B grade. He mentions strong bowl-playing areas like Fairhill, Dublin Hill, Ballyvolane, Togher and Waterfall. He then goes on to speak about the establishment of Bol Cumann na hÉireann in 1954, which he says resulted in the sport becoming more formalized. CFP Note: Bol Cumann na hÉireann replaced the All-Ireland Bowl-playing Association. Reflects on the great social aspect of bowl-playing, which Dan feels has been lost due to the greater emphasis on placing high bets nowadays. He also says that pubs no longer sponsor the sport like they did in the past. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.32.00 - 0.34.20 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Rural Electrification Dan says the house in Kilbrogan Street, Bandon where he was born (1931) had electricity. He says that they moved to another house, two hundred yards away, in an area known simply as Kilbrogan, which was without electricity and so he says that they used paraffin oil lamps. Though he reveals that he did not have a happy childhood, Dan expresses the belief that life would have been happier for many people, as he considers that people were generally more helpful and neighbourly to each other in the past. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.34.20 - 0.36.00 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Relationship with mother Dan speaks about the distant relationship that he had with his mother, who he describes as very ‘aloof’. He states that she was nineteen years old when he was born. He says that he did not hear of her death until weeks after and thinks that she was cremated in Wales. Dan says that his relationship with his father was much different and reveals that he ‘idolised’ him. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.36.00 - 0.39.30 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Life after wife’s death Dan reflects on being a widower with six young children, after the death of his wife, Kay. He says that Alan was seven, Frank was eleven, Martin was thirteen, Majella was fifteen, Mary was seventeen and Tim - who later died - was the eldest. He explains that it was about three years after Kay died before life started to improve. He says that when they had got married, he vowed that the family would never be broken up. Dan suggests that it was his own difficult upbringing that made him a very resilient person. He remembers that his grandmother said to him: ‘you get out what you put in’ and he lives his life with this in mind. He expresses his belief that if parents do right by their children, then the children will always respect and like them. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.39.30 - 0.42.00 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Relationship with present partner Dan speaks about his relationship with his present partner, Sheila, saying that they are great friends. He says that they enjoy travelling and going out three nights a week and generally making the most of life. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.42.00 - 0.47.42 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Dan’s grand-uncle - Patrick Jones, poet mason Dan speaks about his grand-uncle, the poet mason, Patrick Jones, who was born in Bandon. Dan refers to Patrick as ‘an enigma, drunk, hero, one of the best bricklayers there ever was . . .’ and ‘a genius with words and stone’. He says that Finbar Wright put one of his poems about Kilbrogan Graveyard to music. He also mentions the two medals that Patrick was awarded for bravery during the Boer War. He remembers visiting him as a child in Gillabbey Rock and describes him wearing a soft hat with ‘a scowl on his face’. He says that Patrick was not a very sociable being and would prefer to go off on his own to write poetry. He also says that it was only later on that he realised that Patrick had a drink problem when he read his own story. CFP Note: Bandon born Patrick Jones (1870-1956) served his apprenticeship as a stonemason before joining the British Army. He was soon seconded to a sapper regiment. Sapper regiments carried out a range of military engineering duties, so Patrick’s masonry skills would have made him an ideal candidate for such a regiment. On returning to Ireland after the Boer War, he combined his work as a stonemason with the writing of poetry. See: CFP researcher Michael Moore’s Stonemasons Project. Note: Interview is suspended temporarily as Dan receives a text message. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> File 2 0.00.00 - 0.03.30 0.03.30 - 0.06.58 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Family Background Dan resumes talking about his granduncle, Patrick Jones. He says that Patrick must have been in his eighties when he died. He goes on to speak about his father’s four brothers. He says that one was beaten by ‘the Free Staters’ and ended up in an asylum. Three other brothers migrated to the United States. He also mentions his father’s two sisters who he did not know. Dan explains that his grandfather married again after his first wife’s death. He speaks warmly about his grandfather’s second wife, Annie Dalton, describing her as ‘a pure lady’. Family background contd. Dan continues speaking about his grandfather’s family. He says that his grandfather was a bricklayer. As well as his brother Patrick, he states that his grandfather also had a brother, Tommy, who was a headmaster in Passage and another brother, Tim, who was manager of the West Cork Bottling Co. He says that Tim was a father of the Jones Group, who were involved in the oil business. He remembers ships on the quays, which they owned, such as the Mary J and the Eily J - the J being for Jones. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.06.58 - 0.07.45 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Patrick Jones’ children Dan says that Patrick Jones’ two daughters are still alive - one being Mary Jones O’Connor. He speaks about Patrick’s two sons, both now dead. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.07.45 - 0.12.45 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Keeping family together Dan stresses the importance of maintaining a loving, united family life. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.12.45 - 0.14.00 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Patrick Jones Dan’s final thoughts on Patrick. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.14.00 - 0.15.00 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Jones family history; family trade Dan speaks about building being the family trade. He says that his great-great-great grandfather was a Welsh protestant stonemason who came to live in Ireland. Though he continued to adhere to his protestant faith, he married a Roman Catholic and they reared their children in the Roman Catholic faith. Dan notes that he has no Jones’ relations left in Bandon now. </td> </tr> <tr> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> 0.15.00 - 0.20.11 </td> <td style="border:1px solid #000001;padding:0cm .19cm 0cm .2cm;"> Dan’s family links: Jones Group; Gerry Jones and the 1970s arms trial Dan refers to that part of the family known as the Jones Group. He says that two of them were very senior civil servants in the 1930s. Dan’s father’s first cousin Gerry Jones, who Dan describes as a Provo (Provisional IRA member), became famous for his black patch and support of Charlie Haughey, during the gun running scandal of the 1970s. He reveals that the family suspected that Gerry Jones provided financial support for the Provos. CFP Note: The gun running scandal and consequent arms trial saw government ministers accused of supplying arms to the Provisional IRA. See: <a href="http://www.irishtimes.com/news/death-of-gerry-jones-1.243735">www.irishtimes.com/news/death-of-gerry-jones-1.243735</a> <a></a> consulted on 04/04/2017. Interviews Ends </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 Dan Jones: Stonemasons, Family Life, Poetry Subject The topic of the resource Stonemasons: Occupational Lore: Description An account of the resource Dan, who describes himself as the ‘third oldest [stone]mason left in Cork’ at the time of this interview - outlines his youth in Bandon and Cork city, family background, married life and his wife’s early death, jobs, bowl-playing, ballroom dancing, family links: the Jones Group; Gerry Jones (1970s gun-running scandal) and his grand-uncle, the ‘mason poet’, Patrick Jones. This is the second of two interviews conducted with Dan for this project. <a href="http://corkfolklore.org/archivecatalolgue/document/182" target="_blank" rel="noreferrer noopener">CFP_SR00574_jones_2016;</a> Date A point or period of time associated with an event in the lifecycle of the resource 06 December 2016 Contributor An entity responsible for making contributions to the resource Interviewee: Dan Jones Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00595_Jones_2016 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 1940s -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 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/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> </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 1940s 1950s 1960s 1970s Bandon Bowling Bowls Dancehalls Dancing Electrification Family Life Gerry Jones Patrick Jones (poet mason) Republicanism https://corkfolklore.org/archivecatalolgue/files/original/d4407634c01a52c5fe1c6682b7d612dc.jpg c61e646d3c2fe3afd5fb6a2c805366dd https://corkfolklore.org/archivecatalolgue/files/original/984bbcb74ad332ad24fb13a8df35f23a.mp3 f3a0e7d067d1310084bb031ca692d2db 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 Dan Jones Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 88min 03sec Location The location of the interview 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 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 Dan Jones: Masonry, Family, Retirement Subject The topic of the resource Stonemasons: Occupational Lore: Date A point or period of time associated with an event in the lifecycle of the resource 11 May 2016 Contributor An entity responsible for making contributions to the resource Interviewee: Dan Jones Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00574_jones_2016 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 Format The file format, physical medium, or dimensions of the resource 2 .wav Files Description An account of the resource Dan talks in detail about his life as a mason. This is one of two interviews conducted with Dan for this project. <a href="http://corkfolklore.org/archivecatalolgue/document/194" target="_blank" rel="noreferrer noopener">CFP_SR00595_Jones_2016;</a> Relation A related resource <div class="element-text five columns omega"> From Stonemason Collection: <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/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> </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 https://corkfolklore.org/archivecatalolgue/files/original/5848f4659267ac6c88435583ff02b747.jpg cbf1c711785600501bec005b1d811bed https://corkfolklore.org/archivecatalolgue/files/original/c3ee8cccd26385e05694c0ae86e36034.mp3 47a87dbd8abc02f430f8666818720f8a 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 Creenan O'Connell Interviewer The person(s) performing the interview Cliona O'Carroll Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 20min 42sec 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 COC: What kind of things would you play? CC: Em there was a stream there and we used to make a dam and then we’d paddle in the stream and so you couldn’t go beyond the stream – the stream that’s right – you couldn’t go beyond the stream because that was the farmer’s fields and awh if he caught you, you’d be in trouble. But on – in Summer nights then they used to play, what was it called? Housey house then, it’s Bingo now. They’d all sit down on the field and the mam would call out the numbers and – I think it was a penny to play or something like that you know. And then there was em – what was that stall with Rasa [Raspberry Cordial], a penny a glass and Peggy’s legs and all that like, you know. So it was lovely, you really think the summers were good then that it was always sunny. [Laughter] And em, ere you know until about half-past nine then all the children would move off and go to bed like you know. But I was just thinking there now that did anyone talk about the SAO? The School Attendance Officer. Nobody spoke about him, did they? And eh he was a Mr Stanton and he used to come up the road and I never saw him on the bike, he’d walk with the bike you know? And em, if you were away from school he’d call to the house to know were you away from school and I was away from school. One day my mother asked me to stay home, she probably wasn’t feeling very well and em so she sent me down Shandon Street for em messages and I met Mr Stanton and he said to me eh ‘Why aren’t you in school today?’ So I said ‘My mother is sick’. So anyway I came back home anyway and my mother said ‘Mr. Stanton called’. So I said ‘Oh did he?’. And she said ‘I told him you were sick in bed’. [Laughter] 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 Creena O’Connell: Gurranabraher, Shawls, Allotments Subject The topic of the resource Life History: Description An account of the resource Creena was born in 1932. Her family were one of the first to get a house in Gurranabraher, an estate built in 1934. Her father was able to get part-time employment with Cork Corporation working on the roads; he died when he was 58. She recalls a funny story about a School Attendance Officer calling to the house. She talks about local places where she used to play. Unemployed men were given allotments, called plots. She recalls Julie Healy’s milk and cake shop in Shandon Street. She remembers her mother’s shawl and two shops where shawls were bought. Date A point or period of time associated with an event in the lifecycle of the resource 24 August 2011 Contributor An entity responsible for making contributions to the resource Interviewee: Creena O'Connell Interviewer: Cliona O'Carroll Identifier An unambiguous reference to the resource within a given context CFP_SR00433_oconnell_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, 1930s-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/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/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 1930s 1940s 1950s 1960s Allotments Creena O’Connell Gurranabraher Milk and Cake Shops Shandon Street Shawls https://corkfolklore.org/archivecatalolgue/files/original/af6ee1cc141c5bab20cf355ad759a91b.jpg e14dc731e174ca678c85275a6a9c538a https://corkfolklore.org/archivecatalolgue/files/original/66648804be9ccdd28ec7535452bf61f7.ogg feed731df0c5dc63f1064f90c0b75064 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. Interviewer The person(s) performing the interview Pat Speight Interviewee The person(s) being interviewed Geraldine Healy Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43m 32s Location The location of the interview Cork Folklore Project, Farranferris 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 PS: So I can remember the Coopa. And then, the other side, if you came down the bottom of Chapel Hill, you went left you had the Coopa, but if you went right, down towards - - again I’m calling it Church Avenue - - but heading down towards Eason’s Hill, there were two or three houses, knocked down. What did we call - - we had a name for those houses now that were hauled down - - we’d the Coopa on one side - - I can’t - - it’ll come to me now in a minute. We used to play in there anyway, they were kind of half knocked down houses, and they’re gone since, they have an old, bit of a park laid out there now. But the name will come back to me after Geraldine, honest. But that’s another place we used to play in. GH: Yes, and where there any people, characters that you remember from around the neighbourhood? PS: Oh Geraldine, the place was full of characters. As a child, I can remember ‘the Rancher’. The Rancher, the rancher. I remember the day the Rancher got married, I was only a young fella. The Rancher got married. The Rancher used to chopsticks now, over by Shandon now, right? But what I remember about it - - ‘twas grand now they got married in the North Chapel, and what I heard afterwards, and it didn’t make sense to me as a child, but it made sense afterwards - - when they got married, they came out and he said em, ‘we’ll go to the Small Steeple now, for our celebration.’ ‘Oh no,’ she said, ‘I’m going to Jack Ford’s or I’m going to Jack Rum’s.’ ‘No’ he said, ‘we’ll go to the - - we’ll go to the Small Steeple.’ ‘No, we’ll go to Jack - -‘ ‘You go to Jack Fords and I’m going to the Small Steeple.’ And he went one way, and she went the other, and they had their wedding party there. Happy out like that. Em, I remember em, who do I remember? The fella with the snotty nose, who was that again? Always wiped his nose, was that Holy Joe was it or was it - - GH: I don’t know now - - PS: Could be Holy Joe, always wiped his nose, but very good, you know, very kind to children and everything. Who else was there now? Do you know who was there then - - and he’s dead since, so I have to be careful - - would be em, eh - - he used to play cards, he used to kick the coin up in the air, kick it up into his top pocket. Em, what was his name again? Ah for God’s sake, Pat O’Brien would know him now, well. Not Tony, Tony Hennessy was kind of a character growing up, but he was Mr Soccer, and his mother was a great person. Who was the fella who used to kick the coin? O’Leary, Dony Leary. Dony, I’d say Dony O’Leary. Mad Dony we knew him as. Mad Dony, he used to be there. Who else? And birds. Everybody had a bird. My father used to keep birds. [It’s] a bit awful now, he used to trap birds, we’ll say canaries - - not canaries - - goldfinches and linnets and then he’d breed them and he’d get a mule. So a lot of houses would have a birdcage outside their window as well. That just came to me there now. And they used to have birds. GH: Would many people go drag hunting in the area? PS: Now I never went. I wouldn’t be ashamed to say I never went drag hunting, but right behind our house was a place called Barrack View and there, there was a man - - a character - - called O’Callaghan. Now his sons still do it, but they were actually related - - his wife was Bridie Lordan. Funny thing about that area when it comes to me - - and I know I was only talking to someone about it the other night about it - - all the women that got married, retained their maiden names. Cause my mother would be known as Hannah Clifford, right? Mrs Welsh, Bridie Lordan em, Annie - - Annie, Annie, she was - - all the women were known by their maiden names. Funny they held on to it. Esther Lordan. They never took their married names, which is kind of something good in a way as well. But coming back to that again. Bridie, Mrs Doyle married - - right? - - O’Callaghan. Now this Mrs Doyle would be a daughter or a grand-daughter of Connie Doyle of the famous armoured car, right? So - - and then, this fella O’Callaghan used to keep hounds there. There’s still hounds there today, his son still has the hounds for the drags now. And these were small houses now, tiny houses like. And they used to keep big families and big dogs. GH: It’s fascinating Pat, and I think that our own Cork City, like, and on the Northside especially, people loved the opera too, the singing was there, would you know - - PS: Well the other thing, the Opera - - I saw the Opera House catch fire, I was only a child. I saw the Opera House go up in flames, I was only allowed go down to as far as Mulgrave Road and look across to it. But the sky was just red, I remember that. I wasn’t conscious - - I’d be conscious of the Opera House myself for the pantomimes, but I don’t remember it much, the pictures were our big thing, we had so many picture houses - - or cinemas - - around Cork. We used to go to the cinema a lot. And I remember my father bringing me to the cinema, but there was one particular shop - - I should’ve thought of it there - - it had a huge influence on me later on in my life. At the very bottom of Shandon Street just before where it joined with Blarney Street, there was a shop at the corner there, and ‘twas ‘Pilo’s’[?], I think ‘twas Pilo’s. ‘Twas a comic shop now people didn’t know what a comic shop was, they’d think it was a sense of humour shop and it wasn’t. ‘Twas where you swap comics like The Beano, The Dandy, The Hotspur, all these things, and you could - - on Friday night, my father would come up. He’d pass up another shop called ‘Nosey Keefes’ [?], Nosy Keefe's was at the bottom, and they used to have the most beautiful broken chocolate, every kind of thing. We’d get a bag of that, and he’d get a few comics for us, and we’d be as happy as Larry. So you’d read the comics, and the next day you’d go down and you’d swap them for some other comics. GH: You got to read everything so. PS: You got to read everything, and there was one type of comic called The Illustrated Book of - - The Illustrated Book of Classics, right? ‘Twas a comic, right? A dear comic, but it dealt with everything from Robin Hood to El Cid to Huckleberry Finn. All the world tales were in it, and I’d say that probably influenced me later on into - - you know, in the story-telling world, that at that age we used to read so much. GH: Yes - - PS: And then they’d comics called - - eh, forty-five pages or forty-six pages was it - - that, they were war pictures, where the Germans couldn’t shoot an elephant if ‘twas ten feet away, and the Brits could shoot at two hundred miles away and still knock the eye out of a fly. You know what I mean? GH: [laughs]. I do. And what was Christmas like, up around your neighbourhood Pat? PS: Christmas was great. Ah, Christmas. I - - to this very day, I celebrate Christmas. I love Christmas with a passion, because - - for nostalgia. For the cooking, the cooking in our house - - ‘cause my mother was a great cook. Like, for our Christmas dinner now, you’d have - - you’d have the turkey stuffed, right? You’d have a couple of stuffings on it, you’d have bread stuffing and you’d have potato stuffing. They did chestnut stuffing now, but we just did potato stuffing and bread stuffing. And I’d help with that, we’d all help with it, right? Then we’d have spiced beef, right? And the ham, the ham used to cause all the confusion, because midnight mass you weren’t allowed to - - you weren’t allowed to eat before going to midnight mass, because if you were going for communion, you couldn’t. So my mam would have the ham boiling, right? And we’d go to midnight mass, and we’d come back and we’d attack it. The other thing - - Christmas, to me would start, right, with sending the letters away to Santy, all that. Now, I dunno how my father and mother did it. There was five of us, and we always got something. We always got something, so I’ve only happy memories of it. Not looking at it through rose-tinted glasses, I honestly think we had lovely Christmases. We had - - my father and mother then, would disappear into town on Christmas Eve to do the shopping, and they’d come back half cut. They’d be kinda nicely - - right? And you’d get a half-crown - - you didn’t know what you’d get, ‘cause if the father - - he didn’t drink that often, but - - I won’t say it didn’t suit him, he was a lovely happy man when he’d drink in him. So they’d be there, we’d head off to midnight mass, they might have a couple more drinks at home, ‘cause they’d be going to mass on Christmas Day, and then we’d tackle the ham. The ham at that stage. So you had ham, spiced beef was a big thing and then you had - - then you’d have - - ‘twas like a banquet. Now, you’d have roast potatoes, croquets - - now when I say croquets, we’d make our own croquets, kinda thing. Then you’d have everything - - and d’you know what we had? We used to have curried rice, this is way back when now. You know, people ignore it, but long ago, my mother’d make a small pot of curried rice. Absolutely gorgeous. Then you’d have - - now, of course, the dinner wouldn‘t start ‘til about three or four, and the smells coming out from the kitchen. You’d be weak with the hunger because you’d be smelling it and ‘twould be - - and there was never a panic, ‘twas three or four, that kinda way. I can’t even talk because my mouth is watering, now. Me tongue is swimming here in me mouth now. GH: [laughs]. PS: But ‘twas always good. Now, but what we had then St Stephens’s Day. We never ate meat? Our family didn’t. ‘Twas - - I think ‘twas a Kerry tradition that my mother brought back with her. That nobody ate meat on St Stephens’s Day, because - - the house was full of meat - - but by abstaining from meat, ‘twas felt that you’d kept bad luck and ill health away from the house for twelve months. Now, whether ‘twas a Pagan thing or a Christian thing, I dunno, but there’s maybe - - I still don’t eat meat on St Stephens’s day. Now I’m not sure about the rest of the family, but I just do it because, you know, the old Irish saying, ‘Na de an nos agus na bris nos’, ‘Don’t make, or don’t break a tradition.’ So, I still wouldn’t eat meat on St Stephens’s Day, but five past twelve on St Stephens’s night, by Jesus you couldn’t get between me and the meat. You’d lose your life if you got between me and the meat. GH: The stuffing and the turkey and ham - - PS: Stuffing and everything, yep - - Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .mp3 Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 192kbs 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 Pat Speight: Northside, Childhood Games, Schooldays, Subject The topic of the resource Life History: Description An account of the resource Cork Storyteller Pat Speight (b. 1940s) was born near the North Cathedral, known by locals as the North Chapel. His first house in Cork he thinks was a kind of tenement, with three families living in one house; his father later bought out this house. Pat briefly recalls childhood games, bonfire night. He explains how steering carts [‘steernas’] were made. He describes the local shops and their role in the community, and how his mother bought food in different shops and put it on account on a daily basis. Pat also recalls his schooldays. Poorer children got a glass of milk, a bun, and thruppence. He describes his childhood playgrounds, including Bell’s Field (‘Bellsa’). He describes the Coopa (cooperage), where locals threw their rubbish over a wall and down a sheer drop. He tells a funny story about having to climb into the rubbish to look for a lost ring. He remembers that many local women kept their maiden names after marriage. He recalls Christmas dinner and the different food they had to eat, and a tradition of not eating meat on St Stephen’s Day. He remembers comic shops where children could buy and swap comics. He recalls his grandfather catching wild birds. The family used to visit relatives in Kerry, where he saw many aspects of modernisation. Date A point or period of time associated with an event in the lifecycle of the resource 4 August 2010 Contributor An entity responsible for making contributions to the resource Interviewee: Pat Speight Interviewer: Geraldine Healy Identifier An unambiguous reference to the resource within a given context CFP_SR00395_speight_2010 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; 1940s-2000s Relation A related resource <div class="element-text five columns offset-by-two"> Other Interviews in the Collection: <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/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 </div> <div class="element-text five columns offset-by-two"> 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> 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 .mp3 File Rights Information about rights held in and over the resource Cork Folklore Project Type The nature or genre of the resource Sound 1940s 1950s Bell's Field Bird-Catching Bonfire Night Catholicism Celebration Characters Childhood Games Christamas Dinner Comics Food Holy Communion North Cathedral North Chapel Northside Pat Speight Schooldays Shandon Shopping Steering Cars The Coopa https://corkfolklore.org/archivecatalolgue/files/original/02191f51ffacf0dcd4e1b7009584d96d.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a 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 Colin Rynne Interviewer The person(s) performing the interview Stephen Hunter Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46min 12sec Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cassette 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 Colin Rynne: The Butter Museum, Archaeology, Subject The topic of the resource Life History; Description An account of the resource Colin was born in Liverpool, England. His parents were both Irish. In 1975 they returned home to Ireland to his father's townland in Co. Limerick. As a child, he used to spend his summers in Co. Meath. After his schooling, Colin studied Archaeology at University College Cork under Professor Michael (Brian) O'Kelly. After his time in UCC Colin found employment in the Bunratty Folk Park. later he became a consultant to mostly doing post-medieval surveys. in the mid-90s he took charge of the Cork Butter Museum. Date A point or period of time associated with an event in the lifecycle of the resource 10 August 1999 Contributor An entity responsible for making contributions to the resource Interviewee: Colin Rynne Interviewer: Stephen Hunter Identifier An unambiguous reference to the resource within a given context CFP_SR00318_rynne_2001 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; England; Liverpool 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 Archaeolgy Bunratty Folk Park Colin Rynne Limerick Liverpool Meath The Butter Museum https://corkfolklore.org/archivecatalolgue/files/original/9bc110bd58afd06419818942f7167534.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 Clive Davis Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54min 48sec Location The location of the interview Cork Folklore Project Farranferris 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 SD So did you have a big coming out experience or was it just a general realisation. CD No I think of a general realisation, I suppose because I am a very private kind of a person, I don’t think I am came dashing out through the snow, or like running out from the back of the bushes or anything like that, I just kept it to myself, and I you know, it wasn’t until later years that I was when I was with my current partner, I told my mum, and I told my family and you know, so I don’t think it was a big coming out event, it wasn’t that big of a deal, I told her, I expected she wasn’t going to be very happy about it but she actually, she was very happy about it, she didn’t mind, you know, I had the bags packed at the door, but you know. And I think it is good in my mind, it was kind of easier, because I was gay with somebody else, that you know because sometimes, I find that in that thing, I think I over thought it for so long, like I was twenty-six about the time I told my mother, it was kind of like all the time thinking, oh Jesus what is she, what will happen if this, if, if , if, if all the ifs and buts were going through my head, and finally I said, look I will do, but I think being with somebody else helped me, you know, and I know now that annoys people when I say that, that you have to be in a relationship to come out, I don’t think that at all, for me it was an easier path to take. SD Okay. DC And did your parents, did your mother have any suspicions, when you were a teenager? CD She asked me before and I looked not at all, that is nonsense you know, but I think, I think that is because I didn’t realise myself, you know, I was kind of fighting with it myself, because in school, you know there was a few bullies and things and they used to call me gay, and I used always be trying to know I am not. I am not different at all I had girlfriends and blah blah blah, you know but I so, she did ask, and she kind of ‘oh well I always knew that’ and that kind of annoyed me even more, because you see, what was it about me that you thought like, how dare you, you know, and I am going through the series of having to be in front of the person when I came out so I have to sit in front of the person to see the reaction, and if their eyes were a bit skewed or if they looked down or looked up, then, oh that person, they are okay with it so I can’t be talking to them but my mother went on a spree of telling everyone, when I told her she just, I think she got up on top of the, the truck at the back of the house and just told everyone, so Clive is gay, Clive is gay, Clive is gay, Clive and I hated that because I wanted to see the reaction you know of people, but I think one of the sadder things about being gay, is that you have to, you are constantly telling people, it is not just when I was twenty one or eighteen or when you are meeting new people, [phone rings in the background] constantly your, your telling people, and you know that is very, you know it is hard, you know that you are always having to tell people about your, you know, about your sexuality. 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 Clive Davis: Gay life, The Other Place, South Main Street Subject The topic of the resource Stories and memories of LGBT life in Cork City and County. Description An account of the resource Clive talks about his experience coming out as a gay man. He comments about helping others with their difficulties or with coming out but regretting that once out he would never see them again. He talks about the role and history of The Other Place, a café for the gay community. He explains how the idea of a resource centre has had to change as people use the internet instead. Date A point or period of time associated with an event in the lifecycle of the resource 28 September 2014 Contributor An entity responsible for making contributions to the resource Interviewee: Clive Davis Interviewer: Stephen Dee & Dermot Casey Identifier An unambiguous reference to the resource within a given context CFP_SR00532_davis_2014 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, Laois, Ireland, 1960s-2010s 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> Clive's Interview was also used in Penny Johnston: <a href="http://corksmainstreets.corkfolklore.org/cms/" target="_blank" rel="noreferrer noopener">Cork's Main Streets Project</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 1 .wav File Type The nature or genre of the resource Sound Chambers Clive Davis Coming Out Cork Gay Project Gay life Gay Pride LGBT Linc South Main Street The Other Place