4 20 249 https://corkfolklore.org/archivecatalolgue/files/original/ba1d9b3be746273429c078e807330f88.jpg d9f7d67c0dc8af98d82f1f640fd78a8f https://corkfolklore.org/archivecatalolgue/files/original/adf86ec094374f4d67d23f55048e1669.mp3 98e85ff2670f094a9829a7d222eea061 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 Shakespearean Company (The Loft) Date A point or period of time associated with an event in the lifecycle of the resource 2017-2019 Contributor An entity responsible for making contributions to the resource Interviewees: Patrick Sexton; Patrick Horgan; Patrick Gunn; Carol Dundon; Finbar McGrath; Humphrey Twomey; Kieran O'Leary; Musetta Joyce: Interviewer: David McCarthy Identifier An unambiguous reference to the resource within a given context <a href="http://corkfolklore.org/archivecatalolgue/document/199" target="_blank" rel="noreferrer noopener">CFP_SR00596_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/203" target="_blank" rel="noreferrer noopener">CFP_SR00597_Horgan_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00598_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/207" target="_blank" rel="noreferrer noopener">CFP_SR00600_Dundon_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00627_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/209" target="_blank" rel="noreferrer noopener">CFP_SR00638_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/214" target="_blank" rel="noreferrer noopener">CFP_SR00687_McGrath_2018;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/215" target="_blank" rel="noreferrer noopener">CFP_SR00711_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/216" target="_blank" rel="noreferrer noopener">CFP_SR00719_OLeary _2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/217" target="_blank" rel="noreferrer noopener">CFP_SR00723_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/227" target="_blank" rel="noreferrer noopener">CFP_SR00733_Joyce_2019:</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork: Ireland: 1920s-2010s: Relation A related resource Published Material: McCarthy, David(2018)'The Loft: Cork Shakespearean Company', The Archive 21:6-9. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf">http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf</a> 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 Subject The topic of the resource Arts; Theatre; Life History Description An account of the resource This collection of twelve interviews with nine interviewees concentrates on The Cork Shakespearean Company, also known as "The Loft". Founded in 1924 by Fr Christopher O'Flynn. The theatre, up to the year 2000 was based out of the upper floor in Linehan's sweet factory John Redmond Street which is why it gained the moniker "The Loft". Since its inception, the group has put on a variety of Shakespeare's works in various theatres in the city including the Cork Opera House and the Everyman Theatre. All interviews in this collection were collected CFP researcher and ex Cork Shakespearean Company member David McCarthy. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Pat Gunn Interviewer The person(s) performing the interview David McCarthy Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 71 mins 04 secs Location The location of the interview Maryborough, Douglas, 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 please contact CFP, folklorearchive@gmail.com DMC. After the death of Fr. O’Flynn, as we know, the loft continued on…. PG. Well it did too because, at that time we still had the original founders like Gus Healy and Eileen Curran and, and others: Tom Vesey, Teddy Healy, Norry O’Brian, Norry,…..Norry Healy, sorry as and. Quite a number of others that, that,…..Jonny Gallaher, she was another woman that, who came into that as well and, and they, they were there with us as well. So they brought us along another step of the way, and Gus Healy was absolutely wonderful that he was able to bridge that gap because he knew Fr. O’Flynn from the time that the loft was founded in 1924, right up until he died and then came in and then took over the role of, of chairman. And was chairman up till the time he died in 1986. So we were lucky, and of course, Eileen Curran was Fr. O’Flynn's disciple and she had his interpretation. She knew the plays backwards. She could quote from any of the plays without ever looking at a book, you know. And we were lucky. And then, like, we were maturing ourselves. Pierce, of course, my brother, was that much ahead of me and he, he was well into it as well. And you had Pat Lehane and other stalwarts of that particular time. Now I would have to say then a lot of the others had drifted away, like the Michael Twomey’s and Marie Twomey’s weren’t as and…. those that were around at the time when I mentioned like the: Kevin Sheehan’s, the Michael Mcauliffe and all of these. They, Monn Murphy’s, they had moved on a bit. Now one or two of them, like Monn, came back and did a few parts with us at later stages, you know. I know Monn did a reprise of Hamlet in, I think the mid, the mid 60's, 1964. She came back and reprised her role as ‘Ophelia’, you know. And Tom Vesey, of course, a very old great old stalwart of the original cast. He, he was there up until he died I think 1966. So they, we were lucky, you know. But then we had matured enough to more or less bring it on ourselves and Pierce immersed himself, my brother that is, immersed himself in the work of Fr. O’Flynn and Eileen Curran. When Eileen Curran passed on in 1977. And we also had a, a, a, an outsider who's contributed hugely to the loft of the period and he was a man by the name of John Morley. And he came into the loft in the early 70's and he, he, he was quite an outstanding character. He was English, old English, retired actor living in Cork for a period and he, he was, he was a great man of theatre, you know. And he taught us a lot of things apart from…. the plays and producing and all that, you know. He taught us a lot about creating properties and you know, and settings and all that as well. And he was an extremely talented man and wonderful guy and he understood Fr. O’Flynn and where Fr. O’Flynn was coming, from the word go. He had in fact in Dublin been a friend of Fr. O’Flynn’s nephew, John O’Flynn. And when he came to Cork he, he, he, he was involved briefly I think with The Everyman Theatre. But then he came along to us. And he, he was with us for many happy years really up until….. 1977. He was producing at the time that Eileen died rather suddenly on us in the middle of the last few rehearsals for, for The Winter’s Tale in 1977. And she was; Susan Cummins was a very good girl at the time who, who filled in, in between, between the Saturday and the following Wednesday she, she filled in for him …and she took over the role that was vacated by Eileen Curran, which was quite a substantial role actually in that play. And she, she was to give a very credible performance but John Morley, he directed that. And I learnt a great deal from him because I played ‘Leontes’, the king, in that I had a major role for the first half of, of the play and he was great. But he eventually; he was a member of the high religion and he was asked to go over to Bermuda with his wife, Valery, who was a lovely lady as well. That was about the end of the period where we had come out of The Opera House. We went back into the opera house in the 70s and then did quite a number of plays in The Opera House. But eventually, the burden of, of, of mounting pro plays in the opera house became a bit heavy for us all because we were all young and married and working and that sort of thing. So we tended to go back into The Theatre of the South, a little theatre in Castle Street and then after that then, when they built the The Cork Arts Club then in Knapp’s square we gravitated to there. We kinda, generally speaking, do most of our plays there now at the, at the moment anyway, but. So, that was, we were helped an awful lot to be able to do that, you know. Now, and I'm glad to say that there’s a new generation coming on after us headed up by Ciaran O’Leary and others, and Ray Brothers and Mike O’Neill and hopefully they'll carry the organisation on further into, into the next number of years. 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 Gunn: Cork Shakespeare Company, Fr O Flynn, War Of Independence, Black And Tans, Tom Barry. Subject The topic of the resource Arts: Theatre: Life History; Description An account of the resource Pat Gunn grew up on Barrack Street. He talks of early life there plus his involvement with The Cork Shakespearean Company and of his knowing FR O Flynn in his final years plus the 1961 BBC film on The Loft. Also about his Fathers involvement in The Old IRA in War Of Independence and Civil War. Topics covered include his father's memories of the burning of Cork and Barrack Street ambush. His father's thoughts on the Civil War. Also his ancestor in The RIC. He also speaks of meeting Tom Barry in the 1960s. He speaks of witnessing the ceremony at Cork City Hall to celebrate Ireland becoming a republic in 1949. This is the first of two interviews with Pat for The Cork Shakespearean Company (The Loft) collection. The second is <a href="http://corkfolklore.org/archivecatalolgue/items/show/208">CFP_SR00627_Gunn_2017</a> Date A point or period of time associated with an event in the lifecycle of the resource 18 January 2017 Contributor An entity responsible for making contributions to the resource Interviewee: Pat Gunn Interviewer: David McCarthy Identifier An unambiguous reference to the resource within a given context CFP_SR00598_Gunn_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, 1800s, 1900, 1920s, 40s, 50s, 60s, 70s, 80s 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 Relation A related resource <div class="element-text"><a href="http://corkfolklore.org/archivecatalolgue/document/199" target="_blank" rel="noreferrer noopener">CFP_SR00596_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/203" target="_blank" rel="noreferrer noopener">CFP_SR00597_Horgan_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/207" target="_blank" rel="noreferrer noopener">CFP_SR00600_Dundon_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00627_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/209" target="_blank" rel="noreferrer noopener">CFP_SR00638_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/collections/show/corkfolklore.org/archivecatalolgue/document/210" target="_blank" rel="noreferrer noopener">CFP_SR00639_Walsh_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/214" target="_blank" rel="noreferrer noopener">CFP_SR00687_McGrath_2018;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/215" target="_blank" rel="noreferrer noopener">CFP_SR00711_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/216" target="_blank" rel="noreferrer noopener">CFP_SR00719_OLeary _2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/217" target="_blank" rel="noreferrer noopener">CFP_SR00723_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/227" target="_blank" rel="noreferrer noopener">CFP_SR00733_Joyce_2019:</a></div> Type The nature or genre of the resource Sound Black and Tans Civil War Cork Shakespearean Company Fr O'Flynn RIC The Loft Theatre Tom Barry War of Independence https://corkfolklore.org/archivecatalolgue/files/original/94cb1550a6cb20fc36b6edbaf0f40eec.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/c5f90f0e1c8aa4c9c5599f9e015d0943.mp3 2a99b2bba0ce2b82c526939b65064626 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 Michael Murphy Interviewer The person(s) performing the interview Caroline Cronin Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 58min 55sec 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 Time Summary A summary of an interview given for different time stamps throughout the interview C.C: So where did ye socialise, that time, when you started I suppose and socialise, where would ye have gone? M.M: I suppose dancing it would have been the Francis Hall (Sheare’s Street) in the Arcadia (lower Glanmire Road). CC. Did ye go to Pubs? M.M: When we got to the Pub scene, it would have been, O’ Riordan’s Pub in Merchant’s Quay. C.C: O’ Riordan’s pub. M.M: Yeah and she had a cafe overhead and we liked going there because we had to go to Confession nearly every Saturday. C.C: Yeah. M.M: And if you didn’t go to Confession on Saturday, and came home and still said you did that was another lie, that’s another lie you have to tell next week. C.C: That’s an extra one to add on to the rest. M.M: One on to that and Mrs. Riordan was very good cos we go down of a Saturday and we be playing darts or cards and when it’s time for Confession she’d hunt us out the door and she would give us a tea leaves on the way to chew on the way up to the Chapel, to take away the smell of the stout. C.C: Did she? M.M: Yeah. C.C: Get away? M.M: Yeah, malt tea leaves and you just suck on them on the way up to the Church.. C.C Jes, and then go into Confession. M.M: Go into Confession. C.C: And would yea go back down there again after yea come then? M.M: And back down to the pub then. C.C: And would there be a group of ye together? M.M: Oh yea, four or five, going to Confession. C.C: And what time was the closing time? M.M: Oh, we never be there at closing time, at that stage, you were always back. C.C: Probably falling on the ground, were ye? (Laughs) Before that? M.M: You were back on the hunt at around nine o’clock . M.M: C.C: (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 Michael Murphy: Worklife; Murphy's Brewery; Childhood Subject The topic of the resource Life History: Description An account of the resource Michael was born in 1941. He was born in Francis Street. He had 6 brothers and 5 sisters. His earliest memory is of his grandfather’s funeral, with a hearse pulled by two horses, in 1945. His mother’s pregnancies and the arrival of newborn children was not discussed. His children’s clothes were passed on to a neighbour’s child. He recalls the practice of buying a habit for a dead person. His father (b. 1910) started work at the age of 10 at Murphy's bacon factory on Evergreen St. Michael’s best friend was a Jewish boy, Isaac Charger. He went to the Savoy cinema, dancing in Francis Hall and the Arcadia, drinking in O’Riordan’s, Merchant’s Quay. He went to confession after the pub; the owner gave him tea leaves to chew to take away the smell of drink. He started working in Murphy’s brewery in 1959 and rose through the company. Date A point or period of time associated with an event in the lifecycle of the resource 07 April 1998 Contributor An entity responsible for making contributions to the resource Interviewee: Michael Murphy Interviewer: Caroline Cronin Identifier An unambiguous reference to the resource within a given context CFP_SR00140_murphy_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; 1940s-1960s 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 1940s 1950s 1960s Childhood Funeral Customs Funerals Jews Murphy’s Bacon Factory Murphy’s Brewery Shandon Street Working life https://corkfolklore.org/archivecatalolgue/files/original/e459e197ae151ae19135c8a435f887e8.JPG 9fd41dcfa9fc4c8735700cea4f868d91 https://corkfolklore.org/archivecatalolgue/files/original/bdc9f5dfea864180f36d1fb603248a59.mp3 232b51f654852e7c55c14d4a3e86335e 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 Shakespearean Company (The Loft) Date A point or period of time associated with an event in the lifecycle of the resource 2017-2019 Contributor An entity responsible for making contributions to the resource Interviewees: Patrick Sexton; Patrick Horgan; Patrick Gunn; Carol Dundon; Finbar McGrath; Humphrey Twomey; Kieran O'Leary; Musetta Joyce: Interviewer: David McCarthy Identifier An unambiguous reference to the resource within a given context <a href="http://corkfolklore.org/archivecatalolgue/document/199" target="_blank" rel="noreferrer noopener">CFP_SR00596_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/203" target="_blank" rel="noreferrer noopener">CFP_SR00597_Horgan_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00598_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/207" target="_blank" rel="noreferrer noopener">CFP_SR00600_Dundon_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00627_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/209" target="_blank" rel="noreferrer noopener">CFP_SR00638_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/214" target="_blank" rel="noreferrer noopener">CFP_SR00687_McGrath_2018;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/215" target="_blank" rel="noreferrer noopener">CFP_SR00711_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/216" target="_blank" rel="noreferrer noopener">CFP_SR00719_OLeary _2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/217" target="_blank" rel="noreferrer noopener">CFP_SR00723_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/227" target="_blank" rel="noreferrer noopener">CFP_SR00733_Joyce_2019:</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork: Ireland: 1920s-2010s: Relation A related resource Published Material: McCarthy, David(2018)'The Loft: Cork Shakespearean Company', The Archive 21:6-9. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf">http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf</a> 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 Subject The topic of the resource Arts; Theatre; Life History Description An account of the resource This collection of twelve interviews with nine interviewees concentrates on The Cork Shakespearean Company, also known as "The Loft". Founded in 1924 by Fr Christopher O'Flynn. The theatre, up to the year 2000 was based out of the upper floor in Linehan's sweet factory John Redmond Street which is why it gained the moniker "The Loft". Since its inception, the group has put on a variety of Shakespeare's works in various theatres in the city including the Cork Opera House and the Everyman Theatre. All interviews in this collection were collected CFP researcher and ex Cork Shakespearean Company member David McCarthy. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 56 minutes 55 seconds. Interviewee The person(s) being interviewed Pat Hogan Interviewer The person(s) performing the interview David McCarthy Location The location of the interview Clancy’s Bar Princes Street, 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 please contact CFP, folklorearchive@gmail.com Pat talks about the composer Aloys Fleischmann and goes into his general story including his connections with the Cork Ballet Company which is how Pats wife got to know him. Pat met him a few times usually when he would call to the house to drop music off. He says he was a very unassuming man. He had an old broken down car with the door nearly falling off and he would have no mass on things like that. He also used to drive an old motor bike. He brought a friend of Pats wife up to Clonmel on the bike and took a corner quickly and they ended up in the ditch but they walked away from it. He says he was like Fr O Flynn in some respects in that he’d inspire people. He collaborated with Joan Denise Moriarty with The Cork Ballet Company. The Cork Ballet Company became The Irish Ballet Company so they set up a professional company out of Cork which the Cork Symphony Orchestra would play in collaboration with. Pat says they travelled to Europe and America but the Dublin based Arts Council said it could survive if it was based in Dublin, their funding was taken from them. Up to end of Fleischmann’s and Joan Denise Moriarty’s lives they were both heavily involved in ballet and music. The ballet and Cork Symphony Orchestra are still around but not in the same capacity as they used to be says Pat. 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 Horgan: The Loft Cork Shakespearean Company, The Everyman Palace, Aloys Fleischmann Subject The topic of the resource Arts; Theatre; Life History; Description An account of the resource Pat speaks about his family’s involvement in The Railways. Of hurling with St Patricks .Of seeing the Innishfallen coming and going from his house. Playing hurling with St Patrick’s. His work in Dunlop and Ford and his involvement in acting with The Loft Cork Shakespearean Company under Fr O Flynn. He speaks of when the BBC came to the Loft to film a documentary on Fr O Flynn. He also speaks of his memories of Aloys Fleischmann. On John B Keane and the Southern Theatre Group. Dan Donovan. The Everyman Palace. The Montforts. Joan Denise Moriarty. Gus Healy. Chris Curran. Jim Stack. Date A point or period of time associated with an event in the lifecycle of the resource 16 January 2017 Contributor An entity responsible for making contributions to the resource Interviewee: Pat Horgan Interviewer: David McCarthy Identifier An unambiguous reference to the resource within a given context CFP_SR00597_Horgan_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, 1920s, 50s, 70s, 80s, 90s 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 Relation A related resource <div class="element-text"><a href="http://corkfolklore.org/archivecatalolgue/document/199" target="_blank" rel="noreferrer noopener">CFP_SR00596_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00598_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/207" target="_blank" rel="noreferrer noopener">CFP_SR00600_Dundon_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00627_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/209" target="_blank" rel="noreferrer noopener">CFP_SR00638_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/collections/show/corkfolklore.org/archivecatalolgue/document/210" target="_blank" rel="noreferrer noopener">CFP_SR00639_Walsh_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/214" target="_blank" rel="noreferrer noopener">CFP_SR00687_McGrath_2018;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/215" target="_blank" rel="noreferrer noopener">CFP_SR00711_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/216" target="_blank" rel="noreferrer noopener">CFP_SR00719_OLeary _2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/217" target="_blank" rel="noreferrer noopener">CFP_SR00723_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/227" target="_blank" rel="noreferrer noopener">CFP_SR00733_Joyce_2019:</a></div> Type The nature or genre of the resource Sound https://corkfolklore.org/archivecatalolgue/files/original/bdf4d8df6466e254c3397ee9f07c8044.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/21a5d79e81b07d9bbc3044d0eb0b3959.mp3 c5571ef344aedbe799b6333a22dbc294 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Life Journeys: Living Folklore in Ireland Today Subject The topic of the resource Life history interviews from the inhabitants of Cork city's Northside. Description An account of the resource 27 oral history interviews focusing on the life of Cork city's Northsiders. This interviews in this collection were used in the Cork Folklore Project's (then the Northside Folklore Project) first book; Life Journeys: Living Folklore in Ireland Today. The book, published in 1999, was compiled and edited by former Cork Folklore Project researcher Stephen Hunter. Date A point or period of time associated with an event in the lifecycle of the resource 1996-2001 Contributor An entity responsible for making contributions to the resource Interviewees: Willy Good; Margaret Farmer; Eileen O'Sullivan; Tina Noonan; Michael Murphy; Sheila Dalton; Eibhlis deBarra; Denis P. Long; Catherine McCarthy; Helen Donovan; Billy McCarthy; Maria Lopez; Nicholas Hennessy; John Connolly; Liam Foley; John Collins; Jack Byrne; Thomas McCarthy; Rev John Farris; Brother Higgins; Mary Healy; Helen Prout; Eddie Daly; Alan Kennefick; Kay Dunne; George Glendon; Colin Rynne: Interviewers: Stephen Hunter (16); Caroline Crowley (4); Caroline Cronin (3); Lorraine Cahalane (1); Catherine Fray (1); Valarie Kelly-Curtain (1); Liam Hurley (1); Martin O'Mahony (1): Identifier An unambiguous reference to the resource within a given context CFP_SR00002_good_1996; CFP_SR00104_farmer & osullivan_1997; CFP_SR00127_mccarthy_1998; CFP_SR00134_noonan_1998; CFP_SR00140_murphy_1998; CFP_SR00154_dalton_1998; CFP_SR00176_debarra_1997; CFP_SR00177_long_1998; CFP_SR00181_farmer,mccarthy & donovan _1997: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland: 20th Century Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource .wav Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tina Noonan Interviewer The person(s) performing the interview Catherine Fray Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 62min 58sec Location The location of the interview NCE Ltd, Sunbeam Industrial Estate, Mallow Road, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Casstette Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript relating to the audio extract above. Copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com C.F: Did you mention earlier on that your father was the Lord Mayor of Blackpool? T.N: That’s right, me father was the Lord Mayor of Blackpool there we’ll say about three years ago or something like that. C.F: Right, how did he get that achievement? T.N: Oh, he was, I think it was through to the club, they used to go to Delaney’s club and he was up there and he was picked from the am... C.F: Right. And do Blackpool have a new Lord Mayor every year like you know the City would have one, do Blackpool have an honorary member to become Lord Mayor of Blackpool as well? T.N: I’m sure they do now because after my Dad now there was somebody else Lord Mayor and I think... C.F: Do you know who? T.N: At the, no, ‘twas my Mam now, my Mam and Dad would know who he is, I can’t remember the name. C.F: Jack Lynch lives in Blackpool; do you know anything about Jack Lynch? T.N: Jack Lynch. I always remember Jack Lynch because I think he had a brother teaching in the boy’s school. C.F: In Blackpool School? T.N: In Blackpool School, I think am... C.F: Right, what was he name up there? T.N: Am...all I remember, we wouldn’t remember the first names now like, we’d have to call him like as Mr Lynch or whatever so ‘twas my brothers remember him more. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tina Noonan: Blackpool; Sunbeam; Childhood **Restricted Content** Subject The topic of the resource Life History; Description An account of the resource Tina’s father was from Blackpoool, and her mother was from Cove St. She has 8 siblings. She went to Blackpool School, which was since demolished; there they used to be given milk and buns. Tina recalls some of a skipping rhyme she used to sing as a child. Her first job was in the Sunbeam factory, when she was about 14. She remembers holidaying in Youghal, travelling there by train. As a child she swapped scrapbooks with other girls. She talks about children’s lives now and as they were when she was growing up. She remembers pulling apples from the trees at the Sunbeam factory. Funerals today compared to long ago. Date A point or period of time associated with an event in the lifecycle of the resource 06 April 1998 Contributor An entity responsible for making contributions to the resource Interviewee: Tine Noonan Interviewer: Catherine Fray Identifier An unambiguous reference to the resource within a given context CFP_SR00134_noonan_1998 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ireland; Cork; 1960s; 1970s Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource .wav Type The nature or genre of the resource Sound 1960s 1970s Alcoholism Bonfire Night Childhood Childhood Games Christmas Funerals Murphy's Rock Sunbeam Tina Noonan Youghal https://corkfolklore.org/archivecatalolgue/files/original/3ed7040d79c8bd4e59f12276496f3e59.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/44835bc25cb27c228650135eeb1d304a.mp3 3ef4b3940ccae5e33c9b27d85d72f45d 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 Brenda McCarthy Interviewer The person(s) performing the interview Caroline Cronin Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46min 41sec 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 BM: I remember certain teachers that I had a grá for, and I remember certain teachers that I was petrified of. I think -- and teachers too I think that when we were -- even though it wasn’t too long ago, twenty years ago when we were growing up, they had this-- they had this-- there was no dividing their feelings. They either liked you or they didn’t. There was no in-between. And I don’t think that they gave people or children that time, the understanding and benefit of the doubt like they do today. I really don’t think they made the effort and maybe they didn’t like the look of you or-- if you were-- like there were other people less more fortunate than I was. Kind of grubby or untidy, or if they came from a very rundown background very poor. I think they were actually bullied more than the rest. That always stuck, I remember one girl in my class and they had nothing, absolutely nothing. Now at the time with me, nothing to you anyway but as you grew up you often start to think, I mean, think that, that she, how she ever went there I’ll never know. Putting the dunce’s hat on her head, in the middle of the classroom and making her kneel down. I can remember the nun doing that to her. 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 Brenda McCarthy: Schooldays; Communion; Dating Subject The topic of the resource Life History; Description An account of the resource Brenda (b. 1963), had 5 sisters and 6 brothers; she was the youngest child in her family. Her mother was from Boyce’s Street. Her father was from near Macroom, and his family was well-off. She always lived on the Northside. She recalls her schooldays. She believes that children from poorer backgrounds were bullied by teachers. She talks about her Communion and Confirmation; dating and the pros and cons of marriage and having children. Date A point or period of time associated with an event in the lifecycle of the resource 31 March 1998 Contributor An entity responsible for making contributions to the resource Interviewee: Brenda McCarthy Interviewer: Caroline Cronin Identifier An unambiguous reference to the resource within a given context CFP_SR00127_mccarthy_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 Cork; Ireland: 1960s-1970s Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource .wav Type The nature or genre of the resource Sound 1960s 1970s Brenda McCarthy Communion Marriage Schooldays Social Class https://corkfolklore.org/archivecatalolgue/files/original/4de6e855b13380e15b028b437e0eb7f7.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/eec992441789b7e6b4c8d2b2ba972e1a.mp3 c4c8b299e9d74b2e112bb70b7ae96073 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 Margaret Farmer Eileen O’Sullivan Interviewer The person(s) performing the interview Lorraine Cahalane Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 12min 29sec Location The location of the interview O'Connell Court, Windmill 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.C. Eileen, can you remember any of the toy shops in Cork, when you were growing up? E.O'S Well, I can, I tell you what, there was a little shop in Princes Street, "Jays", there was "Woolams" then, we used to call it King Street, it's now McCurtain Street, I suppose it was Kings Street when the British were here. But 'em they used to have beautiful toys in the Grand Parade, you know, and I suppose they had them in Cash's. The Munster Arcade was renowned for toys, big toys too, tricycles and scooters and the like, and Roches Stores, but they didn't go in for toys in as big a way as the Munster Arcade. L.C. Do you remember some of the games you played when you were younger in the street.? E.O'S. Well, we used to have hoops, you know you just rolled them along, and we used to have tops, different types of tops ( spinning tops ) one was a racer, you'd hit it with a stick, you'd buy the stick, it would have a leather type of whip, and you'd hit it and the top would fly along. Hoops, marbles, of course, a very general thing, marbles, called glassyalleys, oh and skipping ropes with handles L.C. What year would that have been about? ( 1920/ 21 ) E.O'S. Oh Lord, I suppose when I was about six or seven, nearly seventy years ago, ha! ha! but 'em there's a shop there where we used to get most of our things, it was at the corner of Oliver Plunkett Street, at the Grand Parade end. They specialised in hoops and tops, and the thing that you whipped the top along with, that was leather on a stick ( a top whip ), hoops, tops, marbles, what else had we? 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 Margaret Farmer & Eileen O’Sullivan: Toys, Christmas, Nosey Keefe’s Subject The topic of the resource Life History; Childhood; Description An account of the resource Margaret Farmer was born in 1914 and talks very briefly about Christmas. and Nosey Keefe’s shop. Eileen O’Sullivan also talks Christmas and about Woollams’ toy shop, and about Hadji Bey, an Armenian who sold Turkish Delight on McCurtain St. Date A point or period of time associated with an event in the lifecycle of the resource 16 December 1997 Contributor An entity responsible for making contributions to the resource Interviewees: Margaret Farmer & Eileen O’Sullivan Interviewer: Lorraine Cahalane Identifier An unambiguous reference to the resource within a given context CFP_SR00104_farmer & osullivan_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; 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 Hadji Bey MacCurtain Street Margaret Farmer Nosey Keefe’s Shandon Street Woollams https://corkfolklore.org/archivecatalolgue/files/original/84041829a3b672361a36620b0a5fb6f9.JPG 8b6bf5eb565b4d4b8096828eb347bd71 https://corkfolklore.org/archivecatalolgue/files/original/b54c77418701af1f178bc729485b8279.mp3 03432ca91d7b58d64d790a64ab03a709 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 Shakespearean Company (The Loft) Date A point or period of time associated with an event in the lifecycle of the resource 2017-2019 Contributor An entity responsible for making contributions to the resource Interviewees: Patrick Sexton; Patrick Horgan; Patrick Gunn; Carol Dundon; Finbar McGrath; Humphrey Twomey; Kieran O'Leary; Musetta Joyce: Interviewer: David McCarthy Identifier An unambiguous reference to the resource within a given context <a href="http://corkfolklore.org/archivecatalolgue/document/199" target="_blank" rel="noreferrer noopener">CFP_SR00596_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/203" target="_blank" rel="noreferrer noopener">CFP_SR00597_Horgan_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00598_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/207" target="_blank" rel="noreferrer noopener">CFP_SR00600_Dundon_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00627_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/209" target="_blank" rel="noreferrer noopener">CFP_SR00638_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/214" target="_blank" rel="noreferrer noopener">CFP_SR00687_McGrath_2018;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/215" target="_blank" rel="noreferrer noopener">CFP_SR00711_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/216" target="_blank" rel="noreferrer noopener">CFP_SR00719_OLeary _2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/217" target="_blank" rel="noreferrer noopener">CFP_SR00723_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/227" target="_blank" rel="noreferrer noopener">CFP_SR00733_Joyce_2019:</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork: Ireland: 1920s-2010s: Relation A related resource Published Material: McCarthy, David(2018)'The Loft: Cork Shakespearean Company', The Archive 21:6-9. <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf">http://corkfolklore.org/wp-content/uploads/2018/08/Archive21-WebEdition-1.pdf</a> 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 Subject The topic of the resource Arts; Theatre; Life History Description An account of the resource This collection of twelve interviews with nine interviewees concentrates on The Cork Shakespearean Company, also known as "The Loft". Founded in 1924 by Fr Christopher O'Flynn. The theatre, up to the year 2000 was based out of the upper floor in Linehan's sweet factory John Redmond Street which is why it gained the moniker "The Loft". Since its inception, the group has put on a variety of Shakespeare's works in various theatres in the city including the Cork Opera House and the Everyman Theatre. All interviews in this collection were collected CFP researcher and ex Cork Shakespearean Company member David McCarthy. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Pat Sexton Interviewer The person(s) performing the interview David McCarthy Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 60min 03sec Location The location of the interview Togher. 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, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com Pat speaks about The Quakers who have their meeting house across the road from his family home. Pat says he went to a few meetings there. He mentions a man who used to go there, Declan Gould. Pat used to go there out of curiosity and to read their literature. He says he didn’t consider becoming a fully-fledged member. He got to know a congregation member called Larry who says does dance lessons. Pat says they were good employers and mentions Brooke Haughton of whom Mr Haughton was a Quaker. He said they did not discrimate and employed many Catholics. Pat mentions a neighbour who lived across the road from him, Patsy Frayne who was a Catholic and was employed as a caretaker in The Meeting House. Pat says they had an average meeting congregation of about 30 and sometimes it could go up to 50. 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 Sexton: The Loft; Cork Shakespearean Company, Dr Lucas, Quaker Meeting House, Pearse Gunn of the Loft. Subject The topic of the resource Arts: Theatre, Life History Description An account of the resource Life in The Douglas Street area in the 60s 70s and 80s. Theatre in Cork and The Cork Shakespearean company. “The Loft”. This is the first of two interviews with Pat for The Cork Shakespearean Company (The Loft) collection. The second is <a href="http://corkfolklore.org/archivecatalolgue/items/show/209" target="_blank" rel="noreferrer noopener">CFP_SR00638_Sexton_2017</a> Date A point or period of time associated with an event in the lifecycle of the resource 13 January 2017 Contributor An entity responsible for making contributions to the resource Interviewee: Pat Sexton Interviewer: David McCarthy Identifier An unambiguous reference to the resource within a given context CFP_SR00596_Sexton_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, Douglas Street 1960s, 70s, 80s 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 Relation A related resource <div class="element-text"><a href="http://corkfolklore.org/archivecatalolgue/document/205" target="_blank" rel="noreferrer noopener"></a> <a href="http://corkfolklore.org/archivecatalolgue/document/203" target="_blank" rel="noreferrer noopener">CFP_SR00597_Horgan_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00598_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/207" target="_blank" rel="noreferrer noopener">CFP_SR00600_Dundon_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/208" target="_blank" rel="noreferrer noopener">CFP_SR00627_Gunn_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/209" target="_blank" rel="noreferrer noopener">CFP_SR00638_Sexton_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/collections/show/corkfolklore.org/archivecatalolgue/document/210" target="_blank" rel="noreferrer noopener">CFP_SR00639_Walsh_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/214" target="_blank" rel="noreferrer noopener">CFP_SR00687_McGrath_2018;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/215" target="_blank" rel="noreferrer noopener">CFP_SR00711_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/216" target="_blank" rel="noreferrer noopener">CFP_SR00719_OLeary _2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/217" target="_blank" rel="noreferrer noopener">CFP_SR00723_Twomey_2019;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/227" target="_blank" rel="noreferrer noopener">CFP_SR00733_Joyce_2019:</a></div> Type The nature or genre of the resource Sound https://corkfolklore.org/archivecatalolgue/files/original/7f544e066937365493ee2393c81d4528.jpg 84ab4ede9d5baef4d8dbb60bb8e18e9a https://corkfolklore.org/archivecatalolgue/files/original/ed67ed0daffd2053227cd1adfc33012b.mp3 c396d544cf622b8cf9d231b9921859e1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Life Journeys: Living Folklore in Ireland Today Subject The topic of the resource Life history interviews from the inhabitants of Cork city's Northside. Description An account of the resource 27 oral history interviews focusing on the life of Cork city's Northsiders. This interviews in this collection were used in the Cork Folklore Project's (then the Northside Folklore Project) first book; Life Journeys: Living Folklore in Ireland Today. The book, published in 1999, was compiled and edited by former Cork Folklore Project researcher Stephen Hunter. Date A point or period of time associated with an event in the lifecycle of the resource 1996-2001 Contributor An entity responsible for making contributions to the resource Interviewees: Willy Good; Margaret Farmer; Eileen O'Sullivan; Tina Noonan; Michael Murphy; Sheila Dalton; Eibhlis deBarra; Denis P. Long; Catherine McCarthy; Helen Donovan; Billy McCarthy; Maria Lopez; Nicholas Hennessy; John Connolly; Liam Foley; John Collins; Jack Byrne; Thomas McCarthy; Rev John Farris; Brother Higgins; Mary Healy; Helen Prout; Eddie Daly; Alan Kennefick; Kay Dunne; George Glendon; Colin Rynne: Interviewers: Stephen Hunter (16); Caroline Crowley (4); Caroline Cronin (3); Lorraine Cahalane (1); Catherine Fray (1); Valarie Kelly-Curtain (1); Liam Hurley (1); Martin O'Mahony (1): Identifier An unambiguous reference to the resource within a given context CFP_SR00002_good_1996; CFP_SR00104_farmer & osullivan_1997; CFP_SR00127_mccarthy_1998; CFP_SR00134_noonan_1998; CFP_SR00140_murphy_1998; CFP_SR00154_dalton_1998; CFP_SR00176_debarra_1997; CFP_SR00177_long_1998; CFP_SR00181_farmer,mccarthy & donovan _1997: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland: 20th Century Relation A related resource Published Material: Hunter, Stephen (1999), Life Journeys: Living Folklore in Ireland Today, Cork: The Northside Folklore Project. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource .wav Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Willy Good Interviewer The person(s) performing the interview Caroline Cronin Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 34min 47sec Location The location of the interview The Cottage, Parklands, Commons Road, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cassette Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript relating to the audio extract above. Copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com C.C: What about superstitions was there superstitions about Halloween? W.G: Well there would be a bit about witches and that you would be a bit scary now. C.C: Scared to go out? W.G: That time ya.. Especially now when it would be getting a bit late in the evening. There was a lot more scare around then than then now. Frightening stories would have been told. C.C: Would you be sitting down telling stories now that night? W.G: Well we would like, the father would have plenty of those haunted house stories, we would be running into the corners. C.C: And all about ghosts and spirits? W.G: Oh ya, ya we believed quite a lot about the ghosts around that time. C.C: Was there any particular ones around here, was there any ghost stories? W.G: Ah! There’s one down there in the Boreen, that’s a well know place. It used to be called “The Style”, it was halfway down to the old barracks and going a way back. A lady used to tell me there was a priest seen there on numerous occasions…. praying late by night as we witnessed ourselves later on. I had a horse on the road at the time and the horse would be shying, scared you know, around to one side of the road, and it happened a couple of years later with a second horse my brother was driving. And my sister saw something very unusual down there one night. C.C: Oh! That girl that was home from England. W.G: Ya! C.C: What did she see? W.G: She was doing the romancing down there and saw an enormous cat, she thought she was seeing things first but her boyfriend, who was terribly brave fella, he was known to be a tough man, he got a desperate fright that night, he forgot about the romancing for quite a bit. C.C: What did he see, a big cat? W.G: It was supposed to be a huge cat, I didn’t believe it myself, but my sister said definitely, it was terribly unusual. There was something scary always about that area. My father was sitting up there one night and was pushed off the style and he put out his shoulder actually. C.C: Did he? W.G: So people don’t believe in haunted places. It was very convenient to where a young girl died at the age of 25 years, it was tragic and she is buried only a short distance from that … and apparently that was their premises that they owned, and there’s a style there… and it’s in that gate they used drive with their coach to get up to the house which is the house near me now. They lived in that house. C.C: The house next door? W.G: Ya. C.C: Is that right? W.G: Oh yeah! W.G: Her name is inscribed on the staircase inside, this girl. C.C: She died when she was 25? W.G: She died tragically, there’s a big story about that, but you would want to be sitting down for a while to go through that. But it’s a fact, because it came out on “The Echo” one night. C.C: Did it? W.G: Oh ya! I have the story on it there. C.C: When was that? A very, long time ago? W.G: Oh God that would be back a long way, oh they were French – Delahide was their names. C.C: What was her name? W.G: The father deserted them and went away to America and was away for 25 years and she grew up a beautiful girl and they had a house in Kinsale…. ‘n the meantime she was going around Cork and she met this foreigner or Yankee coming home and they took up together and the romance started off even though he was twice her age but age don’t come between love you know. C.C: I know. W.G: What happened then was, it was getting more serious, so one night he showed her, she asked him would he like to see a few photographs, there wouldn’t be a whole lot of them that time…. cameras weren’t on the go that much. She went through a few photos anyway and she came to this chap about 19 and he said “who was that?”, “ That was my father”…. and he left a gasp out of him, so he didn’t say any more to her that night…. when he sat her down after a few nights later, he said he would have to break off the whole show that’s going on between us, the romance. “What’s wrong?” she said. He said, “that’s me in the photo”. Her own father, she was going to marry him in six months. C.C: You’re not serious. W.G: Oh I am, and you would imagine with the shock that the father would pan out but actually the girl died in a very short time. C.C: Broken heart? W.G: Well, shock I would say. And she’s buried down here, in just adjacent to the Commons Bar. C.C: Is that right? W.G: Yes. C.C: Her grave is there? W.G: Well, it was there, but the stories tell it was consecrated and all for her and the father became a recluse after that, he wouldn’t go out until midnight and drive and coach and he used have the horses’ feet padded and they thought it was a headless coach, …. which it wasn’t, but that was the same style in the gate that he used to go in there because he would be driving up to this house here to see her. The mother had died in the meantime. They had a house in Kinsale, but after she died, he never came out by day after that. But it was very tragic. C.C: And it was a true story? W.G: So that’s how we call it “The Haunted Style”, a combination of the two of them now live! C.C: Was her ghost, was she ever seen? W.G: Well, no. I saw a few things down there, but no like, not really. C.C: Did you see a few things down there? W.G: I met someone coming out the gate on at night all in black holding a white purse, 12:45, I was just coming down from Goulds and I be like my own father, I’d face anything. I’d be brave regards to that. I tracked her down a bit, but I didn’t want to go too far because she thought I might be following her or something. I thought she might go into Onslow Gardens, but she stood under the tree below, for quarter of an hour and I stayed above and there was no move out of her. So I was coming up another night then from Lyons Cottage, I was like a bit of a rover and I saw her again. C.C: The same woman? W.G: Up on the lane, there could be a possibility that she fancied some fella in Onslow Gardens. And then again, she had long hair and she had kind of a cloak on her. That’s why you wouldn’t see too many of them with that on. C.C: She never made a sound or anything? W.G: No, no. Never spoke or anything, so you could take that with a pinch of salt, or with a glass of brandy if you like. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Willy Good: Halloween, Fairies, Holy Wells, Subject The topic of the resource Life History Description An account of the resource Willy Good was born in the 1930s and brought up in Commons Road. His house was in the family for two centuries, and once had a thatched roof. He recalls Halloween games; he called Halloween ‘Snap Apple Night’. Ghostly encounters associated with The Stile. A sad story about a girl surnamed Delahide. Visiting a holy well on All Souls’ Day [All Souls’ Well, off Blarney Road]. Hearing two banshees. His father and Jack of the Lantern. His mother read tea-leaves. Willy tells a story of the Famine and the Piper’s Boreen. He describes how they repaired their own leather shoes. Also mentioned is the cutting hay and the fairy whirlwind. He remembers Irish and Hiberno-English words his family used: ‘a bart [bundle] of sticks’, a gaotog [for making sugán rope], ‘Cuas Mhainin, hanam an diathail’. Date A point or period of time associated with an event in the lifecycle of the resource 29 October 1996 Contributor An entity responsible for making contributions to the resource Interviewee: Willy Good Interviewer: Caroline Cronin Identifier An unambiguous reference to the resource within a given context CFP_SR00002_good_1996 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ireland, Cork, 1800s - 1900s Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English, Irish. Format The file format, physical medium, or dimensions of the resource 1 .wav File Type The nature or genre of the resource Sound All Souls’ Day All Souls’ Well Banshee Fairy Wind fortune-telling Ghosts Halloween Hiberno-English Jack of the Lantern Shoemaking Supernatural https://corkfolklore.org/archivecatalolgue/files/original/569473ea6f35b4bd988d379b90bd0bdd.jpg 3c8bb1a5ff087063812068a17e423523 https://corkfolklore.org/archivecatalolgue/files/original/fb78103cfbf6ec74540a4cd1f214ca74.mp3 13a33b4465d6b8e2afd767684e9ea054 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 Edward Buckley Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 117min 29sec Location The location of the interview Cobh, 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 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 Edward Buckley: Stonemasons, Subject The topic of the resource Stonemasons: Occupational Lore: Contributor An entity responsible for making contributions to the resource Interviewee: Edward Buckley Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00611_Buckley_2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 20th Century. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Format The file format, physical medium, or dimensions of the resource 3 .wav Files Description An account of the resource Edward a born a bred Cobh man was born in 1949. After finishing his leaving certificate he attended University College Cork for a year, but says it was not for him. Luckily Seán Lemass had changed the rules on who could be accepted into trades (before this you had to be the son of a mason to be accepted in the trade). Edward did his apprenticeship with PJ Hererty's. He describes how he got into the trade, what the pay was like, and what the conditions were like. Edward talks about the customs of masons, like sharing tobacco, vouching for other masons. Date A point or period of time associated with an event in the lifecycle of the resource 12 April 2017 Relation A related resource From Stonemason Collection: <div class="element-text five columns omega"> <a href="http://corkfolklore.org/archivecatalolgue/document/178" target="_blank" rel="noreferrer noopener">CFP_SR00565_osullivan_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/179" target="_blank" rel="noreferrer noopener">CFP_SR00566_fahy_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/180" target="_blank" rel="noreferrer noopener">CFP_SR00569_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/181" target="_blank" rel="noreferrer noopener">CFP_SR00570_steele_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/182" target="_blank" rel="noreferrer noopener">CFP_SR00574_jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/183" target="_blank" rel="noreferrer noopener">CFP_SR00577_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/184" target="_blank" rel="noreferrer noopener">CFP_SR00581_osullivan_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/185" target="_blank" rel="noreferrer noopener">CFP_SR00583_johnson_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/186" target="_blank" rel="noreferrer noopener">CFP_SR00589_lysaght_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/193" target="_blank" rel="noreferrer noopener">CFP_SR00590_varian_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/194" target="_blank" rel="noreferrer noopener">CFP_SR00595_Jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/195" target="_blank" rel="noreferrer noopener">CFP_SR00609_Cooney_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/196" target="_blank" rel="noreferrer noopener">CFP_SR00610_McCarthy_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/197" target="_blank" rel="noreferrer noopener"></a> </div> Published material related to the collection: <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive20-WebEdition.pdf" target="_blank" rel="noreferrer noopener">Moore, Michael (2016) ‘A Tale of Two Masons’, The Archive Journal, Vol 20: 8-10. </a> Type The nature or genre of the resource Sound 1960s 1970s 1980s 1990s Apprenticeship Family Life Hogan's (family history) Jeremiah Hogan PJ Hegarty Stonemasons Trades Working life https://corkfolklore.org/archivecatalolgue/files/original/b55520a0c60ae31b5b497cf6d0d0b711.jpg 290ae32767f3c348d2b46af1ac213a07 https://corkfolklore.org/archivecatalolgue/files/original/c5185d92b3968177c470ce3a93c31ea9.mp3 95da8c4c4d517ab0d094ad6a293130c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stonemason Oral History Project Subject The topic of the resource Life History; Occupational Lore; Trades; Description An account of the resource This collection consists of 14 interviews with 12 people (11 male stonemasons and one female family member). It was carried out between November 2015 and April 2017 and documents the experiences of stonemasons based in Cork throughout the twentieth century. The interviews were carried out by CFP Researcher Michael Moore, himself a qualified stonemason. The collection explores the occupational and social context of stonemasonry; work practices, the social context, occupational lore, the secret language Bearlager na Saor and family ties. Most of the interviews are focused on the mid to late twentieth century with some stories and histories dating back to the eighteenth century This project’s second interviewee, Jim Fahy of the Cork Mason’s Historical Society, was inspired to include an oral history element to his ongoing research and documentation of stonemasonry, and this material is being accessioned to the CFP. Michael Moore characterized the project as an attempt to capture a snapshot of the lives and voices of stonemasons and ‘to record their insular world for posterity’, pointing out that ‘There is a need to document the living tradition of stonemasonry by recording people who work or have worked in masonry, particularly those born into it as part of familial ties.’ (Moore, 2016: 8). Date A point or period of time associated with an event in the lifecycle of the resource 2015-2017 Contributor An entity responsible for making contributions to the resource Interviewer: Michael Moore Interviewees: Murty O'Sullivan; Jim Fahy; Joe Fahy; John Steele; Dan Jones; Joseph Fahy; Mary O'Sullivan; Jack Johnson; Mary O'Sullivan; Thomas Lysaght; Patrick Varian; Patrick Cooney; Tom McCarthy; Edward Buckley. Identifier An unambiguous reference to the resource within a given context <a href="http://corkfolklore.org/archivecatalolgue/document/178" target="_blank" rel="noreferrer noopener">CFP_SR00565_osullivan_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/179" target="_blank" rel="noreferrer noopener">CFP_SR00566_fahy_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/180" target="_blank" rel="noreferrer noopener">CFP_SR00569_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/181" target="_blank" rel="noreferrer noopener">CFP_SR00570_steele_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/182" target="_blank" rel="noreferrer noopener">CFP_SR00574_jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/183" target="_blank" rel="noreferrer noopener">CFP_SR00577_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/184" target="_blank" rel="noreferrer noopener">CFP_SR00581_osullivan_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/185" target="_blank" rel="noreferrer noopener">CFP_SR00583_johnson_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/186" target="_blank" rel="noreferrer noopener">CFP_SR00589_lysaght_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/193" target="_blank" rel="noreferrer noopener">CFP_SR00590_varian_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/194" target="_blank" rel="noreferrer noopener">CFP_SR00595_Jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/195" target="_blank" rel="noreferrer noopener">CFP_SR00609_Cooney_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/196" target="_blank" rel="noreferrer noopener">CFP_SR00610_McCarthy_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/197" target="_blank" rel="noreferrer noopener">CFP_SR00611_Buckley_2017:</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ireland; Cork; 1700s; 1800s; 1900s; 2000s Relation A related resource Published material related to the collection: <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive20-WebEdition.pdf" target="_blank" rel="noreferrer noopener">Moore, Michael (2016) ‘A Tale of Two Masons’, The Archive Journal, Vol 20: 8-10. </a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English; Bearlager na Saor (Stonemasons Language) Type The nature or genre of the resource Audio Format The file format, physical medium, or dimensions of the resource 14 .wav files Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Tom McCarthy Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37min 38sec Location The location of the interview Ballyphehane, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit/48kHz Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.00.00 - 0.04.33 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The McCarthy family history, ‘McCarthy Generations’ book, Tom McCarthy, Denis McCarthy and Theo McCarthy Tom started his trade in 1949 which was a continuation of his family tradition, his great-grandfather was a stonecutter Tom uses the book ‘The McCarthy Generations’ written by Deirdre Coleman, to point out pictures of his grandfather and great grandfather in 1874 Tom’s grandfather was 5 years old in 1874 Some of Tom’s family emigrated to America, his grandfather, Tom, went over and worked on the Chicago City Hall He returned from America and opened a stone yard in Copley Street, and a dancing academy too Tom’s grand-uncle, Denis McCarthy was the clerk of works when the spire was being added to Trinity church, Cork. Tom shows more pictures from the book Denis McCarthy opened a stone yard in White Street The building of Cobh Cathedral was 1868 to 1915 The Holy Trinity church was built 1832-1850- the steeple was added in 1891 Tom tells an anecdote about Theo McCarthy, “a pugnacious and belligerent fella” he had a dispute with his family and went to Australia and ended up fighting in WWI in the Dardanelles [also called Gallipoli Campaign], “he was a bit cracked after that, what he went through was horrific” </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.04.34 - 0.06.28 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> ‘Toss the Boss McCarthy’, Clerk of Works, the Customs House Crest Tom shows more pictures of his grandfather from the book, his nickname is “Toss the Boss McCarthy” because he came back from America with an American accent The clerk of works was in charge of all the stone, which had to be cut to particular shapes and proportions by the stone cutters- then the building masons would build it Tom shows a picture of a coat of arms up over the Customs House- designed by Marshall Hudson, a teacher in the School of Art, it was built in Copley Street, built in portions Tom shows more pictures, of a crest done for Duffy’s circus </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.06.29 - 0.10.09 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Starting his trade, working on St Francis Church, the School of Art, monuments at Crossbarry, Kilmichael, the Lusitania Memorial in Cobh Tom started his trade at 15 in 1949 He lived next door to the stone yard in Copley St. Two years into his trade, he worked on St. Francis Church, sent out to Maguire’s who had the contract for the stone. two apprentices with him were Declan Cahill and Donie Ring 7m30s “They had to get a load of very old stone cutters out of retirement because a lot of them had packed up over the mass concrete in relation to church building and all that kind of thing” There is a big ornate window at the front of St Francis church made out of stone, Tom worked on that, trefoil window [Trefoil is a term in Gothic architecture given to the ornamental foliation or cusping introduced in the heads of window-lights, tracery, panelling, etc., in which the centre takes the form of a three-lobed leaf (formed from three partially overlapping circles)] Tom was delighted to start his time as he hated school Part of serving your time you had to sign up for the school of art as well, to get the layout and design of letters, all the different fonts Tom shows pictures of monuments he laid out by freehand and carved by chisel, at Kilmichael and Crossbarry This can be done by computer and sandblasting now Tom shows a picture of a rifle on the monument carved by Liam Cosgrave and Taighee McCarthy- who was a relation of Tom’s Cosgrave was a beautiful carver Tom’s father put the angel up over the Lusitania Memorial in Cobh </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.10.10 - 0.13.17 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The wages, a 7-year apprenticeship, the union, using the hammer and point on stone ‘sparrow picking’ The basic income was from stonecutting “The apprenticeship was supposed to be for 7 years but that was only to rob us to give us minimum wages” Tom shows a picture of Trinity church Tom used to be sent with the union dues to the Grand Parade, the stonecutters were affiliated with the plasterers rather than the masons, tom does not know why Tom describes some of the things an apprentice would do, the little perforations they made with a hammer and a point in stone are called sparrow picking, you did that until you got used to the hammer and then you would advance Part of their job was making a rough boulder into an oblong shape, it took a while by hand- put a chisel on it and put a chase on it- Tom describes this It was all hand-stuff they would be doing- chisels etc. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.13.18 - 0.14.00 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The first pneumatic hammer in Cork around 1900 Then they started using small foot-long pneumatic hammers with a compressor Tom’s grandfather was supposed to have brought the first one back from Chicago to Cork, Ingersoll Rand [famous brand] was the name of the hammer, around the turn of the last century, 1900 maybe [Type X portable compressor line was introduced by Rand 1902] </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.14.01 - 0.17.29 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The School of Commerce, Seamus Murphy and the inscription, working with Seamus Murphy, and the trade nickname ‘the dust’ Tom’s father worked on the school of Commerce, the stonecutters cut the stone and the masons built it Tom describes some features of the building Seamus Murphy, the famous sculptor has a foundation stone down at the corner Tom worked with Seamus Murphy He shows a copy of his book ‘Stone Mad’ 1970 with the inscription, “To Tom McCarthy one of the dust from his friend Seamus Murphy, the second of January 1970”. The nickname of the trade was the dust because they used to be covered in dust Seamus was very jovial, great conversationalist, a lovely man Tom shows a picture of his great-grandfather and says he looked like him Tom was about 40 when he worked with Murphy when he got old he would mark out the letters because he had his own particular style of lettering and Tom would cut them out with the hammer and chisel He worked with him on and off over the years He worked on Sherkin Island with him in 1968/69 doing Simian’s headstone [no record of this is showing up on google search] </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.17.30 - 0.18.49 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> ‘Bud Alfred McCarthy’, Joe Mac of the showband, ‘The McCarthy Generations’ Tom shows pictures of his uncle Bud Alfred McCarthy, the father of Alf McCarthy the actor and on the radio Joe Mac [McCarthy] of the showband is Tom’s brother The McCarthy Generations book was done by Tom’s cousin, Deirdre Coleman, she tracked a lot of things down for it. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.18.50 - 0.21.01 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Describing the work and working conditions Tom liked the job, he had protection from his family, they all worked together on Copley St It is a very cold job in the winter As he developed he took to engraving the lettering in the cemeteries, that was tough in the winter, but lovely in the summer There was about 13 working in the yard at one stage They were monumental and ecclesiastical carvers, they did churches, alter rails, holy water fonts, pulpits and all by hand But then the machinery came in, the Ibix [U.S. company] sandblaster The major development in the last 40 years was the sandblasting They can do the stencils by computer and then sandblast it </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.21.02 - 0.23.03 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The wages, handing the money up to his mother, going to the pictures with his pals Tom started work at 8.30 and they did a half-day on Saturday and that was the payday Tom was paid ten bob for the first 8 months, he should have got about 17 and 6, he was told to see the union by an older worker He used to hand up the money to his mother and he would have got 5 shillings back He would go to the pictures and have milk and cakes on the way home, a crubeen [pigs feet fried or boiled] if you were very hungry Tom would pal around with other apprentices, bakers, painters, and they didn’t drink The pictures were a big deal, the ‘Assems’ if you were short of cash (Assembly rooms in the South Mall) or if you were short, the Imperial in Oliver Plunkett St. that was known as Miah’s </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.23.04 - 0.25.22 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Moving the Tracton Memorial from St Nicholas’ Church to the Crawford Art Gallery The sculpture gallery in the Crawford used to be the School of Art- there’s a huge figure in it called the Tracton Memorial, it used to be in St Nicholas’ church, the corporation took it over and the statue had to be moved, Tom’s son devised a method to get it out without damaging it [Sculptor, of London, for whom see Rupert Gunnis, Dictionary of British Sculptors 1660-1851 (revised edition, [1968]), 24-28. John Bacon the elder was the sculptor of the fine monument to James Dennis (d. 1782), first and last Baron Tracton, which was formerly in the Church of Ireland church of St Nicholas, Cork, and is now (2010) in the Crawford Art Gallery, Cork. The monument, dating from 1788, consists of a large statue of a standing female figure with right arm outstretched; a roundel on the base depicts Lord Tracton on his deathbed, attended by his wife, who attempts to ward off the skeletal arm of Death.] When they were examining it, they found on the left shoulder T Mac and M D, and that was his great grandfather, Tom McCarthy and Mary Daly- you can see it inside there still They had to use a forklift to get it out, moved inch by inch </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.25.23 - 0.26.38 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> A lovely quote describing how Tom used to make a chisel by fire and anvil 25m23s “When you started learning your trade, you’d have to be acquiring tools, you know, chisels and points and hammers and, now a lot of the older stonecutters could sharpen their tools with an open fire and an anvil and all this kind of thing and temper them, I was never very good at it, I’d always lose the temper when the blue would run out of, there’s a blue band would run down the bit of steel, and you had to keep the copper end. There’s copper and, that was very technical now I don’t know how, anyway. MM The blue was the heat, was it? TMC Yeah the heat, you’d have to, you’d have to get em red hot in the fire, take them out, punch them out on the anvil until you get the width that you wanted in the chisel and then you’d have to temper that in the water, with a bit of, you’d just gently put it into the water and get the steel running up, I was never good at it, but anyhow we survived and we got on anyway” 26m38s </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.26.39 - 0.28.08 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Using a hay fork to get a chisel, mallets made from crab trees They made the tools mostly when Tom started and then they bought them years later 26m52s “One of the best lettering tools you could get was fork off a hayfork…very thin steel and you just put a chisel top on that…” The mallet was timber, the best wood was from a crabtree The mallets gave a softer touch There is ridging on the stone done by the mallet </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.28.09 - 0.30.03 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Working on the Munster and Leinster bank, what they cut, stone and quarries, mullions Years later Tom got a job with Sisk doing the extension on the Munster and Leinster bank in Marlborough St It had to match the original, all done by hand Mullions, windowsills, ashlar plinths, it was unbelievable but took them a long time to do it There were 6 stone cutters on it It was limestone from Walsh’s [quarry] in Carlow The original stone was local, Cloyne or Little Island Tom loved it, though it was tiring The mullions are the uprights at the sides of the window- they are rounded [a vertical bar between the panes of glass in a window.] </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.30.04 - 0.31.50 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Getting a ‘feel’ for the mallet, stone from quarries, using heated beeswax to glue stone breakages Tom describes getting a feel for using the mallet on the chisel- soft top ridging There was a joke going about the spire on Trinity church, that if there was really hot weather then it would collapse- it was done with a local stone (could be Beaumont or Little Island quarry) it was notorious for breaking off, it was shaley in parts- they’d be just cutting a corner and it would fall off- so they had a technique using beeswax, heat it up and stick the part back on </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.31.51 - 0.35.14 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Quarries, blasting stone, proper ledge cutting at a quarry called ‘feathering and wedging’, old quarries in Little Island, Beaumont and Cloyne Originally the stonecutters would go to the quarries but when Tom started, the quarries would deliver There was Beaumont [very near Blackrock] quarry which was finishing “you can destroy a quarry if you blast it, it has to be taken out in ledges, the headstone, to get the correct thickness of the stone… they’d feather and wedge…if the layers of limestone were solid enough they’d drill holes down say six feet in from the face and then they’d feather it out [track seems to skip during this passage] There was Beaumont, little Island, Cloyne was a huge quarry and O’Connell’s had their own yard in Watercourse Road and their quarry was in Copstown up by Mallow, that was a fairly good stone Seamus Murphy’s yard was next to O’Connell’s, there is a bank there now, Murphy’s yard was next to it, there was a pub next to it The interviewer talks a little bit about the old technique of feathering and wedging stone in quarries They have huge saws now that can do all that </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.35.15 - 0.36.28 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Tom’s favourite stone, and bad stone for carving Tom’s favourite stone to work with was marble For lettering, you’d get a nice letter on marble limestone The polished black granite came in, that was tough to cut The chisels would hop off it- which is why they introduced sandblasting Sandstone was too soft to use, and the grit in the stone would wear your tools very rapidly </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 36.29 – 0.37.16 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Workers in the yard There was banter in the yard, but most of them were head down fellas- they’d be very busy in the day Tom saw the fellas polishing the stone by hand with lumps of End of Interview [The power goes on the digital recorder, and the last 13 minutes of the interview failed to record. There is a detailed note in the folder CFP00610] Some topics discussed in the lost 13 minutes, as best I can recall were: Tom said how much he loved his trade and he missed it and is sorry to see it fall away in later years Tom spoke towards the end of the interview about Seamus Murphy, the famous sculptor. He told how he was very radical in his views, but then would not elaborate on this, despite been asked several times. He told how when he went to Dublin to do a bust of the archbishop Charles McQuaid, that McQuaid was sitting for the sketches. He held out his hands to Seamus to show them off, and said: “what do you think of my hands, aren’t they beautiful?” Seamus Murphy looked at him and replied that “the long frock suited him”. This was a slur on his masculinity and probably his sexuality. This is a fascinating story and I am very upset that it was not recorded. </td> </tr> </tbody> </table> Transcription Any written text transcribed from a sound The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material for this interview or other interviews please contact CFP, folklorearchive@gmail.com Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tom McCarthy: Stonemasons, Sculpture, Seamus Murphy Subject The topic of the resource Stonemasons: Occupational Lore: Description An account of the resource Tom belongs to a long line of stone craftsmen. In this interview je outlines McCarthy's relation to the trade. He talks about his early days in the business and that it took seven years to complete his apprenticeship. Throughout the interview, Tom speaks of the famous sculpture Seamus Murphy and their relationship. Tom also makes mention to his brother the musician Joe Mac from The Dixies. Tom describes working conditions, wages and friend in the trade. Other topics of note are the tools that are used in the trade, from the old wooden implements to the new electric tools. Tom also describes sourcing stone and his prefered stone to use. Date A point or period of time associated with an event in the lifecycle of the resource 05 April 2017 Contributor An entity responsible for making contributions to the resource Interviewee: Tom McCarthy Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00610_McCarthy_2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 20th Century Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 2.wav files Relation A related resource From Stonemason Collection: <div class="element-text five columns omega"> <a href="http://corkfolklore.org/archivecatalolgue/document/178" target="_blank" rel="noreferrer noopener">CFP_SR00565_osullivan_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/179" target="_blank" rel="noreferrer noopener">CFP_SR00566_fahy_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/180" target="_blank" rel="noreferrer noopener">CFP_SR00569_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/181" target="_blank" rel="noreferrer noopener">CFP_SR00570_steele_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/182" target="_blank" rel="noreferrer noopener">CFP_SR00574_jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/183" target="_blank" rel="noreferrer noopener">CFP_SR00577_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/184" target="_blank" rel="noreferrer noopener">CFP_SR00581_osullivan_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/185" target="_blank" rel="noreferrer noopener">CFP_SR00583_johnson_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/186" target="_blank" rel="noreferrer noopener">CFP_SR00589_lysaght_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/193" target="_blank" rel="noreferrer noopener">CFP_SR00590_varian_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/194" target="_blank" rel="noreferrer noopener">CFP_SR00595_Jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/195" target="_blank" rel="noreferrer noopener">CFP_SR00609_Cooney_2017;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/197" target="_blank" rel="noreferrer noopener">CFP_SR00611_Buckley_2017:</a> </div> Published material related to the collection: <a href="http://corkfolklore.org/wp-content/uploads/2018/08/Archive20-WebEdition.pdf" target="_blank" rel="noreferrer noopener">Moore, Michael (2016) ‘A Tale of Two Masons’, The Archive Journal, Vol 20: 8-10. </a> Type The nature or genre of the resource Sound 1960s 1970s 1980s Apprenticeship Joe Mac McCarthy's Sculpture Seamus Murphy Stonemasons The Dixies Trades https://corkfolklore.org/archivecatalolgue/files/original/8a6059de58aa9e080d53ab781f65233a.jpg fe03b99c84ee8f83b57baf79649f9013 https://corkfolklore.org/archivecatalolgue/files/original/19e8c0041718553811858e286ab9ff8c.mp3 ac82241e605b8308eb93c5a97f84a565 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 Patrick Cooney Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 60min 27sec 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 Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.00.00 - 0.07.10 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> London-Irish identity, the Hogan name and link, researching their family tree, meeting their lineage Pat grew up in London, his family left Cork in the 1880s They brought their history with them- an oral history They talked about Cork occasionally. One side of his family were masons- so it was easier to go back as they passed the trades down the generations His great, great grandfather was Jeremiah Hogan- a great Cork name- there was mention of Spike Island, he was one of 22 children- which shocked Pat Pat’s mother was a keen amateur genealogist Pat’s father is from Co Meath Pat went on holidays in Ireland as a kid every summer “so, we had this kind of wonderful schizophrenic duality, so we’d come home to Ireland”- England was Babylon They went to Dublin, the link with Cork had been lost- Pat’s mother had a yearning to find out about her side of the family- Hogan is a Tipperary name They were brought to Cork as teenagers as his mother did her research in the local libraries- they were Hogan’s and masons At that time, there was a local historian living out in Cobh, his name was Liam Hogan, a stonemason- the librarian told them this. Pat remembers going up to a house in Cobh with his mother Eileen Devaney [phonetic sounding] to look for Liam O’Hogan. This man came out and he looked very dramatic, very rugged. Pat’s mother got emotional when she saw him “she knew she was in the right house” as he looked like her grandfather, “like meeting a ghost” And she told him what she knew- he was a great writer and contributor to the Journal of the Cork historical and archaeological society JCAHS, he is dead since. He was the right man, he knew his history- he had heard of the Hogan’s who went to London, “We don’t know what happened to them” So, they had found the connection. He was able to sit down and tell her what he knew (6m09s) Since then, they have done a lot of research and they found out the Hogan’s have been stonemasons as far back as 1619, up to today, there is still a Hogan mason in Midleton [Cork] The idea that stonemasonry is just another trade is wrong. They are itinerant masons- they travel around The Hogan name is from Tipperary, Limerick and Clare- they came down to Cork in the mid-eighteenth century because there was a huge building boom. They followed the work. </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.07.11 - 0.11.21 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Father Edmond Hogan, the Jesuit Archive, finding the family tree Liam Hogan told them about Father Edmond’s papers- he is a relative of theirs, he was a great historian in the 19th century He taught James Joyce, he taught Douglas Hyde Irish. Pat did not know of him. All of father Edmond Hogan’s brothers got together and took mortgages out so Edmond could train as a priest- he was bright- he became a very noted scholar who wrote countless books- he was a key figure in the revival of the Irish wolfhound. He wrote books on Ireland in the 16th century, he was a quasi-genius, he was great friends with Eoin McNeill. He was part of the language revival in the 1880s. They found out all his papers were in the Jesuit archive in Dublin- they were allowed have a look at them but there was no order on them and there was a room full of them. “literally walls of filing boxes” This was in the 1990s, since then they have been put into order They spent 3 days there- they found cigarette packets with notes on them- he was an inveterate note taker and historian His famous book is called ‘Onomasticon Goedelicum’ [Latin phrase, 9m00s a history of all the place names in Irish] He did research that is still been used Pat and his mother were looking for stuff on the family tree- Pat was getting bored- finally on the last box at the bottom was his hand-written account of the family tree- [nice quote- 10m] And it was all there- they were masons going way back- they came down from Tipperary One of them built Ballyedmond House in Midleton They would work on the house- become stewards and stay there The mason’s sons would then move on to another place So, there were Hogan’s all over East Cork and they were all masons They built up a picture bit by bit When Pat looks at a book, he goes to the back to see if there is any Hogan’s in it- if yes they are his (lineage) </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.11.22 - 0.14.47 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> What his ancestors built, speaking to masons, understanding life as a mason historicially, Eddie Buckley a mason, Clongowes and father Edmond Hogan Pat is not a mason he grew up in London Pat does not think he would be up to it but he has 400 hundred years of ancestry that helped build St Colemans cathedral (Cobh), the stores in Kinsale, Mitchelstown College, Galtee Castle (Tipperary) [demolished 1942] and the list goes on around Cork. Portumna Castle (Galway), Birr Castle (Offaly) It is wonderful to read about it but you have to speak to masons today to realise that masonry was a hard, hard job- there was no romance or glamour- you were building a castle, but by god you worked hard for your money Pat rediscovered this connection with his family and found that some of them were still masons but not working in the way that their ancestors had. Eddie Buckley a cousin of Pat’s was able to tell him about been a stonemason and how hard it was and he said it’s no surprise that a lot of masons took to the drink- one the incessant hard work and also the stone dust Stone carving was probably a bit easier and more creative In those days, there was no health and safety- not an easy job and you’re lugging stone and exposed to the elements It was easy to see why established masons tried to get their sons to college Father Edmond Hogan went to Clongowes in the 1830s since then nearly all of the Hogan’s from that branch of the family have gone to Clongowes So, the masonry has nearly died out in Pat’s family One guy left in Midleton Pat believes that because some of the older masons did not get the money or respect they deserved they don’t value the importance of it So, when younger people talk about the art and craft of masonry they look at you really strange- “if you were out on scaffolding 8 hours a day you wouldn’t be romantic about it” </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.14.48 - 0.19.27 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Stucadoors, Charles Fort, Kinsale, research, tribalism and identity in London, proud of his heritage, the migrant experience Pat’s father was a decorative plasterer- he could do cornices, centre pieces he trained as what was called a stucadoor [plastering technique developed in ancient Greece] He had no great love for it because he didn’t get well paid and wasn’t appreciated for it Pat gets a great buzz from going around Cork looking at buildings that his family helped build If you work in an office you don’t leave much behind but Pat can go to Charles Fort in Kinsale and look at the stores and his great, great, great, great, great grandfather designed and built them They were the main trunk of the family They have hooked up and become friends and helped each other with research Pat’s mother was like a dog with a bone because “the Irish who go away hold on to it” When you go to the maelstrom of London you have to identify yourself very quickly- it’s tribal- (nice quote-16m32s) Pat grew up in the East End of London and there were lots of immigrants- Italians, Polish. German, West Indian, Chinese, Indian, Pakistanis- all living in very small geographical area They had their own identities, cultures- sometimes they clashed, but not a lot They were different to the Irish in America who developed a rose-tinted view of home- they were able to come home every year- pat knew the realities of Ireland in the 1970s and 80s Pat knew it was different to England and he had a primal urge to be in Ireland- now he lives here He has gradually made his way down to Cork It is silly to be proud of your family tree because there are all dead, it is you that’s important because you are still alive “you can’t trade off of dead men’s triumphs” 18m09s It’s a pleasure to look at their work but also to realise that Pat didn’t have to do it Patrick felt that it was schizophrenic growing up Irish in London- he would be called Irish because of his name, Patrick Cooney He grew up with a dual identity There were more pluses, than problems </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.19.28 - 0.22.52 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The Cork Steam Packets, how the Irish settled in London, Irish names and culture in London, the Irish stays with you, and his love for Cork, They found that the Cork steam packets [British Ferry Company] went out of Penrose Quay and they landed in Wapping just below tower bridge in the port of London and the Irish jumped off the ship on both sides of the Thames and settled and slowly moved inland After WWII and the blitz, the Irish settled in Essex [London], you will find a lot of Cork descendants there The Cork steam packet was the ship that most people took from Munster if they wanted to go to England All the names from the school roll when pat was young were Munster names- it was a virtual cork Pat lives in Dublin for years, but never felt at home there Cork people remind him of home- slightly garrulous, slightly confrontational, can’t stop talking, The people Pat grew up with in London were sometimes four or five generations away from Munster but it was there Pat found himself drifting back home Pat likes Cork, it has a lot of potential There is a great gra for the city- they are chippy about the city For a small place, there are attractive buildings All of these churches perched on hills, because of the marshes Pat’s mother used to come to Cork on the Inishfallen- she said coming to cork was extraordinary, like coming down into a field- cork was more continental than Dublin which was a bridges [phonetic sounding] city, in many respects Pat is getting to know more about his family He can go and touch buildings that his ancestors worked on and that pleases him </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.22.53 - 0.27.02 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The pull to come home, what his ancestors did, Spike Island ledgers, IRB, research in London National Archives, Jeremiah Hogan’s 21 siblings, large Irish families and high death rates Pat feels there might be a genetic impulse to come home His family came to Cork in 1690 which isn’t a long time in history But there is a pull absolutely The real Ireland is outside Dublin Pat does not have a need to go do masonry Pat is a creative person He does not think he would be up to it That generation were tough- they were wiry Pat’s family were employed by the board of ordinance to fortify Spike Island and they were employed by the British crown- Pat is a republican and wasn’t happy about this The other side of Pat’s family were all members of the IRB [Irish Republican Brotherhood] But if you have 21 kids to feed its understandable They never knew about Spike Island until they did research In London in the national archives- Pat found out that when the British left Ireland in 1922 they took everything with them- and Pat found the ledgers from the board of ordinance who looked after all the fortifications Pat found in the ledgers that his great, great, great grandfather lived in Spike Island with 2 young children He was there with a few other masons- onsite masons There were 2 kids born on the island On father Edmonds parchment, the family tree, they found all these weird notes- he put down Jeremiah Hogan and said he had 21 brothers and sisters- few lived beyond the age of 15, one went into the water and brought out a disease that killed 5 of them in a week- could be cholera Pat understands now why his great, great grannie was pregnant from 18 to 48 almost, they had to because of natural wastage From the family tree, Pat saw that a lot of the children would be dead by 4 and 5 (27m quote) Out of 21 kids, you might end up with 5 </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.27.03 - 0.28.56 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Irish history, the Hogan’s in East Cork, Fota Island, the Smith-Barry’s Pat’s family story is very similar to many, it’s the Irish story, you can follow it true Some go into the priesthood, some go into the British army 27m10s and if they had any land, the youngest one gets the land Pat learned about Irish history and Irish history is very traumatic and has repercussions through to today The Hogan’s were very well got with the Smith-Barry’s who were very well got in East Cork- Barryscourt Hospital They worked on Fota [Island in Cork Harbour] when it was been extended- it was a hunting lodge- some of his family lived on Fota in the Crescent [a part of Fota Island] and down by the jetty near Bellvelly It was a bit like ‘Downton abbey’ [TV series]- they got jobs on the estate building the estate walls and things like that- this went thru until the 1940s, there was still Hogan’s there Major Bell had it after the Smith-Barry’s They were there till the 50s Stonemasonry started to die out around that time then because buildings were engineered rather than built </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.28.57 - 0.33.07 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Preserving our heritage, contemporary buildings, bad architecture and planning, Italian attitudes culture What Jim Fahy is doing now is important- recording stuff The Irish are good at rescuing things- Irish music was on its last legs until people went around and recorded all the old people playing music- looking back these people were pioneers It’s the same with masonry- it’s an art it’s permanent- there will be a time when its cherished There are stone buildings 200 hundred years old Will some of the newer buildings be around in 50 years? Pat doesn’t think so “we build with a built-in obsolescence” Pat believes that Jim Fahy needs to go to the city council and demand that buildings need to have a certain amount of masonry in them “why do buildings today look like IKEA stores?” “why can’t we have classical stone buildings?” “in Ireland we have a problem with visual illiteracy” In Ireland things have to be in the brutalist style which Pat believes doesn’t work The Elysium building doesn’t work Classical, palladium, gothic, neo-gothic, arts and crafts buildings in cork, which work because the architect and builders were looking at how they were going to fit in to the streetscape or the landscape, whereas now with ego driven projects all they see is their building and that’s why they look ridiculous The courthouse on Washington street is still a really attractive building Pat spends a lot of time in Italy and they are surrounded by Renaissance buildings- they are proud and protect them Ireland is on the edge of things so- “we want to be seen to be up to date but its actually passé” Pat argues with architects, why can’t we have a modern classical building? They have no answer for it because they can’t do it- we need crafts people who can do it It’s important for stonemasons and stucadoors to keep the craft alive because it will come back </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.33.08 - 0.37.17 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Andrew Smith a modern stucadoor, small-scale planning, heritage, enjoying your craft, David shaw Smith and the television series ‘Hands’, Ken Thomson a stone carver in Ballycotton Pat’s friend is probably Irelands best stucadoor, he is an expert on 18th century plaster work- Andrew Smith- smith and Henderson- the finest stucadoor in Ireland Pat worked for him on a 18th century house in Henrietta street Dublin- Pat did it for a year and enjoyed it- It’s a duty to people today to at least record what was there How feasible are large scale buildings environmentally? Small scale mix of buildings more amenable to a good quality of life- more environmentally sound Pat has found that progress is always greed dressed up as progress Be sceptical of what is seen as modern- tomorrow modern is old fashioned Pat has no grá to be a mason- he respects it You have to love your job- if not, your life is incrementally damaged- and you end up working in the civil service- soulless Pat’s father loved talking about his job- crafts people do tend to enjoy their work more In Cork more books being written- more progress David Shaw-Smith did a great series in the 80s called ‘Hands’ 36m43s he went out and filmed all these people when nobody was interested- he filmed Ken Thomson a stone carver- he’s only recently retired, lives in Ballycotton An incredible series </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.37.18 - 0.40.31 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> Irish emigrant identity, travelling Irish, effects of emigration on Ireland: brain drain Pat is very happy he was born the son of an Irish emigrant- it sharpened him- had to work out who he was A lot of 2nd, 3rd generation Irish very unsure of who they are [A woman walks into room and Pat speaks to her very briefly] Pat has travelled a lot and there are always Irish people in the most curious of places- the wandering Irish Ireland is poorly served by our government- the substitutes bench is on the field because of emigration- the best left With mass-emigration you lose your best Look around the world and you will see Irish names in the top positions in music, acting, science, engineering, politics- the descendants of Irish emigrants “Nobody has the courage to bring home the diaspora to sort out the mess of a country we’ve got” </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.40.32 - 0.47.53 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The Save Moore Street campaign, London battalion of IRB, the Easter Rising, a 15-year campaign, high court judge, Spitalfield London, have to fight for your culture Pat was angry that a historic part of Dublin was going to be flattened for a shopping centre Will they ever understand that they’ve got something special here, an almost intact 18th century city There was wholesale demolition during the 80s Moore street really touched Pat, because his family were republicans involved in the war of independence in the London battalion smuggling guns over to Ireland He thought it was sinful that such a historic spot where Pearse and Connolly evacuated from the GPO [General Post Office] was going to be levelled for a shopping centre- you couldn’t make it up The campaign lasted 15 years and we won, unlike most heritage campaigns in Ireland They lost Wood Quay, Glen of the Downs, lost the Corrib, lost Tara- Moore street most successful campaign We ended up in the high court in the centenary year with relatives of 1916 rising against the Irish government- you couldn’t make it up The media had no interest in us The judge saw it and made the right decision Moore street has a vibrant market People all over Ireland like open markets But planners like large scale things because they bring in rates and that’s all their interested in it It was “David versus Goliath” I knew we’d win because we would go to the end- chain ourselves to the buildings if we had too Pat was involved in a campaign in London to save Spitalfield market Pat always found in committee’s and campaigns there’d be irish people Pat believes the Irish inside Ireland are not great fighters, but outside they are It’s the emigrant experience They are now involved in the redesign of the Moore Street area in an appropriate manner Yesterday was the 1st anniversary of the judgement in the high court Ireland has a great country with heritage and culture, but at local and national level the government are an enemy- who see Ireland as their own personal resource to exploit Everybody can do something to help our country We had 700 years of domination and we still held on to our identity, music and culture. We can’t possibly sell it in the last 40 years to something as sad as global capitalism Identity is always changing and forming but coming back to Cork I can see more clearly where an awful lot of me comes from </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.47.54 - 0.53.27 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> London battalion IRB, British army, smuggling guns from London to Ireland, the execution of Field Marshall Sir Henry Wilson by Reggie dunne and Joseph O’Sullivan, Michael Collins in London. The treaty and negotiations. The London Irish battalion in the GPO and refusing to surrender Pat is very proud of his republican roots- London battalion The Irish volunteers were founded in 1913- so many Irish in Britain that battalions were set up in cities- Liverpool, Manchester, Newcastle, Glasgow and two in London Pat’s grandfather and two grand-uncles were members of the London battalion- 1913-1914 The other thing is most of Pat’s family were in the British army but so was James Connolly- they went there for three square meals a day- terrible poverty in London at the time They all ended up in the quartermaster store in charge of the guns- most Irish who joined, eventually ended up in the quartermaster stores- many books mention this- Tom Barry’s ‘Guerrilla Days’ in Ireland, academic tomes- say there were smuggling lines between Britain and Ireland- by boat Guns were been brought into the country from all over the place Pat’s grandfather smuggled revolvers- his mother tells the story that where they lived in London was regularly raided- the warning call would go out- the baby’s were in deep prams and grenades, mills bombs and webley’s [a revolver] would be put in under the babies- the babies would then be shaken to make them cry- the cops would leave the baby alone The priests would bring guns back, because a man of the cloth would never be searched They got small arms, not big arms They had intelligence and spies One of the big actions was they executed field marshal Sir Henry Wilson on Michael Collins orders- he was shot in Eaton Place [London] and Reggie [Reginald] Dunne and [Joseph O] Sullivan were hung for it Pat’s grandfather knew them very well Pat’s father told him that they met Michael Collins in London in a secret meeting to see what way the London battalion would go on the treaty negotiations because they were tossing a coin over the treaty basically- the battalion were split- they agreed for the sake of the unity they wouldn’t split- so after the civil war followed- they weren’t involved in that as much The Irish in London and Britain were very involved in the war of independence There is a connection to Moore street, the last people to surrender there were the London Irish battalion- about 60 or 70 came over from Britain and ended up in the GPO guys from Scotland, Manchester and London When Pearse said to surrender, they refused because the British would hear their accents and they would be executed- be seen as deserters from the western front Pearse and Clarke couldn’t convince them- eventually Sean Mac Diarmada convinced them that they wouldn’t be shot and they weren’t The last people to down to arms were from Pat’s parish Stories like this are coming out now and we are better for it </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.53.28 - 0.54.44 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The centenary and Fine Gael’s response, Moore Street The government didn’t want to celebrate the centenary- Fine Gael did not want to, but were forced into it by the relatives of the rising who went ballistic when they saw the original government video on it A road show went around to gauge people’s reactions and they didn’t realise that all over the country people wanted to celebrate the rising So, it’s been a good year “Moore street has been a big part of my life for 15 years and I am pleased that it has ended victoriously” </td> </tr> <tr> <td style="border-top:1px solid #000000;border-bottom:1px solid #000000;border-left:1px solid #000000;border-right:none;padding:0cm 0cm 0cm .19cm;"> 0.54.55 - 1.00.27 </td> <td style="border:1px solid #000000;padding:0cm .19cm;"> The similarities between Cork people and the Londoners, Cork is a great city, the Irish always want to come home, Pat will try out Cork for a while Pat suddenly felt at home in Cork- Cork people remind him so much of east-enders in London Same pride, same “chippiness” It’s great to see people looking after the city Things have to die, grow, be reborn but in an organic way Change should be incrementa,l not forced Global capitalism forces everything- you lose things Dublin has lost something Cork is a great city, lots of people are saying this Pat hopes he doesn’t have to get involved in any campaigns Where you live is really important Pat grew up in a block of flats in London and it is not good for your soul - Seeing green fields and wildlife is good for you Pat appreciates what he has now Going abroad you can see what’s great about home Of all the ethnic groups, the Irish always want to go home at some point [A man, Finbarr, comes into the room to feed his dog out in the conservatory] The only group that talked about going home were the Irish More of Pat’s contemporaries are heading back now You reach a stage where you question where you’re from and you come back and realise that actually you fit here Britain is changing a lot, very tolerant society, but tumultuous “Do you ever fit in? I can’t answer that but for the moment Cork will do” INTERVIEW 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 Patrick Cooney: Stonemasons, Subject The topic of the resource Stonemasons: Occupational Lore: Description An account of the resource Pat, who is not as stonemason but is from a long line of masons, grew up in London, his family left Cork in the 1880s They brought their history with them- an oral history. They talked about Cork occasionally. One side of his family were masons- so it was easier to go back as they passed the trades down the generations. In this interview Pat talks alot about his own family history. He later outlines what building works his family were involved in. Like that of, St Coleman's cathedral (Cobh), Galtee Castle (Tipperary) [demolished 1942] and the list goes on around Cork. Portumna Castle (Galway), Birr Castle (Offaly). Pat then moves on to describe the experience of being Irish in London. He also mentions the similarities between the inhabitants of Cork and London. Date A point or period of time associated with an event in the lifecycle of the resource 19 Feburary 2017 Contributor An entity responsible for making contributions to the resource Interviewee: Patrick Cooney Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00609_Cooney_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, London England. 20th Century. Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File Relation A related resource From Stonemason Collection: <div class="element-text five columns omega"> <a href="http://corkfolklore.org/archivecatalolgue/document/178" target="_blank" rel="noreferrer noopener">CFP_SR00565_osullivan_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/179" target="_blank" rel="noreferrer noopener">CFP_SR00566_fahy_2015;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/180" target="_blank" rel="noreferrer noopener">CFP_SR00569_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/181" target="_blank" rel="noreferrer noopener">CFP_SR00570_steele_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/182" target="_blank" rel="noreferrer noopener">CFP_SR00574_jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/183" target="_blank" rel="noreferrer noopener">CFP_SR00577_fahy_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/184" target="_blank" rel="noreferrer noopener">CFP_SR00581_osullivan_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/185" target="_blank" rel="noreferrer noopener">CFP_SR00583_johnson_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/186" target="_blank" rel="noreferrer noopener">CFP_SR00589_lysaght_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/193" target="_blank" rel="noreferrer noopener">CFP_SR00590_varian_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/194" target="_blank" rel="noreferrer noopener">CFP_SR00595_Jones_2016;</a> <a href="http://corkfolklore.org/archivecatalolgue/document/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 Easter Rising Emigration Hogan's (family history) Jeremiah Hogan London Moore Street (campaign) Stonemasons The Irish Republican Brotherhood (IRB) Working life 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/2540bb938b46e216d9cb41dff7c69191.jpg fe03b99c84ee8f83b57baf79649f9013 https://corkfolklore.org/archivecatalolgue/files/original/07695ef4bba20804e7979c1ad780f4b9.mp3 2de5c6830d3c6168e75fd4db07223d78 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 Patrick Varian Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 92min 23sec Location The location of the interview Turners Cross, 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 Patrick Varian: Stonemasons, America, Trades Subject The topic of the resource Stonemasons: Occupational Lore: Description An account of the resource Patrick, originally from Greenmount, Cork city, at the age of 15 in 1957 started his apprenticeship. After a few years of working on sites in Cork city, Patrick emigrated to Boston Massachusetts, U.S.A. Where he continued working in the trade. In this interview, Patrick describes life sites in both, Ireland and the United States. Date A point or period of time associated with an event in the lifecycle of the resource 18 October 2016 Contributor An entity responsible for making contributions to the resource Interviewee: Patrick Varian Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00590_varian_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, Massachusetts, USA, 1940s, 1950s, 1960s, 1970s, 1980s, 1990s, 2000s, 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 3 .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/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 1950s 1960s Apprenticeship Boston Stonemasons Trades https://corkfolklore.org/archivecatalolgue/files/original/09a7a1e9d84232ba33dabaf3fc1875ef.mp3 c338034ad69d4e94fcf8e91d8bd1521e Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Sr Marie Collins Interviewer The person(s) performing the interview Sean Walsh Dolores Horgan Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 95min 19sec Location The location of the interview Presentation Convent, Turner's Cross, Cork 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 Sr Marie Collins: Presentation Sisters, Childhood, Teaching Subject The topic of the resource Religious Life: Spirituality: Education: Description An account of the resource Sister Marie describes the restrictions and the pleasures of religious life as a Presentation Sister and as a teacher. Sister Marie was born (circa 1920) in Limerick, to farming parents. She wanted to be a nun from an early age. She also became a teacher. She describes the difficulties posed by the change in religious dress proposed as a result of Vatican II, and the inspiration the nuns took from Nano Nagle. She describes the nuns’ life when the order was more enclosed. She talks about her teaching career. She describes the rules, restrictions and pleasures of convent life in more detail. She describes life in teacher training college during The Emergency. To entertain themselves in the convent they put on plays and sang songs. Date A point or period of time associated with an event in the lifecycle of the resource 14 July 2000 Contributor An entity responsible for making contributions to the resource Interviewee: Sr Marie Collins Interviewers: Sean Walsh & Dolores Horgan Identifier An unambiguous reference to the resource within a given context CFP_SR00311_sr.maria_2000 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 20th Century Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource Sound Format The file format, physical medium, or dimensions of the resource 2 .wav Files Relation A related resource Sr Marie's story was included in our 'Catching Stories' project on infectious diseases. <a href="https://corkfolklore.org/health/measles" target="_blank" rel="noreferrer noopener">https://corkfolklore.org/health/measles</a> Education Measles Nano Nagle Presentation Sisters Religious Life Schooldays Spirituality Sr Marie Collins Teaching https://corkfolklore.org/archivecatalolgue/files/original/ec8b0be0548396f72aee6d87c337acee.mp3 d647e742429359426381a90d5515964b Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Alison Morley Interviewer The person(s) performing the interview Lorraine Cahalane Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 62min 19sec 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 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 Alison Morley: Family Life, German Measles Subject The topic of the resource Life History: Description An account of the resource Alison Morley was born and raised on the Northside in Cork. She was blind to the age of four due to an early bout of German measles. Here she recounts her personal memories of growing up in Cork. Her descriptions include: her first day at school at Scoil Mhuire in Mayfield, secondary school at South Presentation on Douglas Street, going on the hop-on nice days to Lee Fields, first Holy Communion and being a teenager having her first boyfriend. Date A point or period of time associated with an event in the lifecycle of the resource 13 May 1998 Contributor An entity responsible for making contributions to the resource Interviewee: Alison Morley Interviewer: Lorraine Cahalane Identifier An unambiguous reference to the resource within a given context CFP_SR00199_morley_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 Cork, Ireland, 1970s-1990s 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 Sound Format The file format, physical medium, or dimensions of the resource 2 .wav files Relation A related resource Alison's story was included in our 'Catching Stories' project on infectious diseases.<a href="https://corkfolklore.org/health/german-measles-/-rubella" target="_blank" rel="noreferrer noopener"> https://corkfolklore.org/health/german-measles-/-rubella</a> 1980s 1990s Alison Morley Family Life German Measles Holy Communion Rubella Schooldays The Grand Parade Hotel https://corkfolklore.org/archivecatalolgue/files/original/c0117c7b0ed5b74d355424f3311c2883.jpg a7bbb022b0b590f9b9c169fe7115de9f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Geraldine Healy Description An account of the resource Geraldine Healy Portrait Photograph Creator An entity primarily responsible for making the resource Gráinne Magee Rights Information about rights held in and over the resource Cork Folklore Project Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If the Stones Could Speak: More Stories of Cork’s Built Heritage (2015) Subject The topic of the resource Built Heritage: Description An account of the resource 9 interviews with 8 people This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’. 9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film. <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">The film is available on the Cork Folklore website</a> The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. The project was co-ordinated by CFP Project Manager Mary O’Driscoll. Support: This project was part-funded by Cork City Council. Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Interviewees: Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan: Interviewers: Mark Wilkins (9); Annmarie McIntyre (3): Identifier An unambiguous reference to the resource within a given context CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork: Ireland: 1700s-2010s: Relation A related resource If the Walls Could Talk: Stories of Cork's Built Heritage (2013) Links to: <a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener">Catalogue Collection</a> <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">Film</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource 9 Audio 3 Video Format The file format, physical medium, or dimensions of the resource .wav .mov Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Geraldine Healy Interviewer The person(s) performing the interview Mark Wilkins Annmarie Mclntyre Location The location of the interview Rathmore Park, Cork, Ireland Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav .mov Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Geraldine Healy Subject The topic of the resource Built Heritage: Date A point or period of time associated with an event in the lifecycle of the resource 30 October 2014 Contributor An entity responsible for making contributions to the resource Interviewee: Geraldine Healy Interviewer: Mark Wilkins Videographer: Annmarie Mclntyre Identifier An unambiguous reference to the resource within a given context CFP_VR00542_healy_2015 Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 2 .wav File 2 .mov File Relation A related resource For more from Geraldine. As Interviewee: <a href="http://corkfolklore.org/archivecatalolgue/document/103" target="_blank" rel="noreferrer noopener">CFP_SR00389_healy_2010</a>; <a href="http://corkfolklore.org/archivecatalolgue/document/15" target="_blank" rel="noreferrer noopener">CFP_SR00505_healy_2013</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/167" target="_blank" rel="noreferrer noopener">CFP_SR00510_healy_2014</a>; <a href="http://corkfolklore.org/archivecatalolgue/items/show/174" target="_blank" rel="noreferrer noopener">CFP_SR00523_healy_2014</a>; CFP_SR00700_healy_2019; CFP_SR00701_healy_2019; CFP_SR00709_healy_2019; CFP_SR00710_healy_2019: As Interviewer: CFP_SR00387_Sheehan_; CFP_SR00395_Speight; CFP_SR00421_Cronin. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1800s, 1900s Type The nature or genre of the resource Video https://corkfolklore.org/archivecatalolgue/files/original/929b5fa10c3e7231eaf00b37abc5f57d.jpg a9f30be16f393866053370ece956c42a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If the stones could sleep cover Rights Information about rights held in and over the resource Cork Folklore Project Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If the Stones Could Speak: More Stories of Cork’s Built Heritage (2015) Subject The topic of the resource Built Heritage: Description An account of the resource 9 interviews with 8 people This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’. 9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film. <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">The film is available on the Cork Folklore website</a> The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. The project was co-ordinated by CFP Project Manager Mary O’Driscoll. Support: This project was part-funded by Cork City Council. Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Interviewees: Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan: Interviewers: Mark Wilkins (9); Annmarie McIntyre (3): Identifier An unambiguous reference to the resource within a given context CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork: Ireland: 1700s-2010s: Relation A related resource If the Walls Could Talk: Stories of Cork's Built Heritage (2013) Links to: <a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener">Catalogue Collection</a> <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">Film</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource 9 Audio 3 Video Format The file format, physical medium, or dimensions of the resource .wav .mov Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Michael Lenihan Interviewer The person(s) performing the interview Mark Wilkins Annmarie Mclntyre Location The location of the interview Grange, Douglas, Cork Ireland Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav .mov Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48kHz Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Michael Lenihan Subject The topic of the resource Built Heritage: Date A point or period of time associated with an event in the lifecycle of the resource 21 January 2015 Contributor An entity responsible for making contributions to the resource Interviewee: Michael Lenihan Interviewer: Mark Wilkins Videographer: Annmarie Mclntyre Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 .wav File 1 .mov File Identifier An unambiguous reference to the resource within a given context CFP_VR00541_lenihan_2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1800s, 1900s Type The nature or genre of the resource Video https://corkfolklore.org/archivecatalolgue/files/original/9aebe21cc2a3ff4675204a5313057511.jpg a9f30be16f393866053370ece956c42a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If the stones could sleep cover Rights Information about rights held in and over the resource Cork Folklore Project Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If the Stones Could Speak: More Stories of Cork’s Built Heritage (2015) Subject The topic of the resource Built Heritage: Description An account of the resource 9 interviews with 8 people This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’. 9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film. <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">The film is available on the Cork Folklore website</a> The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. The project was co-ordinated by CFP Project Manager Mary O’Driscoll. Support: This project was part-funded by Cork City Council. Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Interviewees: Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan: Interviewers: Mark Wilkins (9); Annmarie McIntyre (3): Identifier An unambiguous reference to the resource within a given context CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork: Ireland: 1700s-2010s: Relation A related resource If the Walls Could Talk: Stories of Cork's Built Heritage (2013) Links to: <a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener">Catalogue Collection</a> <a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener">Film</a> Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Type The nature or genre of the resource 9 Audio 3 Video Format The file format, physical medium, or dimensions of the resource .wav .mov Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Ronnie Herlihy Interviewer The person(s) performing the interview Mark Wilkins Annmarie Mclntyre Location The location of the interview South Douglas Rd. Cork, Ireland Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav .mov Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit / 48 kHz 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 Ronnie Herlihy Subject The topic of the resource Built Heritage: Date A point or period of time associated with an event in the lifecycle of the resource 28 January 2015 Contributor An entity responsible for making contributions to the resource Interviewee: Ronnie Herlihy Interviewer: Mark Wilkins Videographer: Annmarie McIntyre Identifier An unambiguous reference to the resource within a given context CFP_VR00540_herlihy_2015 Creator An entity primarily responsible for making the resource Cork Folklore Project Source A related resource from which the described resource is derived Cork Folklore Project Audio Archive Publisher An entity responsible for making the resource available Cork Folklore Project Rights Information about rights held in and over the resource Cork Folklore Project Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 2 .wav Files 2 .mov Files Description An account of the resource The local historian Ronnie Herlihy was interviewed on video for the film If The Stones Could Speak. This is one of three video interviews carried out for the collection. This interview generated two video files of a combined length of (put in length of video) and two audio files recoded for back-up audio. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland, 1800s, 1900s Type The nature or genre of the resource Video https://corkfolklore.org/archivecatalolgue/files/original/988e544025cd21b99ed4f3cd3b1975f4.jpg 5ef70062b8328605b3dc9413abc12319 https://corkfolklore.org/archivecatalolgue/files/original/b56ccea3a62753e96fa61cccd29b712f.mp3 24ea88a345de2e1dca0f01ab8486de01 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 Tommy Lysaght Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 52Mins 34sec Location The location of the interview St. Finbarrs College, Farrenferris, Redemption Road, Cork Original Format The type of object, such as painting, sculpture, paper, photo, and additional data .wav Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 24bit/48kHz Time Summary A summary of an interview given for different time stamps throughout the interview <table> <tbody> <tr> <td style="border:1px solid #000000;padding:0cm .19cm;"> 0.00.00 - 0.04.33 Start of Interview How Tommy got into stonemasonry, Blackwater Valley, restoring boundary walls, Training in Dingle in stonework he has a different hat, he is working in the garden in Farrenferris as an organic horticulturalists he started working as a stonemason in the early (19)nineties It was down in a field that was a part of the dingle races, it was a FAS scheme and he was down there for about 9 months restoring a drystone wall he’s originally from North Cork along the Blackwater Valley After a period of doing that work, he enjoyed it, and he moved back up by Fermoy. he got asked to restore the old estate walls from back in the day, these big old houses down along the Blackwater Valley by Castlehyde where there would have been a lot of English influence- he started restoring boundary walls on his own, his kids were young a way to make a living really he stuck at that for a good few years and became more and more interested in the stone he drifted in and out of it over the years to general construction but he always went back to the stone he wasn’t aware of it but he found out then that stonemasonry was in the family which is good to know Tis in the blood there somewhere he was 22 when he started he enjoyed it from the start It was an introduction into the people of Dingle They used to have a portable hut on site which could be rolled on, it had a top like a gypsy wagon with a gas fire in it because the weather was so bad down there at the time During the winter he spent quite a bit of time in there Being cramped in this wagon with a load of lads from Kerry, he was the only blow-in. it was fantastic listening to their stories about Dingle back in the day A few of them had been in the merchant navy so there were stories from all around the world but with a Kerry sense of humour he suppose A few of them had businesses so this was a way of keeping the social welfare of their backs in the winter he had a young family he just wanted to find something to sink his teeth into after so many years, he never thought it would lead to this- it's developed over the years 0.04.34 - 0.07.59 The lads in Dingle, The west of Ireland has a special relationship with stone, Irish building with stone for thousands of years, the resurgence of stone, building proper stonework and not just cladding Thinking back about his first day- there were men of different backgrounds- he was by far the youngest The foreman was a Dingle man from out by Ballyferriter, he was employed full time by the council He took him under his wings for sure in showing him how to lay the stone Where they worked was very visible as there were only two roads in and out of Dingle- the scenic route over the Connor Pass or you have the road that comes from Annascaul Being like the west of Ireland, they have such a relationship with stone- everything is stones, the Arran Islands is the same They look at stone way differently to different parts of the world Even to clear a bit of land, which others may take for granted- they had to lift tens of tonnes of stones just to clear a bit of land just so they could grow a few crops and that So he suppose they have a healthy respect for the power of it with the mountains and the cliffs of stone, with the headstones in the graveyard and all this, and the Ogham stones all from down there- there’s a great relationship with stones From what he can see the skills that were around for hundreds if not thousands of years were ignored for a few generations when concrete became the new product of choice- because it was so quick to use and harden- so stone was basically thrown out the window So around that time there seemed to be a little bit of a resurgence of stone especially around house fronts and entrance walls and stuff like that which he suppose isn’t a true stone wall but at least it was back visibly in some form even if it wasn’t it’s truest form So when he went back up towards Ballyhooly and Mallow and Fermoy and the Blackwater Valley, they were back to building true, proper stonewalls, stone at both sides- then he learnt about the different makeup of stone, the hearthing of a stone, the face stones and the capping an all that 0.08.00 - 0.12.49 Tommy learnt as he went along reading books about stonework, lime-mortars, his first job, repairing an old wall by the road, a road accident that brought a lot of work When he was down in Dingle there were some people he could learn from but when he went back up to North Cork, there was no one to help him in bettering his stonemasonry skills so he ended up making it up as he went along Devouring books and learnt about using lime mortars as well he started in about 1995 he was conscious that he did not have a 4-year apprenticeship done but there was nowhere to go to do that, thankfully these days there is. The old main road between Rosslare and Killarney, the N71, it goes with the river so it’s really bendy- super busy- there’s a lot of high wallsI got a start of Monty Eagle? Of Brandon, he owned a house down there- on the day he started with nothing, he had to hire a wheelbarrow and borrow a mixer and off he went There were gaps of maybe 25ft in the wall and he was slowly and painstakingly repairing them all the way along It was hard work on his own- digging out trenches and moving stuff in wheelbarrows There was a harsh winter at the time- a lot of cattle down- gov decided that they would move hay from the east to the west side of the country- the farmers had to pay for the hay but the government would pay for the transportation of it One of bales from a truck hit a wall close by and knocked a massive amount- so he got 6 months more work he was able to bring in lads to work He questions his own ability- he says he was making it up as he went along Thank god 20 years later, they're all still standing 0.12.50 - 0.17.52 Pure stonework- replicating old work, famine walls, working in Castletownroche- massive caps on the wall, Annesley Gardens- the story of how Lt-Gen Arthur Annesley got men to make a bend in the river Awbeg- these gardens were decimated by a storm a few years ago, lovely limestone down there The boom came along then- he started doing general construction- he had a background in a bit of carpentry as well By word of mouth, he would get a call and do some restoration as well It was all restoration he did, he didn’t like doing stone on a house- it was a façade- he love the makeup of stone- the whole thing What he love doing is trying to replicate a 150-year-old wall It’s not about purism, it’s about respecting what was done before- and working with the same stones Most of the walls were famine walls- it’s ironic Irish people were used to build walls to keep us out from the food- “You know the irony isn’t lost on him” That would be his benchmark matching up their work from long ago he worked up by Castletownroche as well and there was a very unique wall- the capping of the wall is usually a single stone to keep out the elements- the caps on this wall were massive he liked working there as well, the Annesley Gardens it’s called, it's by the river Awbeg, a tributary of the Blackwater, it goes through Doneraile and Buttevant and it goes into the Blackwater by an abbey by Killavullen. The ancestors may be of the people he worked for, they rerouted the river- Annesley [Lt-Gen Hon Arthur Grove Annesley] was in the army, he got thousands of men to come from Fermoy to make the river meander and then he built his gardens [Now called Annes Grove] These gardens were decimated about 4/5 years ago in the bad storms, lots of the forestry around here was decimated They closed it down- he think the OPW have bought them- so interesting to see what happens Down there they have limestone- a lovely durable stone as well 0.17.53 - 0.24.04 The high caps in Castletownroche, lime-mortar, always work with local stone, quarry stone versus guillotined tonne bags, searching for good building stone, finding old quarries, Glanworth quarry Just to clarify, the overall height of the walls by Castletownroche is 7ft, the height of the wall is 5ft and 3ft of cap- the limestone is very irregular and they wedged the stones in Anne's grove is the name of the gardens actually, planted with beech trees nearby They used lime mortar which is more natural and attracts mosses and ivy. More plant life than on concrete he suppose limestone is the stone that he’m used to and he like working with it Whatever is local if he can work with local stone Pricing a job at the minute in Gyleen, East Cork just past Trobalgan, he think it translates as Little Harbour. There’s an old thatched cottage- he took a few samples of the stone for better or worse As you know a lot of stone today comes in tonne bags and it's chopped and guillotined into very ordinary sizes- easy to work with but for him it makes the wall look bland he needed to find stone to match this wall- a man told him there was a local quarry and he needed to find this quarry Quarry’s today are only open for stone for roads really he got out of the van with a stick and a hammer and he found a quarry of excellent building stone- he rang the owner and now he’m able to handpick that stone- so right now that’s his favourite stone because he can pick that stone- if he got a tonne bag he wouldn’t find any stone 3ft thick to use as through stones but now he can get them and they can choose, every stone will be the stone that they need The stone in the quarry is 90% probable that it’s the same stone used in the wall- it’s the same region definitely he love finding quarries like this There is one in Glanworth up by his neck of the woods- there is marble its pink and white- so he’ll be using stone from there 0.24.05 - 0.30.04 Stone carving festivals, bringing granite back from Britanny, working as a teacher, designing gardens, meditation garden for people with brain injuries, Quimper in Britanny- finding a quarry there to get stone for carving, people with brain injuries learning to carve- using a Dremel drill- seeing the progression of these people is fantastic he love going to stone carving festivals he do a bit of stone carving- he drive a pickup so where ever he go he’ll bring the stone back from say Donegal- stone from Donegal is perfect for carving he brought granite back from Brittany when on a holiday with his two daughters- 9ft lengths of granite for a current project he have changed tact with work, he work now as a teacher he work for different charities and different probation projects in around the city he design gardens and implement the building of them with people with injuries or a background of addiction and everything in between he got funding to build a meditation garden for people with acquired brain injuries- that’s his main work these days he only do the stonework if he’m asked to These stones from Britanny will be the centre piece for the meditation garden because there’s a history to these stones- it gets people engaged, it gives the stone a story instead of just saying you got them up the road he went to a museum in Britanny in a town called Quimper They’re very aware of their history with stone and stone carving he saw a stone in the museum and got the name of a quarry where it came from he headed for the hills looking for the quarry he finally found it and there were three men making Celtic crosses he took a tonne of stone back with him mainly for the meditation garden This stone will be used for carving Will has a brain injury and he started carving 6 months ago using a Dremel drill (electric drill) he said there was no way he would be able to carve Some people only have the use of one side of their body but they find a way to work through it they stuck with it and by the end of the week they had this beautiful carving To see the progression with Will is fantastic- he was able to tip away with a 9ft stone and finish a carving all with the medium of stone 0.30.05 - 0.35.57 The Cosgrave's of Blackpool- stone cutters, horticulturalists, getting people to grow food and making things, projects for stone carving, garden café in Blackpool- developing skills, people with disabilities, fund raising for the meditation garden, features of meditation gardens he work with people from Blackpool and their grandfathers are stone cutters and even today there is a little arch and if you look in you’ll see a stone cutters yard and their still making headstones for people three generations on the same family (Cosgrave's) he’m here today as a grower a horticulturalists growing food for the CUH If they take away two generations of any family in these communities, they were involved in growing something- everyone grew their food- loads of people had their trade, stone cutting, cobblers, harness makers which are gone from Blackpool- he feel lucky he can get involved in getting that going again The next project he was been funded for was to teach 12 weeks of stone carving and stone wall building he will be finding people who will do this with him they have a café in Blackpool which is open to the public, they grow our own food there- hoping to build something there- something functional maybe stone seating they will be developing skills there- stuff take they can take home themselves Meditation is not something he do myself, it’s for the crowd he’m working for A lot of the lads and lass’s out there are in wheelchairs are in rehabilitation for the brain injuries he work out there 2 days a week They did a 1km walk and raised 1,500 euro That money is put back up into headquarters and only some of it is filtered through but a fantastic girl is working there who managed to get 1500 put back in for a meditation garden There was only concrete out there when they started but they set up a sensory garden already- something that’s for all the senses- smell is easy with the flowers, the taste is easy with the herbs, plant bamboos then for the sounds they’re starting this meditation garden now with the stones, a shrine, a water feature- a very important feature of a meditation garden, gravel paths he’m like a teacher so he’ll start in September and it’ll go on until May 0.35.58 - 0.37.40 Cross agency work, the medium of creativity, cutting slabs, cutting of stone, preparation work for the garden he work with probation services as well he love cross agencies coming together with places with completely contrasting clients, that’s fantastic, everyone gets to know everyone in this medium of creativity It’s a bit daunting as well, it’s a big project but there is a lot of people he can call on as well they want to put in circular paths and take up concrete slabs Cutting of slabs, cutting of stones- hopefully, they can get all the ground work done and hand it back over to the lads than 0.37.42 - 0.41.50 Horticulture college in Dromcoller Limerick, connection with plants, herbs- comfrey- poultice, marry knowledge of stone gardens and wood, charity work with people with disabilities, getting funding for dream work Ten years ago he was living in Limerick and there’s an organic horticulture college in Dromcoller he went there for a couple of years, he was doing school runs for the kids so it was convenient he was never into the science of growing but he loved the connection they have with plants he grow herbs such as comfrey which has medicinal value, used to be called knitbone- used in a poultice back in the day you can feel a difference within 24 hours with it he knew to go to college that he would never grow carrots he knew for him going to college that working with the plants and having a knowledge of the stones and working with wood that he would be able to marry the three of them together and something would happen so while working on placement he worked with the Brothers of Charity so he was working with people with intellectual disabilities, he didn’t take to it- he am energised by working with people with addictions getting funded to work on the garden is a dream come through for him It’s a win, win situation- no pressure 0.41.51 - 0.50.47 Course in stone carving in Aran Islands, stone lettering, story of Amazing Grace- writer shipwrecked off Donegal, not liking the carving and then trying it again, staying on the Island for a week on his own learning to sculpt- a pagan style carving of Jesus About 12 years ago he did a weekend course on sculpting but he didn’t enjoy it Last year he cycled up to the Aran Islands with his son, he saw a sign for stone carving and stone lettering he gave it another go So, he went up there for a weekend- he tried stone lettering the stuff you’d see on headstones The first day was in a room and they were writing out what they wanted to put into the stone he had no idea what to write but he was listening to Amazing Grace the night before, a different version than the American one- this is a version to do with drug abuse and it’s by a band called Low When he looked into it the fella who wrote Amazing Grace back in the 1700s who ironically was shipwrecked off Donegal- he was a scoundrel and a sailor and really fond of his drink- whenever he’d get into trouble he’d pray upstairs- get him out of this pickle So he spent the day trying to put the words on the paper and he couldn’t do it, he hated it- he wasn’t happy with it When doing stone on the Aran Island it’s a lovely dynamic, everyone stays on the island in the evening and chats he really enjoyed meeting people he was going to scrap his piece of paper and the teacher a lovely man called Tom Little, he said stick with him and you’ll get it on he stayed at it for the day and by six o clock that evening he had it on the stone- and he couldn’t believe it- he was completely hooked he was supposed to do the Camino with his daughter two weeks later but she got a job he rang this man Paddy Crow, the manager of the island- he said can he come up for a week and do stone carving- he said no problem- he went up and borrowed chisels and he spent a whole week on his own with two stones and he loved it It was around the equinox and he had the best time ever just dancing around these stones he had worked with the stone but only for 5 minutes when you’re carving you spend a week with the same stone so you really get to know your stone his first stone there was a Failte sign for his friends So he pushed the boat out the last 2 and a half days and he sketched this type of Jesus on the Cross but it was a real pagan version- it was back when Christianity was still trying to push itself on top so it was real pagan but it was still Jesus- he sketched it and it was from a round stone- so he took for the beach to get a stone he just wanted to try it he didn’t care if it was great or not It was brilliant he loved it That was just over a year ago, he buy a chisel every couple of months 0.50.48 - 0.52.34 Teaching carving to people with brain injuries, a carving of an owl- comes together piece by piece. End of interview he started teaching it then straight away When he had done the course 12 years ago he had been attempting an owl but he left it in his house for 12 years he gave it to a guy with a brain injury- he spent the next 6 months working on it during the class- he had never done carving before- he spent a month on the talons, a month on the face- they’d get pictures of the owl off the internet and keep loads of pictures next to you while you worked- breaking the owl down into loads of little pieces- slowly but surely it will all come together That’s the type of work they do with people with brain injuries End of Interview </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 Tommy Lysaght: Masonry, Horticulture, Subject The topic of the resource Stonemasons: Occupational Lore: Description An account of the resource The interview begins with how Tommy got into stonemasonry. Tommy then goes on to talk about the Blackwater Valley, restoring boundary walls, Training in Dingle in stonework. He mentions the ‘lads’ in Dingle, The west of Ireland have a special relationship with stone, Irish building with stone for thousands of years, the resurgence of stone, building proper stonework and not just cladding. Tommy learnt as he went along reading books about stonework, lime-mortars. His first job, repairing an old wall by the road, a road accident that brought a lot of work. Pure stonework- replicating old work, famine walls, working in Castletownroche- massive caps on the wall, Annesley Gardens- the story of how Lt-Gen Arthur Annesley got men to make a bend in the river Awbeg- these gardens were decimated by a storm a few years ago, lovely limestone down there. Tommy talks about Stone carving festivals, bringing granite back from Britanny, working as a teacher, designing gardens, meditation garden for people with brain injuries, Quimper in Britanny- finding a quarry there to get stone for carving, people with brain injuries learning to carve- using a Dremel drill- seeing the progression of these people is fantastic. The Cosgrave's of Blackpool- stone cutters, horticulturalists, getting people to grow food and making things, projects for stone carving, garden café in Blackpool- developing skills, people with disabilities, fundraising for the meditation garden, features of meditation gardens. Cross agency work, the medium of creativity, cutting slabs, cutting of stone, preparation work for the garden. Horticulture college in Dromcoller Limerick, connection with plants, herbs- comfrey- poultice, marry knowledge of stone gardens and wood, charity work with people with disabilities, getting funding for dream work. Course in stone carving in Aran Islands, stone lettering, story of Amazing Grace- writer shipwrecked off Donegal, not liking the carving and then trying it again, staying on the Island for a week on my own learning to sculpt- a pagan style carving of Jesus. Tommy finishes by talking about teaching carving to people with brain injuries, a carving of an owl- comes together piece by piece. Date A point or period of time associated with an event in the lifecycle of the resource 12 October 2016 Contributor An entity responsible for making contributions to the resource Interviewee: Tommy Lysaght Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00589_lysaght_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, Kerry, Galway, Ireland 1970s -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 1 .wav File 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/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 1970s 1980s 1990s 2000s 2010s Arran Islands Blackwater Valley Britanny Dingle Fermoy Horticulture Stonemasons Trades https://corkfolklore.org/archivecatalolgue/files/original/d94a43c85512c76e21fd630524588787.jpg f1fb10522c73c329dbbd036a035b4605 https://corkfolklore.org/archivecatalolgue/files/original/66a0e60788850f595effed8ecfb5cbde.mp3 e581e62ba0589968febd8de540005d7d 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 Jack Johnson Interviewer The person(s) performing the interview Michael Moore Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 113min 06sec 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 Time Summary A summary of an interview given for different time stamps throughout the interview 0.00.00 - 0.03.07 Family background in the mason trade and his beginnings as a mason. Jack starts by speaking about his family’s background in masonry and how this led to him taking up the trade. He states that his Father, Grandfather and Great Grandfather before him were masons and that at that time you had to be the son of a mason before you could be taken into the union. He states that he started as a mason on the 20th of August 1945. He states that he lived in Monkstown close to the river and describes how himself and his Father, in order to get to work he used to row a boat across the river to Rushbrook and get the Cobh to Cork train and then walk from the station to Hartlands Avenue by the Lough. He says it would be gone past seven in the evening by the time he got home on account of there being no busses, this being at the end of the war. He says his working week was five and a half days for tuppence an hour which was seven and ten pence a week. Jack says he might have had half a crown for spending money which he states at the time was considered “a fair share” 0.03.09 - 0.04.08 Dances and social events at The Arc club. Jack describes The Arc (Arcadia) club by the railway station in Cork and how it cost a shilling at the time of him starting as a mason. He says he used to cycle there which would take him just over half an hour. He speaks of his enjoyment of the dances and how there used to be a lot of English bands playing there and how they used to mainly play jazz, tangos, slow waltzes and old-time waltzes. 0.04.12 - 0.05.15 Growing up in Monkstown and schooldays. Jack says he went to school in Monkstown till he was about 15 and then he went to The Passage Tech where he learned metalwork, woodwork, drawing etc. He states how he used to love working with his hands and how he always got 100 marks for the three aforementioned subjects. 0.05.21 - 0.06.38 Working at threshing. Jack describes how before he started as a mason when he was roughly 16 he used to work two and a half days at threshing which involved taking 200 weight bags of wheat from the thresher to the store. He describes this as the hardest work he ever did. He says he got this job through farmers who were family friends, The Callaghans of Millstown. 0.06.45 - 0.09.00 Starting as a mason. Working for Powers and injuring his finger. Jack states how when he started he worked for Powers Brothers. He remembers a Wednesday when he was dreaming of a football match that was due to be played for The County Final in Douglas that night when he was sent to cut a hole for the overflow in a sink unaware that a plasterer had put a stone into the open joint and plastered over it resulting in Jack injuring his finger with a four-pound hammer when his chisel struck the stone. He explains how Powers his employer came out and applied a makeshift bandage to his finger using a sheet and because Jack had no money he gave him a shilling for the bus. This injury resulted in him being out of work for three weeks and in his first week back he states that when he received his wages he had been docked a shilling. He says how at that time there was no wet time and if it was raining it meant you did not get paid. 0.09.03 - 0.10.16 Working for Pat Shea “The Gangster”. Co-worker John Falvey joining the British Army and being killed in Cyprus. Jack goes into detail about working for Pat Shea who was nicknamed “The Gangster”. He was working on a garage belonging to Pat Shea’s brother which was located by the old exchange. There was another mason by the name of John Falvey working with him there and when they took an hour off because of rain they were docked tuppence each. Because of this, John Falvey joined The British Army and he was killed one morning coming off sentry duty in Cyprus. This affected Jack and he used to state “He lost his life over tuppence”. Note: This was most likely to have been during the “Cyprus Emergency” of the ’50s. 0.10.26 - 0.13.32 Jack fired for standing up to foreman. Jack tells how he was working for “P.J.” at night helping in the building of a factory. He explains that he was the shop steward for the masons. He explains that they were having their break sometime in the middle of the night when the foreman Jimmy Donovan “came running around” and shouted at them to return to work. Jack pointed out that the break time was not up yet and admonished him for running around and giving out. Jack says that at first Jimmy Donovan denied it but in the end admitted it. Jack states that the following night he went down again and the following morning Jimmy Donovan told him he wouldn’t be going back to work that night and that the following day he would be starting a job in Togher. He says he was there three or four days before he “got the push”. He says he was sacked for standing up to the foreman because at this time “you couldn’t look crooked at them”. Jack thinks this happened in the early 50s. He also says that the masons who were there did not stand up for him because it was every man for himself and “God for us all” 0.13.30 - 0.16.10 Working in Dwyer’s factory. Masons “Bronco” Welsh and Joe Dynahan.” Bronco’s brother “The Whistler” and his part in 1916. Jack goes on to talk about working in Dwyer’s factory which was located on The Commons Road. He thinks the bricks he was working on here came from Holland and they were a foot long and about two and a half inches high. He goes on to talk about some of the other masons such as Jamie “Bronco“ Welsh and Jim Dynahan. Bronco was a brother in law to Murdered Lord Mayor McCurtain. Jack goes on to describe how Bronco, who was at least 70 years of age at the time and Joe were having an argument. He details how Bronco jumped down off the scaffold, took off his boots and called Joe Dynahan down to fight it out. In the end, they did not fight. Jack does not recall how Bronco got his nickname. He does recall that Bronco had a brother who was known as “The Whistler“ and who “fought in the post office in 1916“ in Dublin during the Easter Rising and is buried in the republican plot in St Finbars Cemetery. Jack does not know what Whistlers real name was and does not know any further details on his role in 1916. He says that Bronco never spoke of it. Jack does say that they were related to him 0.16.15 - 0.20.48 On Bronco making and selling tools. Masons pawning tools. Having a set of chisels stolen Jack goes on to say that Bronco used to make spirit levels which were about three feet long which he used to sell to other builders. He used to also make what was known as a “skutch“ which was a brick hammer with teeth. The teeth could be bought and slipped onto the hammer which was for dressing brick. Bronco used to make them out of the springs of a car. Jack says he never saw him making the tools and does not know if he had a shed or where he made them. The levels he made from timber and would buy the bubbles and put them in putty. Jack describes them as makeshift and that they might not last long but they’d “do a job for you“. Jack says this would have been the early 50’s. Jack goes on to describe how some masons he knew would pawn their tools on a Friday night and get them back again on a Monday morning which he says they did for money. He says that some of them would leave them there and Jack says he bought a “beautiful set of chisels“ plus other tools including a mallet which had been left in a pawnshop. He says he had them in his toolbox and somebody stole the set of chisels. He believes it was another mason who stole them. Note: Interview is interrupted by noise from the dryer leading to the door being closed. 0.20.50 - 0.23.18 Working for Crowley. Jack goes on to talk about his time working for a builder called Crowley who was based on Copley St. He describes when he was building a fireplace at the Boat Club in Blackrock. He says the bricks were six inches long by three inches by two inches and the bricks for the arch were all bullnosed. Jacks says he set up a banker for dressing the brick and that the bricks had to be slightly cut to follow the contour of the arch and Crowley came up to him and said that there was no need for that and to just put them in as they are. Jack replied to Crowley that he wanted that he would have to get someone else to do it and that he would not do a job like that and have thousands of people coming in and asking what “kabog“ [fool] did that. Crowley told him to carry on and walked away waving his hands and shaking his head. Jack goes on to recount that a few mornings later he almost had it finished and was brushing it down when Crowley came in with the engineer who asked to inspect the work and after doing so turned to Jack and told him it was a job he could feel proud of.Jack looked at Crowley and he could see him smiling but he didn’t say a word. He goes on to say that Crowley could be gruff at times and at other times he could have a heart of gold. 023.20 - 0.26.55 Injuring his foot on a job. On being told there was a big job coming up by Crowley. Jack describes a time when he was doing a job on a bank in Buttevant working for Crowley. It was a rainy day and he was knocking up a big gauge of concrete. The foreman Joe Ryan asked him to pack the concrete which he says was his job at the time. He went up to the top and the bucket of concrete was hauled up with a pulley. As he took hold of the bucket he stepped on a four-inch nail on an inch latte and it went through his foot. He pulled his leg off and blacked out, he was falling over the edge when the foreman caught him. He was seen to that night by the doctor who was staying in a nearby pub. The following morning Crowley came down, drove him home and came out every morning to drive him into the hospital for three days. Jack says this is something that wouldn’t happen now. He says that the doctor gave him an injection which took away the pain but when that wore off it was “torture“ when he was in bed with the clothes down on it. Jack goes on to recount when he was on a job on The Lower Road hanging a pair of sliding doors on a garage. He was there a couple of days and had it finished when Crowley asked him to stay there as he had nothing on at the moment but there was a big job coming up. Jack says he was there nearly six weeks without doing a stroke of work and in the finish, someone was sent to tell him he had to go as Crowley hadn’t gotten the job. Jack agrees that Crowley had a lot of time for him. He believes he worked for him for about a year. Note: At this point interview is interrupted after Jacks dog enters the room. 0.27.40 - 0.34.33 Crowley giving out about the quantity of work. On taking pride in his work and the low standards of today’s builders. On the importance of sewer work. Recalling sewer work jobs. Working on his own sewer. Jacks pride in his reputation as a mason. Jack describes how on a Monday morning how he was working on Pope Brothers garage Showroom on The Quay where there was a “big concrete head“ over the windows and he was building a block wall on top of it. He says Crowley came up and “was giving out stink“. Jack asked if there was something wrong with his work to which Crowley replied that “Oh no! “. “The quality is excellent but the quantity isn’t enough“. Jack replied that if he wanted quantity why didn’t he hire the mason whom he had working on the wall around the dog track who left so much mortar on the ground that it was necessary to have a man with a wheelbarrow to go around picking it after him. He compared this with his own work and said that there was not a trowel of mortar to be found on the ground where he was currently working. Crowley went off after that and a short while later the foreman told Jack to not take any notice of him and because he was the first person he met that morning and he just had to let off steam. Jack insists that he always took pride in his work. He says that nowadays builders have “cash registers for eyes“ and all they want is money. He says their attitude is to “throw it up and walk away“. He remembers going on a job where the houses were built and the sewers, manholes and garden walls were not done. He says he believes the sewer work was always the most important part of the house. He recalls a sewer job he did on a college in Rochestown where there were twelve urinals and twelve toilets going into the one manhole. He was doing another sewer job on Lovers Walk where the ground was very steep. He goes on to describe the sewer as being cascaded and there was a footfall in twenty feet with four-inch pipes. He says the manholes were fourteen feet deep. He says at the back of the manhole was a T-pipe, one part was going into the manhole and the other down behind it into the sewer. He says at that time the corporation would smoke test the sewers. He says the tests were carried out by a plumber named John Starkey who found three leaks which were in the T-pipes which were highly glazed. Jack mentions that he also did his own sewer at this time and sent out for it to be checked. The tester asked Jack if it was his job to which Jack replied that it was. The tester did not bother to test it as he did not deem it necessary. Jack describes this as an example of the esteem his work was held and says this made him very proud. 0.34.40 - 0.36.30 Building his own fireplace. Jack speaks of his fireplace which he built himself. It is described as having an arched brick. He says he was working in Irish Steel and he says they used firebricks in the ladles. The ladle he describes as being like a big cup and it would take about twelve hundred brick and could hold ninety ton of steel. He got the firebricks here. He cut them with a saw to fit in the arch. He says the three windows in his porch are bullseyes. He says while he was working on this one Sunday two masons came down and asked him how he did it. He told them to go back to school and learn how to do it. 0.36.35 - 0.37.58 On working with different materials. Jack says he worked with some stone, not too much. He says he did a fair bit of monumental stonework which involved broken pieces that came out of a stone yard. He says he worked on a wall in Lovers Walk and would a few bits of stonework now and then. He says out of brick, block and stone he liked working with brick the most. Jack goes on to say he liked stone but to his mind the people weren’t satisfied because it (the work) was too slow. 0.38.24 - 0.46.10 More on growing up in Monkstown. On ambitions of being a shipwright. Building an altar for Monkstown School. More on using the ferry to get to work. More on his father. Local priest Father Butts. Jacks red setter dog. Jack mentions that when he was growing up his main ambition was to become a shipwright like his Uncle. He says they were closer than any Father And Son. He says he did not get the job but someone else got it in the dockyard at Rushbrooke. He goes on to describe the job of shipwright as being a ships carpenter. Jack says he used to love working with timber. Returning to his time at Passage Tech he says he made an altar for The Monkstown School as a teacher wanted it for demonstration purposes for the religious half hour. He thinks that it still there in the school. He says he loved working with his hands. Jack returns to the subject of rowing to work in the ferry where they would row across every morning. Returning at night he would stand and shout and the ferryman would come over. Jack says he lived by the water until he was about 25. He goes on to describe a time when his father was doing a job on the house on The Strand Road in Monkstown where there lived a sister of General Michael Collins. A big ladder was needed and there were only two ladders in Monkstown that would do the job. One was Whites and their ladder was like “goalposts cut in two“ and the rounded at the sides. The other ladder was owned by the local priest Father Butts who had a two-piece ladder. Jacks father decided that this was lighter than Whites so that they would try him. Jack adds that he was not working at this time, he went along with his father to ask the priest. According to Jack what his father got was “a sermon“ on what would happen if he broke the ladder, who would pay for it, what would happen if he fell off and so forth. By the end, Jack says he could see his father get a bit edgy and adds that he was the kind of man who spoke his mind and it didn’t matter who he insulted or who he hurt “he said it out straight and that was it and that was it“. Jack’s father asked the priest “Father could you tell me what your sermon was last Sunday morning? “ Father Butts replied that at that moment he couldn’t. “Well, I’ll tell you. It was on charity and you have eff all of it“ was Jacks father’s reply. Jack says if the ground had swallowed him up he would have been happy and laughing, adds that they didn’t get the ladder. On being asked was it a big deal to stand up to a priest in those days Jack says it was “terrible“ and jokingly adds that in those days a priest could “turn you into a dog“. Jack goes on to recount another time he was at home and at this time they had a red setter dog and “there wasn’t a dog in Ireland would come near the place“ and “I never saw two cats like em“ [Jack may have been talking about two dogs they had]. He says there were two doors in the front of the house. The front door which was always open and a side door leading onto a small hallway. He describes this door opening, hearing a patter of feet followed by a howl. Father Butts then walked in and said: “I suppose I should have left the dog [his own] outside“. “You should Father” replied Jack “and you should have knocked before you came in, “ He said he thought his mother would drop dead. Jack goes on to say that Father Butts didn’t have much time for the working people and that if you had money “you were sound“. 0.46.18 - 0.47.30 Jack’s mother. Relations in West cork. Going to England. Jack talks a little about his mother who was from Dromore, Aughaveale just outside Bantry. He says they had relations, Driscoll’s who had a pub in Aughaveale. Jack moves on to say he went to England in 1956 at the age of 27. The reason he knows that is that his brother Ted was working there for a Canadian firm called Tiersons. [?] Note: At this point the interview is interrupted as Michael Moore is rung by Jim Fahey. 00.39-03.40 Part two of the interview: Starts after a 10 to 15-minute break. The beginnings of Jacks interest in fishing. Jacks membership of fishing clubs and representing Ireland in Germany. Jack speaks about fishing with his father from the age of eight from Monkstown Pier. He describes a shortcut to the pier through the wood which was owned by the manager of “The docks in Scotland”. He goes on to say how he joined three or four fishing clubs and he used to participate in The Cobh International every year which would be held on the first week of September and would draw people from as far as France Belgium Wales and England. He participated in this completion for a good many years. He joined a fishing club called Celtic in Cork City. In 1979 he won the Master Angler in the club. In 1980 He fished for The Master Anglers Of Ireland and came third. This got him onto the Irish Team and in 1981 went to Germany with the team. He says they came third in the European Championships being beaten by a point into second by Yugoslavia. 03.46-10.50 Fishing on the pier. Night fishing and methods of attracting fish. The time Jack caught a record fish. Jack talks about two men from Cork Dan Busby who was a barber and Ernie Corem who used to be down every week fishing on Monkstown pier. He describes how on the pier there were nails every four or five feet on the outside planker of the pier and the two men would have a jampot with a candle inside and twine around it. This they would lower down till it was just above the water and they would leave it hang from the nail. This Jack says would attract the fish. He says he may have done night fishing up to 11 or 12 O Clock. Jack talks about a record 180-pound fish which he jokingly says “nearly killed him”. It took him three-quarters of an hour in 200 foot of water to land the fish. The fish was a common skate which he says attach themselves to the bottom. He goes on to describe his effort to land the huge fish. He says he had it up half ways but the fish took off for the bottom again. He says the fish surfaced thirty yards from the boat and he describes it looking like “a big sail”. After finally landing the fish it was photographed and then released as it was a protected species. He caught this fish off Cahersiveen Co Kerry. He says there were two English visitors on the boat with him one of whom said it was the best days fishing he ever had even though he caught nothing. The following night at the prize giving this man there was with his wife and when Jack came in he bought him a double brandy. 11.03-17.20 On how he became so good at fishing and his methods. On the lack of overall fishing among Monkstown residents. Being caught in a storm off Ballycotton. Working the drift on a trawler. A near miss with another boat. Giving up boating when his eyesight became bad. On being asked how he became so good at fishing Jack supposes it was through dedication. He goes on to add to say it’s all in the “feel of the hand’s and describes how different fish bite. Some such as the Conger Eel will pull hard but others will suck at the bait and describes how he plays the line to entice them into biting. He says he got his fishing interest from his father and adds that Monkstown was not a fishing community as such. He says that other than himself and his father plus a few others who used to come down from Cork no one else in Monkstown used to do any fishing at that time when he was young before the clubs came along. He says drink and water do not mix because “a person that’s not afraid of the water is stupid”. He goes on to recall a time when he was fishing in either The Harbour Championships or The Munster Closed Boat and was off Ballycotton. He says they were anchored about a mile or so off the shore when at three O Clock he noticed the sky changing. He says he told the skipper that the weather was going to get worse and they should start finishing up to which the skipper only laughed at him. Jack says the skipper was not laughing when they got in. It took them nearly two hours to get in and the boat was “pitched from post to pillar”. He says it was a lesson learned for the skipper who had just recently bought the boat. Another near miss Jack speaks about is when he was on a large trawler off either the Waterford or Wexford Coast working “The Drift” where the trawler would follow the drift. He goes on to describe a frightening incident when they had just finished working the drift in roughish weather Jack saw a boat in front of him which was owned by Johnny Geary from Cobh. He says that they were almost on top of the boat and the skipper of Jack's boat could not see them as the prow was so high. Jack says he saw a crewmember of the other boat taking off his rubber boots and preparing to jump. He says they were not two feet away when they just passed him. Jack said, “the closest thing I ever saw”. Jack goes on to add that once he started developing problems with his eyesight he would get sick every time he went out as he was unable to focus so he had to give up going out on the boats. 17.34-19.35 More on building work and Pat Shea “The Gangster”. On being left short in his wages Jack returns to the subject of building and working for Pat Shea “The Gangster”. He speaks of working on Pat Shea’s niece's house when come Friday he discovered he had been left ten shillings short in his wages. He says this was a lot of money at the time. He spoke to the foreman about it who told him he should speak to the boss. He went to Pat Shea’s office which was located at the Top of the (South) Mall. He spoke to Pat Shea who said he should speak to the foreman, Jack, in turn, said that the foreman said he should speak to him. In the end, Jack said he began “giving out” to him to which Pat Shea stated “when I was a boy if I spoke to a man like that I’d be thrown into the river” to which Jack retorted “do you think you’d qualify for that job now?”. At this point, Pat Shea relented and gave Jack Ten pounds. Jack thinks this was at the end of the Forties or start of The Fifties. 19.45-20.19 Jack on the changes he’s seen. His dislike of the new look Patrick Street. On being asked about what changes he has seen in Ireland down the years he expresses his dislike of the changes to Patrick Street. He says the new street lights are horrible and they remind him of the jib of a crane. 20.22-23.15 Moving to England to find work. Jack talks about moving to England to find work in 1956. His brother Ted was already working there and he wrote to ask if there was any chance of getting work there as there was nothing back home. He says he arrived at Paddington Station on a Saturday noon and he was working at one O clock. Ted was working on a house belonging to the mother of the actor “Michael Keane” which was a big three-storey house on Colchester Terrace. He says the tilers who were assigned the job refused to work weekends and the kitchen and bathroom were yet to be done. Ted asked Jack could he do the tiling and he agreed. He worked on the bathroom and kitchen over the Saturday and Sunday. He was still working on it Monday morning when it wasn’t quite finished. The tiler foreman came in with the general foreman and asked him if he wanted to work with them and stay on as a tiler. Jack said that he was not intending to stay on and he had a wife and family at home. The general foreman told him that he could get him a house over there. Jack says it was tough being in England with his family at home. He says he kept in contact with them via letters. 23.08-25.00 On the infamous criminals Reginald Christie and The Kray Twins. Jack says that where he was working was very close to where the infamous serial killer Reginald Christie lived. Jack talks about how he was caught, how after he left his house a “coloured family” moved in and after taking paper down from a wall there was discovered a cupboard which contained three bodies. Jack says they were “girls of the street” and further bodies were found buried in the back garden. He says that one of them was an Australian (though looking up the case it appears she was Austrian) and was identified through her dental records. Jack also briefly mentions that he saw gangsters The Kray twins though does not add any specific detail about them. It is unclear if he means he saw them in person or if he is referring to second-hand accounts. 25.09-31.20 On his wages in England. More on the work he did. The differences between working on sites in England and Ireland. His father working for Kennedy -Callaghan and clashing over breaks. His father being removed as foreman. Jack says his wages in England were nine pounds a week which he had to divide between himself and sending home to his family. On being asked did he enjoy England he says he did and he didn’t and that he enjoyed the work. The work he did was brickwork. He talks about an extension to a house he was working on where they were using a Flemish bond. On being asked was there a difference between working on sites in England and Ireland he says the main one he remembers was that in England there would be a man-call around at ten O clock with a big tea urn and some biscuits and you would get tea or a pint of milk and biscuits and the same would happen at three. Jack says that this would never happen over here (Ireland) and they had more breaks in England. The subject of tea breaks leads Jack on to tell a story of his father when he was working for Kennedy-Callaghan. He says his father could not take hot tea and at this time there was no ten O clock break allowed. Jack says it was done “on the qt” and was not made law till 1952 when the wording stated any ten minutes between ten and half past. Jack says his father was the foreman and the two of them were working “up in the shaft” and he describes the gallon container that the tea was made in which he says was like a tin mug about six inches high. Jacks father had it on the scaffold next to him and would take a sup of tea from time to time and he was just taking a sup when Kennedy -Callaghan crossed underneath. Kennedy -Callaghan said was ten minutes not enough. Jacks father replied that he could not drink hot tea and he would have it next to him to take a sup from now and again. Kennedy-Callaghan “gave out” to Jacks father and an argument followed which resulted in Jacks father throwing the container of tea down at him followed by a half block. The boss went away and after about half an hour the word came that Jacks Father was wanted in the office. He packed his tools and went to the office where told Kennedy-Callaghan told him to forget all about it and “it never happened”. His father was a good mason Jack says. Jack agrees to the suggestion that there was always tension between workers and bosses. Jack goes on to recount how a deputation came out from the union and Jacks father was asked to step down as foreman as the position was for a city mason and he was living three miles outside it. 31.28-40.33 On working with his father. When he started working at the beginning. Talking about his brothers and sisters. Jack says he served three years working under his father which he describes as the hardest three years of his life. He says that no matter he did it was always wrong even if it was perfect it was always wrong but Jack adds that it paid dividends in the end. On being asked was it tough working with family he says the work was hard but his father was fair. He always made sure Jack did his work correctly no matter what it was. Jack says when he started working first it rained nearly every day for the first month, the end of August and start of September. He started on the footing of a pair of houses which is working on the floor down to the foundation. Jack goes on to speak about his siblings. He speaks of his Brother Ted who is now bedridden. He mentions another brother Michael who lives in Australia and was a “pencil pusher” with what Jack says was the biggest steel company in the world. Jack cannot recall the name of this company. He says Michael at first went to Baldoyle College and then another which he says he can’t remember [Note: This is likely to be O Connells College going on his follow up comments] and then training to be a Christian Brother. Jacks mother had a cousin who was a Christian Brother. He was the head man in O Connells School in Dublin and he advised her to take Michael out as he was studying too hard and it might affect him. Jack says Michael came home and was so caught up that he wouldn’t even listen to the radio. After three months “sold his soul for a dance”. He went off to England and became a male nurse. After he was there for a bit he went off to Australia. He was there for five years and it cost him 10 pounds to get over there at that time which was part of a special scheme for people wanting to move to Australia from England. He did an exam for the post-office but his right eye failed him for the position of inspector. He went back to London and he was a manager of a ships chandlery, Waring & Gillow. He met his future wife, a nurse whom he had known while working at the hospital though according to Jack they had “never took any notice of each other”. They got married in England and there for a year or so before going off to Australia and had four children. One became a psychiatrist another a chemist and the other two according to Jack were “harem scarems”. Michael now is over ninety and he and his wife are in a nursing home for the last year. Jack says they are as happy as Larry and have their own apartment type room. Jack goes on to speak of his only sister Betty who is two years older than him and is now resident in Moneygourney Nursing Home in Douglas. She wanted to go there herself because according to Jack she thought she could do everything for herself and was at home on her own as one of her sons who were unmarried was in the house but he was working late nights in a “computer place out on Ballincollig” and she found she couldn’t cope so according to Jack she is now in the home “as happy as Larry”. However, two weeks before the interview she fell and burst her elbow resulting in her staying in the hospital for three days however after she got out she fell again and broke her elbow and burst open the wound. At the time of the interview, she was back in the home again. 40.41-42.54 Friends Jack made on the sites. Characters on the sites and their nicknames. Jack speaks of friends he made on the sites such as Eddie Madden and his brother Paddy. He also speaks of Jerry Madden (unrelated to Eddie and Paddy) who had the nickname “Born Drunk” who Jack had on the dry for six weeks and then “broke out” ie went back on the drink. He then went off to England and Jack never heard from him again. There was another Madden, Dick Madden in Douglas who was known as “Salty Bits” and was a small man whom Jack describes as “a cranky little divil”. His son worked in The Corporation afterwards and Jack says he was a tall man. 43.00-43.43 On being christened John and how he came to be called Jack. Jack says that the name he was christened under was John. He goes on to say that he was in his mother’s arms as a baby on the train from Glenbrook to Cork and a priest got on. He was asking his name and at the time there was a famous boxer called Jack Johnson and the priest called him Jack which then stuck. 43.55-47.25 Jack tells a story about his grandfather. On the mason's language The Barlog. Jack relates a story his father told him about his father, Jack’s grandfather. He was working in Mallow to where he and the masons he was working with had to walk from Cork. They were staying in the house of a widow. At this time Jack says the masons could speak the mason language “Barlog” which Jack says was first spoken in The Tower Of Babel. The masons were having tripe and drisheen for their dinner and Jacks grandfather said of his meal to the mason next to him in Barlog that you could sole a pair of shoes with that it was so tough. Instantly the woman of the house “blew the ears off him” in Barlog. It transpired that unknown to Jacks Grandfather and the others she was the wife of an old stonemason who knew The Barlog and she had learned it from them. Jack goes on to speak some phrases in Barlog himself. He says his father could speak a bit of it. It has died out according to Jack. He says a Mason who was known as Block Long was reckoned to have a book on it. He thinks that there were two books on it, one in the possession of Block Long and the other belonged to the College. He says he does not know Block Longs real first name. 47.35-50.05 On mason family tradition. “Sharkey Madden”. Jack says you had to be a mason’s son before you could become a mason when he started, and you had to do seven years. Returning to the subject of characters he worked with Jack speaks of “Sharkey” Madden also known as “The Shark” and recalls a time he was working with him on the catholic church in Carrigaline. They were building the tower and the foreman Billy Madden who was a first cousin of The Shark came at lunchtime and told The Shark that he was being let go and would be finishing up that night. The Shark said nothing and returned to work and laid about two dozen bricks inside out and built “as hard as he could go” up on top of them again. Jack says The Shark got his own back that way. His work had to be undone and taken out as the bricks were rustic brick which had grooves so the rain would run off them, he had placed them in such a way that the smooth side was facing out. 50.30-52.58 Working in Irish Steel. Jack speaks of his time working in Irish Steel. He worked there for about fifteen years and says he loved working there. He used to build and repair the furnaces and says the ladles would last maybe a week or less as they would burn out. They would then be stripped down and rebuilt. The inside of the ladle was molten steel about ninety ton. Jack says the firebrick is so tough because of the silica in the material. Note:[51.53-52.15] at this point Jacks son John enters the room and there is a short discussion Returning to the subject of Irish Steel Jack says he was there as an apprentice around 1946 or 47. He names a few masons who were there such as Billy Hogan and his brother Tommy plus Jimmy McCarthy who were all from Cobh Note: At this point, John Johnson re-enters the room and there is a break in the interview. 0.14-2.13 Part three of the interview. Working with Billy Hogan on the roof of the open-top furnace. The effect of the bricks on his hands from the lack of gloves. Jack recounts when he was an apprentice and was building the roof of an open cast furnace with Billy Horgan. He says there was five thousand eight hundred and eighteen brick in the roof. He goes into detail about the hard work and says that every night when he went home his mother would have to open the buttons of his shirt as his thumbs and fingers were red-raw and the brick “would tear the fingers off you” because as Jack says “there was no gloves that time”. The weather was cold he says even though they were inside a big shed. He describes the buckets of clay kept in an old barrel over a fire to keep the frost from it. He says they used to go by boat from Monkstown pier to the island, the Hogans would go from Cobh by boat. He says now there is a bridge from Ringaskiddy to the island. Note: At this point, the reversing signal for a bin lorry is heard outside causing Jack to inquire as to what it is. He then realises what it is and the interview continues. 2.20-8.23 Jack speaking about seeing two men killed at Haulbowline and accidents there. Jack confirms that the island was Haulbowline. He then says he saw two men killed there. He describes the first incident thus. The man worked in the foundry Jack describes the moulds which were two-foot square and about six foot high tapering up. He says the mould was being lifted by a crane but there was just one lug holding it, normally there were two but the other one was broken. The one lug in use broke and the mould came down on the shoulder of the man and as Jack says it went “right through him”. Jack says that this man had just handed in his notice as the shift work was interfering with his ballroom dancing. He describes another fatality which happened in the rolling mills. The sheets of steel would be stacked when they cooled then brought to soaking pits. They would be heated up and put through rollers where they would get smaller and longer. At the last one, a man with tongs would catch the length of steel and turn it around. At this point a bit of a fork on the steel bar struck a steel plate and the red hot bar flew up in the air and down on top of the man and went “right through him like a knife through butter” Jack says the priest was called from The Navy dept and he was in Jacks words “as sick as a dog” when he saw the scene. Jack says his remains were collected in a cardboard box and the rest was water which was hosed down. Jack says this man was about 25 or 26. Jack goes on to describe another fatality, a man from Ringaskiddy. There was a big bath of acid for the making of corrugated iron and this man fell into it. He was brought to the hospital but Jack says there were only bones left and he was burnt to a cinder. Jack says they all went home after these fatalities but he does not know if anyone quit work over it. Despite it all, he says he enjoyed working there. 8.27-11.13 Working in the gasworks. The retorts for making coke. Jack talks about working in the gasworks building and repairing the retorts where the coke was made. There were six in a bed as it was called. The retorts were twenty-foot long and sixteen inches wide. There was a door at each end. One door would be closed and a machine would blow the coal in the other. Jack says he was working with a man called Gerald Keefe. A repair was going on and another mason whose name Jack can’t recall but Jack thinks was one of the Falveys came in. Jack says you had to crawl inside the retort and the inside was lined with coarse bags stitched together for protection as it was still hot. Jack says the furnace man would insert a lighted match inside for the gas so it wouldn’t explode but some didn’t bother. This man Falvey did this and the gas exploded. He got such a fright he went off without his tools and was never seen there again 11.19-12.34 On developing problems with his sight. End of interview. Jack says that six or so years ago he developed problems with his eyesight and as a result became claustrophobic. He says he went into the hospital and had to go in a lift to the third or fourth floor. He says he got to the lift door and couldn’t go any further. He says it had never happened before. The interview concludes at this point. Michael thanks Jack for his participation. End of interview. 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 JJ But then when I worked with I started with Powers brothers and I remember I was, t,was of a Wednesday and I was dreaming of a football match we were playing in the semi-final of the County or whatever it was in Douglas that night and I was sent down to cut a hole for the overflow for a sink and we had left an open joint but the plasterer put a stone into it and plastered over it and it struck the exact spot and flattened my finger up against the wall the chisel went through. T,was a four pound hammer I was using and flattened the finger. I had no money so Powers he came out with a bag of salt a dish of water and a sheet he threw it on me bandaged my hand anyway and he gave me a shilling for the bus so I went down and I came back then again of course and I had to wait then till Dan was going home. I was three weeks out and the and the first week back when I got me wages he stopped a shilling. That’s Gospel truth. MM He was a hard man so was he? JJ Oh they were they were. 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 Jack Johnson: Masonry, Fishing, Working Life Subject The topic of the resource Stonemasons: Occupational Lore: Description An account of the resource Jack begins by describing his family background in the mason trade and his own beginnings as a mason. He then talks about social events and going to dances at The Arcadia club. Jack then mentions his growing up in Monkstown and schooldays. Working at threshing. Starting as a mason and injuring his finger. Jack talks about his time working for Pat Shea “The Gangster”. Also, a Co-worker John Falvey joining the British Army and being killed in Cyprus. Jack fired for standing up to foreman. Working in Dwyer’s factory. Masons “Bronco” Welsh and Joe Dynahan.” Bronco’s brother “The Whistler” and his part in 1916. On Bronco making and selling tools. Masons pawning tools. Having a set of chisels stolen. Jack then talks about taking pride in his work and the low standards of today’s builders. On the importance of sewer work. Recalling sewer work jobs. Working on his own sewer. Jacks pride in his reputation as a mason. On working with different materials. Jack then speaks of his mother. And relations in West cork. The beginnings of Jacks interest in fishing. Jacks membership of fishing clubs and representing Ireland in Germany. Fishing on the pier. Night fishing and methods of attracting fish. The time Jack caught a record fish. On how he became so good at fishing and his methods. On the lack of overall fishing among Monkstown residents. Being caught in a storm off Ballycotton. Working the drift on a trawler. A near miss with another boat. Giving up boating when his eyesight became bad. Jack mentions the changes he’s seen. His dislike of the new look Patrick Street. Moving to England to find work. 1956. and on the infamous criminals Reginald Christie and The Kray Twins. On his wages in England. More on the work he did. The differences between working on sites in England and Ireland. His father working for Kennedy -Callaghan and clashing over the breaks. His father being removed as foreman. On working with his father. When he started working at the beginning. Talking about his brothers and sisters. Friends Jack made on the sites. Characters on the sites and their nicknames. Jack tells a story about his grandfather. On the masons language The Barlog. Working in Irish Steel. Jack speaking about seeing two men killed at Haulbowline and accidents there. Date A point or period of time associated with an event in the lifecycle of the resource 11 August 2016 Contributor An entity responsible for making contributions to the resource Interviewee: Jack Johnson Interviewer: Michael Moore Identifier An unambiguous reference to the resource within a given context CFP_SR00583_johnson_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, Béarlagair na Saor (Masons Language) Format The file format, physical medium, or dimensions of the resource 3 .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/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 Bearlager na soar (Masons Language) Dances Emigration England Family Life Fishing Monkstown Nicknames Stonemasons The Arcadia Trades Working life