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Old-time Music
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Old-time music is a genre of North American folk music. It developed along with various North American folk dances, such as square dancing, clogging, and buck dancing. It is played on acoustic instruments, generally centering on a combination of fiddle and plucked string instruments, most often the banjo, guitar, and mandolin.
Reflecting the cultures that settled North America, the roots of old-time music are in the traditional musics of the British Isles (primarily Great Britain and Ireland), and Europe. African influences are notably found in instruments such as the banjo.[] In some regions French and German sources are also prominent.[] While many dance tunes and ballads can be traced to European sources, many others are of North American origin.[]
The term "old-time"
Old-time music represents perhaps the oldest form of North American traditional music other than Native American music, and thus the term "old-time" is an appropriate one. As a label, however, it dates back only to 1923.[]
Fiddlin' John Carson made some of the first commercial recordings of traditional American country music for the Okeh label. The recordings became hits. Okeh, which had previously coined the terms "hillbilly music" to describe Appalachian and Southern fiddle-based and religious music and "race recording" to describe the music of African American recording artists, began using "old-time music" as a term to describe the music made by artists of Carson's style. The term thus originated as a euphemism, but proved a suitable replacement for other terms that were considered disparaging by many inhabitants of these regions. It remains the term preferred by performers and listeners of the music. It is sometimes referred to as "old-timey" or "mountain music" by long-time practitioners.[1]
During the late 19th and early 20th centuries tunes originating in minstrel, Tin Pan Alley, gospel and other music styles were adapted into the old-time style. People played similar music in all regions of the United States in the 18th and 19th centuries, but in the 20th century it became associated primarily with the Appalachian region.
Important revivalists include Mike Seeger and Pete Seeger, who brought the music to New York City as early as the 1940s. The New Lost City Ramblers in particular took the revival across the country and often featured older musicians in their show. The band was originally Mike Seeger, John Cohen, and Tom Paley. When Tom left the band, he was replaced by Tracy Schwarz. New Lost City Ramblers sparked new interest in old-timey music.
Old-time music is played using a wide variety of stringed instruments. The instrumentation of an old-time group is often determined by what instruments are available, as well as by tradition. The most common instruments are acoustic string instruments. Historically, the fiddle was nearly always the leading melodic instrument, and in many instances (if no other instruments were available) dances were accompanied only by a single fiddler, who often also acted as dance caller.
By the early 19th century, the banjo had become an essential partner to the fiddle, particularly in the southern United States. The banjo, originally a fretless instrument made from a gourd,[] provided rhythmic accompaniment to song, dance and the fiddle, incorporating a high drone provided by the instrument's short "drone string." The banjo used in old-time music is typically a 5-string model with an open back (i.e., without the resonator found on most bluegrass banjos).
Old-time country band The Lotus Eaters perform at Our Community Place plant sale, April 19, 2008, in Harrisonburg, Virginia.
Today old-time banjo players most commonly utilize the clawhammer style, but there were numerous styles, most of which are still used to some extent today. The major styles are down-picking (generally referred to today as "clawhammer," though historically myriad names were used to describe it), two-finger index lead, two-finger thumb lead, and a three-finger "fiddle style" that seems to have been influenced in part by late-19th century urban classical style. Young players might learn whatever style a parent or older sibling favored, or take inspiration from phonograph records, radio, traveling performers and migrant workers, local guitarists and banjo players, as well as other musicians they met when traveling to neighboring areas. Having a fiddle play the lead melody with a banjo playing rhythmic accompaniment is the most common form of Appalachian old-time music today.
Individualistic three-finger styles were developed independently by such important figures as Uncle Dave Macon, Dock Boggs, and Snuffy Jenkins. Those early three-finger styles, especially the technique developed by Jenkins, led to the three-finger Scruggs style created by Earl Scruggs in the 1940s, which helped advance the split between the old-time genre and the solo-centric style that became known as bluegrass. Jenkins developed a three-finger "roll" method that, while obviously part of the old-time tradition, inspired Scruggs to develop the smoother, faster and more complex rolls that are now standard fare in bluegrass music.
In the 19th and early 20th centuries, musicians began to add other stringed instruments to the fiddle-banjo duo--including guitar, mandolin, and double bass (or washtub bass). These provided chordal, bass line, and pitched rhythmic accompaniment, and occasionally took over the melody, usually during a "break" section that lasted the duration of a verse, refrain, or verse and refrain. This, along with a Dobro (resonator guitar), is also considered 'standard' bluegrass instrumentation, but old-time music tends to focus on sparser instrumentation and arrangements compared to bluegrass. Such an assemblage, of whatever instrumentation, became known simply as a "string band." Less frequently used are the cello, piano, hammered dulcimer, Appalachian dulcimer, tenor banjo, tenor guitar, lap-steel guitar, mandola, mouth bow, as well as other instruments such as the jug, harmonica, autoharp, jaw harp, concertina, button or accordion, washboard, spoons, or bones.
The fiddle is sometimes played by two people at the same time, with one player using the bow and fingers, while another player stands to the side and taps out a rhythm on the fiddle strings using small sticks called fiddlesticks (also spelled "fiddle sticks"). This technique (also sometimes called "beating the straws") is utilized in performance most notably by the duo of Al and Emily Cantrell.[2][3]
Each regional old-time tradition accompanies different dance styles. Some of these include clogging and flatfoot dancing (Appalachia), contra dancing (New England), square dancing (Southern states) and step dancing (Nova Scotia, particularly Cape Breton Island), though there is some overlap between regions.
There are numerous regional styles of old-time music, each with its own repertoire and playing style. Nevertheless, some tunes (such as "Soldier's Joy") are found in nearly every regional style, though played somewhat differently in each.
"Big Eyed Rabbit"
Matokie Slaughter, "Big Eyed Rabbit" from Clawhammer Banjo, Volume Two (County Records) (c. 1960s)
Appalachian folk music is brought to the United States by immigrants and slaves. In turn it influenced country music and old-time music.[4]
As a result of the terrain of the region, the societies and cultures were fairly isolated from outside intervention. In 1916, Cecil Sharp arrived in Appalachia and began recording the folk songs on the Mountains. Sharp, an authority on British ballads, was able to identify 1,600 versions of 500 songs from 281 singers, almost all having their origins in the English/Scottish Child Ballads. After his first study in Appalachia, he published English Folk Songs from the Southern Appalachians.[5] Some examples of songs preserved in the Appalachian Mountains and recorded by Sharp include, "The Hangman Song", "Barbara Allen", etc.[5] The primary sources for many of Sharp's recordings came from a string of related families around Shelton Laurel, NC. Of note is the fact that these families maintained a specific, unique vocal tradition and traditional English lyrical pronunciations across several generations, until gaining fame in the 1960s and 1970s through similar field recordings completed by John Cohen. These records featured Dillard Chandler, Berzilla Wallin (recorded by Sharp) and Dellie Norton. Relatives of those individuals continue to keep this unique vocal style alive to this day.
A Scottish fiddler named Niel Gow (note the unorthodox spelling) is usually credited with developing (during the 1740s) the short bow sawstroke technique that defines Appalachian fiddling. This technique was altered during the next century, with European waltzes and polkas being most influential.
African Americans, who were not only slaves but also free blacks working in timber, coal mining, and other industries at the time in the region, influenced Appalachian music as the banjo was adopted from African Americans by white musicians (such as Joel Walker Sweeney) in the years leading up to the Civil War.[6]
Appalachian folk became a major influence on styles like country music and bluegrass. It is one of the few regional styles of old-time music that, since World War II, has been learned and widely practiced in all areas of the United States and Canada (as well as in Europe, Australia, and elsewhere). In some cases (as in the Midwest and Northeast), its popularity has eclipsed the indigenous old-time traditions of these regions. There is a particularly high concentration of performers playing Appalachian folk music on the East and West Coasts (especially in New York City, Los Angeles, San Francisco, and the Pacific Northwest). A number of American classical composers, in particular Henry Cowell and Aaron Copland, have composed works that merge the idioms of Appalachian folk music with the Old World-based classical tradition.
Appalachian old-time music is itself made up of regional traditions. Some of the most prominent traditions include those of North Georgia (The Skillet Lickers) Mount Airy, North Carolina (specifically the Round Peak style of Tommy Jarrell) and Grayson County/Galax, Virginia (Wade Ward and Albert Hash), West Virginia (the Hammons Family), Eastern Kentucky (J. P. Fraley and Lee Sexton), Middle Tennessee (Uncle Dave Macon, The McGee Brothers, Thomas Maupin, and Fiddlin' Arthur Smith), and East Tennessee (Charlie Acuff, The Roan Mountain Hilltoppers, G.B. Grayson).
The Old Grey Mare
Appalachian folk music from the Library of Congress' Gordon Collection; performed by Bascom Lamar Lunsford in the Asheville, North Carolina area on October 19, 1925.
The banjo player and fiddler Bascom Lamar Lunsford, a native of the North Carolina mountains, collected much traditional music during his lifetime, also founding the old-time music festival in Asheville, North Carolina. Notable North Carolina traditional banjo players and makers include Frank Proffitt, Frank Proffitt, Jr. and Stanley Hicks, who all learned to make and play fretless mountain banjos from a family tradition. These players, among others, learned their art primarily from family and show fewer traces of influence from commercial hillbilly recordings. The Proffitts and Hicks were heirs to a centuries-old folk tradition, and through the middle to late 20th century and they continued to perform in a style older than the stringbands often associated with old time music. Their style has been recently emulated by contemporary musician Tim Eriksen.[]
The Southern states (particularly coastal states such as Virginia and North Carolina) also have one of the oldest traditions of old-time music in the United States.
States of the Deep South such as Alabama, Mississippi, Georgia, and Louisiana also have their own regional old-time music traditions and repertoires, as does the Ozark Mountains region of Arkansas and Missouri. Premier old time banjoist Bob Carlin has authored String Bands in the North Carolina Piedmont with a focus on non-Appalachian styles in that state. While the music of the Louisiana Cajuns has much in common with other North American old-time traditions it is generally treated as a tradition unto itself and not referred to as a form of old-time music.
Native American old-time music
Several distinctive Native American and First Nations old-time traditions exist, including Métis fiddle and Athabaskan fiddle.
Old-time music has also been adopted by individual Native American musicians including Walker Calhoun (1918-2012) of Big Cove, in the Qualla Boundary (home to the Eastern Band of Cherokee Indians, just outside the Great Smoky Mountains National Park in western North Carolina) played three-finger-style banjo, to which he sang in the Cherokee language.[]
The New England states, being among the first settled by Europeans, have one of the oldest traditions of old-time music. Although the Puritans (the first Europeans to settle in the region), frowned upon instrumental music, dance music flourished in both urban and rural areas beginning in the 17th century. Primary instruments today include the fiddle, piano, and guitar, with the wooden flute sometimes also used. As with Appalachian folk, a number of classical composers have turned to New England folk music for melodic and harmonic ideas, most famously Charles Ives, as well as Aaron Copland, William Schuman, and John Cage, among others. Rhythmically, this style is more diverse than most southern old time, featuring schottisches, hornpipes, and waltzes in addition to reels.
Beginning in the early 19th century, when the Midwestern states were first settled by immigrants from the eastern United States and Europe, the Midwest developed its own regional styles of old-time music. Among these, the Missouri style is of particular interest for its energetic bowing style,[7] while Michigan is one of the few areas in North America with a continuous hammered dulcimer tradition through the twentieth century.[8]
The region of central and southern Illinois has its own distinct style and repertoire of old-time music as well.[9]
In the Upper Midwest, especially Minnesota, old-time music most typically refers to a mixture of Scandinavian styles, especially Norwegian and Swedish.[10]
Texas and the West
Texas developed a distinctive twin-fiddling tradition that was later popularized by Bob Wills as Western swing music.[] Fiddle music has also been popular since the 19th century in other Western states such as Oklahoma and Colorado. The National Oldtime Fiddlers' Contest has been held each year in Weiser, Idaho since 1953.
Oklahoma, with its high concentration of Native American inhabitants, has produced some Native American old-time string bands, most notably Big Chief Henry's Indian String Band (consisting of Henry Hall, fiddle; Clarence Hall, guitar; and Harold Hall, banjo and voice), which was recorded by H. C. Speir for the Victor company in 1929.
The Pacific Northwest has a vibrant old-time music community. Extending the north-south corridor from Seattle to Portland and west to Weiser, ID and Boise, gatherings and festivals such as the Portland Old Time Gathering, Festival of American Fiddle Tunes in Port Townsend, WA, an annual campout in Centralia, WA and the National Oldtime Fiddlers' Contest have helped build a growing and multi-generational old time music community.
Among the prominent styles of old-time music in Canada are the Scottish-derived tradition of Nova Scotia (particularly Cape Breton Island), the French Canadian music of Quebec and Acadia, the old-time music of Ontario, and the prairie fiddling traditions of the central-western provinces. It is here (primarily in Manitoba and Saskatchewan) that the fiddle tradition of the Métis people is found. The traditional folk music of Newfoundland and Labrador, though similar in some ways to that of the rest of Atlantic Canada, has a distinct style of its own. As such, it is generally considered as its own genre.
Contemporary musicians
The current old-time music scene is alive and well, sparked since the mid-1990s by the combined exposure resulting from several prominent films, more accessible depositories of source material, and the work of a few of touring bands, including The Freight Hoppers, The Wilders, Uncle Earl, Old Crow Medicine Show, and the Glade City Rounders.
A new generation of old-time musicians performs as solo acts and band leaders all over the country, including: Brad Leftwich, Bruce Molsky, Rafe Stefanini, Bruce Greene, Rhys Jones, Rayna Gellert, Riley Baugus, Leroy Troy, Alice Gerrard, Dirk Powell, Walt Koken, Clifton Hicks and Martha Scanlan. The Appalachian dulcimer has long been a part of string bands in the Galax, VA, area and is seeing new popularity re-emerging as a key instrument for old-time music, thanks to the influence of musicians such as Don Pedi, David Schnaufer, Lois Hornbostel, Wayne Seymour his disciples, Milltown and Stephen Seifert. American hammered dulcimer players like Ken Kolodner, Mark Alan Wade and Rick Thum continue this tradition.[11] Family bands, such as The Martin Family Band, from Maryland, are continuing the traditions of old time music played on fiddle, banjo, lap dulcimer, hammered dulcimer, mandolin, piano, guitar, bass and percussion. The Carolina Chocolate Drops directly address the lost tradition of black stringband music.
Living elders of the music include Charlie Acuff of Alcoa, Tennessee, Chester McMillian of Mount Airy, North Carolina, Lee Sexton of Line Fork, Kentucky, Thomas Maupin of Murfreesboro, Tennessee, George Gibson of Knott Co., Kentucky, Michael Defosche Jackson Co., TN, Rob Morrison of Chapel Hill, North Carolina, Jimmy Costa of Talcott, West Virginia, Curtis Hicks of Chattanooga, Tennessee, Clyde Davenport of Monticello, Kentucky, Delmer Holland of Waverly, Tennessee, and Harold Luce of Chelsea, Vermont.
Prominent old-time music festivals (some of which also include bluegrass, dance, and other related arts) include the Northern Lights Bluegrass and Old Tyme Music Camp and Festival in Saskatoon, Saskatchewan, Canada (established 2005),[12]Old Fiddler's Convention in Galax, Virginia (established 1935), the West Virginia State Folk Festival[13] in Glenville, West Virginia (established 1950), the National Oldtime Fiddlers' Contest in Weiser, Idaho (established 1953), the Mount Airy Fiddlers Convention in Mount Airy, North Carolina (established 1972), Uncle Dave Macon Days in Murfreesboro, Tennessee, the Vandalia Gathering in Charleston, West Virginia (established 1977), the Appalachian String Band Music Festival in Clifftop, Fayette County, West Virginia (established 1990), Breakin' Up Winter in Lebanon, Tennessee, the Winfield Music Festival is held in Winfield, Kansas and the Smithville Fiddlers' Jamboree and Crafts Festival held in Smithville, Tennessee (established in 1972).[14]
Old-time music as dance music
Because old-time fiddle-based string band music is often played for dances, it is often characterized as dance music. However, there are also long-standing traditions of solo listening pieces as well as fiddle songs, such as those that have been documented in West Virginia by Erynn Marshall in Music in the Air Somewhere: The Shifting Borders of West Virginia's Fiddle and Song Traditions (WVU Press, 2006). In dance music as played by old-time string bands, emphasis is placed on providing a strong beat, and instrumental solos, or breaks, are rarely taken. This contrasts with bluegrass music, which developed in the 1940s as concert music. Bluegrass music, however, developed from old-time music, and shares many of the same songs and instruments, but is more oriented toward solo performance than is old-time music.
While in the British Isles reels and jigs both remain popular, the reel is by far the predominant metric structure preferred by old-time musicians in the United States (though a few hornpipes are also still performed). Canadian musicians, particularly in the Maritime provinces where the Scottish influence is strong, perform both reels and jigs (as well as other types of tunes such as marches and strathspeys).
Learning old-time music
Players traditionally learn old-time music by ear; even musicians who can read music. A broad selection of written music does exist, although many believe that the style of old-time music cannot be practically notated by written music. This is in part because there are many regional and local variations to old-time tunes, and because some of the most noted players often improvised and wouldn't play a tune exactly the same way every time.
Players usually learn old-time music by attending local jam sessions and by attending festivals scattered around the country. With the spread of broad-band Internet, more and more old-time recordings are available via small publishers, Internet streaming audio ("Web radio"), and small Web sites making the music more accessible.
Although it is one of the oldest and most prominent forms of traditional music in the United States and Canada, old-time music (with a few notable exceptions) is generally not taught in North American primary schools, secondary schools, or universities. Although square dancing is still occasionally taught in elementary schools (generally with recorded, rather than live music), old-time instruments and dances are not included in the educational system, and must be studied outside the school system.
Located in Johnson City, Tennessee, East Tennessee State University is the only four-year university in the world with a comprehensive program in bluegrass and old time music studies. (Morehead State offers a program also.) The program includes a variety of bluegrass and country music courses, both performance-oriented and academic. Minors in both Bluegrass and in Appalachian Studies are also offered.
There are a variety of programs, mostly in the summer, such as the Augusta Heritage Festival, the Cowan Creek Mountain Music School, or the Appalachian String Band Music Festival, that offer week-long immersions in old-time music and dance. These camps are family friendly and allow beginners to enter into the tradition and more advanced players to hone their sound with instruction from some of the best in the music.
Outside Appalachia
There are, however a growing number of folk music schools in the greater United States, usually non-profit community based, that have taken up the mantle of providing instruction in old-time music: The Old Town School of Folk Music in Chicago, Illinois is perhaps the oldest of these, having begun in 1957. The Folk School of St. Louis in Missouri, started by banjoist Jeff Miller, is one of the many newer schools having opened its doors in 2002 after the movie O Brother, Where Art Thou? caused an increase in people from urban areas wanting to learn old-time music. These schools and the subsequent music communities that spring from them offer a positive trend in keeping old-time music alive. Also, universities such as Berklee College of Music, the University of North Carolina at Greensboro, Brown University, UCLA, and Florida State University have "Old Time Ensembles" to teach and keep Old Time music alive. Regular old-time jam circles are also important to spreading and teaching this music. Regular old-time jams occur not only throughout the United States, but in places as far flung as Beijing, China, where the Beijing Pickers jam spawned a bluegrass/Americana group the Randy Abel Stable and the old-time band the Hutong Yellow Weasels. In the UK Friends of American Old Time Music and Dance was formed in 1995. A year later Sore Fingers Summer School was started.
Appalachian Journey (1990). Original material recorded and directed by Alan Lomax. A Dibbs Directions Production for Channel Four TV in association with Alan Lomax. Presented by North Carolina Public TV. 1991 videocassette release of an episode from the 1990 television series American Patchwork: Songs and Stories of America.
My Old Fiddle: A Visit with Tommy Jarrell in the Blue Ridge (1994). Directed by Les Blank. El Cerrito, California: Flower Films. ISBN 0-933621-61-2.
New England Fiddles (1995). Produced and directed by John M. Bishop. A Media Generation production. Montpelier, Vermont: Distributed by Multicultural Media.
Songcatcher (dir. Maggie Greenwald, 2000) is a film about a musicologist researching Appalachian folk music in western North Carolina.
Sprout Wings and Fly (1983). Produced and directed by Les Blank, CeCe Conway, and Alice Gerrard. El Cerrito, California: Flower Films. ISBN 0-933621-01-9
O Brother, Where Art Thou? (2000). Produced by Ethan Coen, Working Title Films, Studio Canal. Directed by Joel Coen.
Cold Mountain (2003), Anthony Minghella (Dir.) Miramax, Mirage Enterprises, Bona Fide Productions.
The Mountain Minor (2019). Directed by Dale Farmer. Produced by Susan Pepper. Alt452 Productions. ASIN B0863R7B9F
Music of East Tennessee
Mary Sands
The Fiddler's Fakebook
Country music in Atlanta
"Old-Time Religion" (song)
^ "What Is Old-Time Music?". Oldtimemusic.com. Archived from the original on 2016-02-11. Retrieved .
^ "The Post". Thepost.baker.ohiou.edu. Archived from the original on 2004-11-17. Retrieved .
^ "Old Time Fiddle". Fiddlingaround.co.uk. Retrieved .
^ Montgomery, Michael, The Scotch-Irish Element in Appalachian English: How Broad? How Deep?. University of South Carolina
^ a b Filene, Benjamin, Romancing the Folk: Public Memory & American Roots Music, University of North Carolina Press, 2000.
^ "A Short History of Appalachian Traditional Music". Mustrad.org.uk. Retrieved 2020.
^ "Official Site of MSOTFA". Missourifiddling.com. Retrieved .
^ "Hammer Dulcimer History and Playing". Smithsonian Institutionaccessdate=February 18, 2020.
^ "Archived copy". Archived from the original on 2009-08-22. Retrieved . CS1 maint: archived copy as title (link)
^ Levy, Mark; Carl Rahkonen; Ain Haas. "Scandinavian and Baltic Music". Garland Encyclopedia of World Music, Volume Two. New York and London: Garland Publishing.
^ "Dulcimer Players News". Dpnews.com. Retrieved .
^ "Northern Lights Bluegrass & Old Tyme Music Festival & CampNorthern Lights Bluegrass & Old Tyme Music Festival & Camp | 11 Years of Bluegrass in Saskatchewan, Canada". Northernlightsbluegrass.ca. 2014-06-20. Retrieved .
^ "Smithville Fiddlers' Jamboree and Crafts Festival". Smithvillejamboree.com. Retrieved .
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(Reuters) - Apple Inc and its allies on Monday will kick off a jury trial against chip supplier Qualcomm Inc in San Diego, alleging that Qualcomm engaged in illegal patent licensing practices and seeking up to $27 billion in damages.
Filed by Apple in early 2017, the lawsuit in federal court revolves around the modem chips that connect devices like the iPhone or Apple Watch to wireless data networks. Qualcomm has spent the past two years mounting a pressure campaign of smaller legal skirmishes against Apple, seeking - and in some cases obtaining - iPhone sales bans for violating its patents.
The trial before Judge Gonzalo Curiel will play out on Qualcomm's home turf of San Diego, where for decades the city's National Football League team played in Qualcomm Stadium and nearly every business district hosts the mobile chip firm's logo.
For Apple, the trial is about the freedom to determine its own technology path for blockbuster products by buying chips without having to pay what it calls a "tax" on its innovations in the form of patent licensing fees to Qualcomm that take a cut of the selling price of its devices.
Qualcomm requires device makers to sign a license to its patents before it will supply chips, which it views as a commonsense measure to ensure it does not do business with companies violating its patents. But Apple and other device makers around the world have called the "no license, no chips" policy a form of "double dipping" - that is, charging for the same intellectual property once during licensing discussions, and then again in the price of the chips where the patents are embodied.
Apple and allies are asking for an end to that practice and a refund of about $9 billion - an amount that could be tripled if a jury finds in Apple's favor for antitrust allegations - for contract factories such as Hon Hai Precision Industry Co Ltd's Foxconn, who paid the royalties and were reimbursed by Apple. Apple alleges the practices kept rivals like Intel Corp out of the market for years.
"Even very big companies like Intel have felt at a disadvantage," said Michael Salzman, an antitrust attorney with Hughes Hubbard & Reed not involved in the case.
The chip supplier will also argue that its licensing practices have been consistent for decades and only came under fire when Apple, known in the electronics industry for pushing suppliers to contain costs, took issue with it. A victory would secure Qualcomm's status as a major technology provider for 5G, the next generation of mobile data networks coming online this year.
"I don't think (a Qualcomm victory) would be great for Apple, but if it's about money, they've got plenty of money," said Stacy Rasgon, an equity analyst for Bernstein who follows Qualcomm. "For Qualcomm, it's an existential attack on the meat of their business model."


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Comic Relief 2019: Stars line up for Red Nose Day on BBC TV
A host of stars will be presenting this year's Comic Relief
Some of Britain's best-loved TV and film stars are appearing together on BBC television in aid of Comic Relief.
This year's highlights include One Red Nose Day and a Wedding – Richard Curtis's mini sequel to his smash hit 1994 film Four Weddings and a Funeral.
But One Direction star Louis Tomlinson pulled out of his planned performance following his sister's sudden death.
The last Comic Relief in 2017 raised more than £76m to help vulnerable people in the UK and around the world.
The charity telethon, set up by Lenny Henry and Richard Curtis, is shown on BBC One every two years.
Henry is among this year's hosts, as are David Tennant, Zoe Ball, Emma Willis, Romesh Ranganathan, Paddy McGuinness and Alesha Dixon.
Here are some of the night's highlights:
Mamma Mia: Here We Go Yet Again
Jennifer Saunders steps into Meryl Streep's shoes, with help from Alan Carr
This Abba musical sequel spoof is written by and stars Jennifer Saunders.
It comes a decade after Saunders sent up the first Mamma Mia film for Comic Relief.
The cast features a host of celebrities including Alan Carr (as Colin Firth's Harry), Gemma Arterton (as Lily James's Young Donna) and Sue Perkins (as the film's producer).
You can see Carey Mulligan (as Amanda Seyfried's Sophie) interacting with Miranda Hart, who's playing the director, here.
One Red Nose Day and a Wedding
What will have become of the characters a quarter of a century on?
Richard Curtis's sequel to his smash hit Four Weddings and a Funeral – titled One Red Nose Day and a Wedding – has been heavily trailed and highly anticipated.
Curtis wrote the script for the short film and Mike Newell has returned to direct.
Media captionWatch Hugh Grant and Dame Kristin Scott Thomas in the Four Weddings sequel
Most of the original cast have come back and will be joined by some new faces, including actress Lily James, Good Morning Britain's Susanna Reid and a mystery wedding singer.
What to expect from the Four Weddings charity sequel
Richard Madden returns to Bodyguard
Bodyguard's David Budd (Richard Madden) has a new assignment
He didn't do the greatest job of looking after the home secretary in BBC One's smash hit thriller, but Bodyguard's David Budd (Richard Madden) is back in action for Comic Relief. This time his mission is to protect the Red Nose.
Madden will be joined by Bodyguard co-stars Gina McKee and Vincent Franklin plus comedian Sanjeev Bhaskar, with a script written by Bodyguard creator Jed Mercurio.
Alan Partridge takes to the streets of Norwich
Alan Partridge (Steve Coogan) will be helping out fund-raising efforts
Things are looking up for Steve Coogan's long-running comedy character Alan Partridge. The North Norfolk Digital DJ is the new presenter of BBC One's This Time.
He's hoping to capitalise on his TV comeback as he tries to raise money on the streets of Norwich with his trusty sidekick Simon Denton (Tim Key).
Comic Relief Does University Challenge
Darren Harriott, Vick Hope and Jason Manford team up for a special edition of University Challenge
Comic Relief switches to BBC Two at 22:00 GMT, where there will be a special edition of University Challenge.
Guest host David Baddiel will be offering starters for 10 to celebrities including Emily Atack, Martin Freeman, Kerry Godliman, Darren Harriott, Vick Hope, Jason Manford, Luisa Omielan and Judge Rinder.
Oliver Rosser/Feast Creative/Neil Reading PR
Tom Bennett (Del Boy), Paul Whitehouse (Grandad), Ryan Hutton (Rodney) and the cast of Only Fools and Horses: The Musical will be singing
Viewers will see performances from the casts of Only Fools and Horses: The Musical and Magic Mike Live.
Plus, the cast of Mischief Theatre will perform a live magic trick.
The stars are "exhausted" and "feeling nauseous" after 16 hours of non-stop dancing
Claudia Winkleman and Tess Daly have already raised more than £1m with their 24-hour danceathon, and nine celebrities have climbed Kilimanjaro for the cause.
But this year's event has not been without controversy in the build-up.
Presenter and Strictly Come Dancing winner Stacey Dooley attracted criticism from MP David Lammy after she travelled to Uganda to report on Comic Relief's work there.
Getty Images/PA
David Lammy got into a public row with Stacey Dooley over her trip to Uganda
The Labour MP for Tottenham said she had been portrayed as a "white saviour", which he said "sends a distorted image of Africa which perpetuates an old idea from the colonial era".
In response, Comic Relief thanked Dooley for making a film in which "people working with or supported by Comic Relief projects tell their own stories in their own words".
Meanwhile, pupils at a school in Cardiff decided not to wear red noses to take a stand against the use of plastic. Instead, children at Ysgol Treganna painted their noses red.
← George Michael's art collection sells for £11.3m at auction
Sir Philip Green's Topshop retail group 'exploring options' →
Madeleine McCann questioning shocked suspect
Laryngectomy patients learn to sing without a voice box
Diageo part with London Irish over Paddy Jackson transfer

redpajama_set_name: RedPajamaCommonCrawl


A multi-reactor hydroformylation process wherein a common product-catalyst separation zone is employed.
A multi-reaction train hydroformylation process wherein a common product-catalyst separation zone is employed.
The invention relates to the in situ regeneration of heterogeneous oligomerization catalysts which are used in the liquid phase oligomerization of ethene.


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Students and faculty remain ambivalent to trust fund allocation by Board of Trustees
by Emma DiMaggio on September 12, 2018
Emma DiMaggio Author
More in News:
Long Beach State increases TAP card bus fees 800%, ignites student-led petition July 15, 2019
Shooting threat brings emptier campus May 12, 2019
Long Beach warns of measles after confirmed case May 12, 2019
Despite the continued success of Graduation Initiative 2025, California State University students and faculty were concerned about how funds are being allocated by the Board of Trustees at its meeting this Tuesday.
Graduation Initiative 2025 was first passed by the Board of Trustees in 2015 with the goal of increasing graduation rates and decreasing the number of years it takes students to get their degrees.
According to James Minor, CSU senior strategist for academic success and inclusive excellence, degree completion is currently at an all-time high in all categories. The system is on track to reach its graduation initiative goals, which includes hiring more tenure-track professors.
This January, Gov. Jerry Brown released his budget for the state, which allocated $92 million in additional funds for the CSU system.
Rafael Gómez, associate vice president for the California Faculty Association and faculty member at Cal State Monterey Bay, collaborated with students, allies and faculty members to organize demonstrations in Sacramento to call for an increase in funds. According to Gómez, these efforts led to the CSU budget increasing by an additional $364 million.
"That money was given with the expectation that it would be used to increase student enrollment and to increase the number of tenured faculty members," Gómez said.
However, not all of the secured funds were used for increasing tenure-track faculty members or student services.
"I know faculty that are on food stamps, that are working multiple jobs besides their teaching jobs," said Alejandro Ramirez, a CSU Chico student. "Those of you who received a pay raise and voted on the pay raise in the past have been the same people who cut classes, cut faculty positions, cut programs."
Executive members of the CSU system and campus presidents have received pay raises each year since 2014. The average yearly salary members in such positions is $315,448.39, not including benefits. With added benefits, the salary is $456,618.59. Between 2016 and 2017, salaries not including benefits increased by an average of $28,627.34.
These numbers were calculated using Transparent California, and exclude university presidents Lynnette Zelezny, Framroze Virjee, Thomas Paraham and Eduardo Ochoa due to lack of presidential salary data. Data from BOT chair Adam Day and vice chancellor of human resources Melissa Bard were also not included due to lack of salary data.
Over 3,200 new course sections were added to the schedule this past academic year, meaning over 90,000 seats in college classrooms across the CSU system have been created, according to Minor. Due to the increase in courses, campuses are spending far more than the allocated $25 million total allocated for aggregate faculty hiring, Blanchard said.
Since campuses must maintain a certain number of faculty members in order to fill courses and numbers of retirees are expected to increase in coming years, the tenure track density cannot be a sole measure of whether campuses are hiring enough tenure faculty, chancellor Timothy White said.
"We have to pay attention to all of the moving parts," White said. "There is no debate that permanent full-time 10-year tenure track faculty are really at the core of a strong university."
The $25 million allocation that was given this year is going to be added to the base funds of the CSU system, Blanchard said, meaning it will continue to be added into the annual budget each year.
Thus far, the funds have been allocated on the basis of which universities have the lowest tenure densities.
The graduation initiative itself has received $150 million of $450 million estimated in permanent funding, said Loren Blanchard, executive vice chancellor of academic and student affairs.
"This year is a critical time for the success of the graduation initiatives," Blanchard said. "Next fall, campuses will enroll the cohort of students who will reflect our six-year graduation rate in 2025."
During the presentation of the Committee of Finance, Ryan Storm, assistant vice chancellor for budget, outlined the preliminary 2019-2020 budget proposal. The proposal included a request of a $446 to $528 million dollar total incremental budget increase.
The proposal included $75 million for Graduation Initiative 2025 and $123 to $205 million for enrollment growth.
Storm also proposed a one-time funding request of $15 million for the CSU Student Well-Being and Basic Needs Initiative. Though this budget proposal was preliminary, these numbers will help to influence the choices made by BOT members who vote to approve the request.
"The graduation initiative is one of our top priorities in the CSU, and the only way for us to maximize the investments of the GI are to address more students basic needs," student trustee Emily Hendon, Sonoma State student, said. "Students who are experiencing food insecurity, homelessness, or both, and I can attest to both, are also experiencing physical and mental health consequences that lead to lower academic achievement, potentially pushing back time to graduation."
According to a 2018 Study of Student Basic Needs conducted by the CSU system, 41.6 percent of students reported facing food insecurity and 10.9 percent reported experiencing homelessness within the past 12 months of the study.
"I'm facing [homelessness] right now," San Francisco State student Nathan Carjal said during the public comment portion of the meeting. "I feel that the pay raise that the BOT and presidents got should be money that's going to the students and not to the people who are already making six figures. My own president has free housing, and I may potentially be in the streets."
This story has been updated for clarification Sept. 14 at 7:39 p.m. The average yearly salary reflects earnings of executive members of the CSU system as well as campus presidents, who attend Board of Trustees meetings.
board of trustees, CSU Student Well-Being and Basic Needs Initiative, csulb, faculty, Gov. Jerry Brown, lbsu, salary
Emma DiMaggio


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TV Review: Game of Thrones Picks Up the Pieces and Forges New Destinies in "Winterfell"
April 15, 2019 mnstate Music News 0
The Pitch: Game of Thrones goes back to where it all began, mirroring the series' first episode with a royal procession into the heart of Winterfell. With that reintroduction, the show is slowly but surely assembling almost all of its major characters in one place to prepare for battle against the White Walkers. But…
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Cana Marieta is a classic-style villa situated between the green nature of the island. The house consists of a spacious living room with TV and dining table, a full kitchen, three bedrooms and two bathrooms. The structure is equipped with alarm, internet wi-fi, swimming pool with sun terrace and a barbecue with dining table. The center of Ibiza town is 8 km away where we can find many shops, bars, restaurants and nightclubs as required Space or Ushuaia. For lovers of the sea, only 2 km from the villa, we should pay a visit to the beautiful beach of Port de Sant Miquel which offers the necessary services for every comfort and is ideal for water sports in the crystal clear sea.


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Field Studies Class Digs Into Southwest Desert Geology
by Holly Mirales '26
Expect Opportunity
Holly Mirales '26 was among students who took part in Field Studies in the Desert Southwest with Hamilton Geosciences faculty during winter break. Read about the research trip below.
From Phoenix to Flagstaff, our caravan of three white vans trundled down interstates and bumpy dirt roads. Pulling off to the side, a stream of 34 people would rush out onto roadside outcrops, hand lenses strung around our necks and field notebooks in hand.
This was the Field Studies in the Desert Southwest course, a continuation of the Seminar on the Geology of the Southwest. Professors Catherine Beck, David Bailey, and Kris Kusnerick had spent the semester teaching us about the geology of Arizona. For two weeks over winter break, we travelled around the state seeing that geology in person.
Geosciences Professor Cat Beck instructs students in the field.
Arizona is a state with a rich and varied geologic history. On our journey, we saw metamorphic core complexes in mountains like Mount Lemmon, expansive rift basins, cave systems at Kartchener Caverns, fossils in Petrified Forest National Park, and, of course, the Grand Canyon, one of the most awe-inspiring and informative geological formations in the world. Other sites included Saguaro National Park and Meteor Crater.
At each location, we would get up close to the rocks and make observations about them, trying to determine what they were and how they formed. The professors allowed us ample time to come up with our own ideas before sharing facts about the formations with us. Throughout the trip, we synthesized what we had seen thus far to develop sequences of events and deepen our understanding.
Another aspect of the trip was examining the connections between geology and humans. At places like Queen Mine, Wupatki National Monument, and Biosphere II, we saw this in interactions ranging from mining and research to settlement and farming.
On the trip, we not only looked at geology but interacted with it. At Peridot, we harvested pieces of the mantle from the piles of glistening green olivine that make up the mine. We hiked past the first two layers of the Grand Canyon, observing the Kaibab Limestone and Toroweap Formation. While visiting the Petrified Forest, we searched for fossils, finding clams and bone fragments in the mud and sand beneath the colorfully banded mesas of the Painted Desert.
Ensuring all students have equal access to all that Hamilton offers is our most enduring value. That's why we have funds that enable you to do things like conduct research with your faculty mentors, on- and off- campus.
Throughout the trip, our cohort got to know each other and our professors better. Besides our geological activities, we explored areas like Sedona and Flagstaff together. Our professors were open for discussions and sharing their knowledge and experience in not just course topics, but in other aspects of geology and life in general.
To see the beautiful sights of Arizona, from the golden sunrise reflecting on the oranges and browns of the Grand Canyon to the mighty Saguaro cacti towering over the desert landscape, was an incredible opportunity. Experiencing the geology in person breathed life into it, vivifying all we had learned before.
Improving Conservation for Florida's Rivers and Their Inhabitants
Communications and Marketing Office student intern Claire Williams '25 conducted research last summer on "Conservation Paleobiology in Florida Freshwater Rivers" with Visiting Assistant Professor of Geosciences Kris Kusnerik and Andrew Fredericks '25. She tells here about the group's research trip to the Wakulla River.
Environmental Studies Majors Present Research at AGU Meeting
Three Hamilton environmental studies majors — Emily Benson '23, Katie Tanner '23, and Ellie Sangree '24 — presented their research at the American Geophysical Union Annual Meeting in Chicago in December. The students were accompanied by Aaron Strong and Heather Kropp, assistant professors of environmental studies.


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Q: Get detail information from master-detail collection in firestore I have created a simple app using flutter and firebase firestore database. There are 'users' collections and each user has 'posts' collections. Each post may have one or more posts added by different users.
I am trying to get all the posts regardless of users. However, my current function was written for reading records only shows the posts relevant for login user, not all the posts.
      Stream<QuerySnapshot> readItems({required String collectionName}) {
    CollectionReference detailCollection = _firestore
        .collection(mainCollectionName!)
        .doc(userUid)
        .collection(collectionName);

    return detailCollection.snapshots();
  }

Here, I pass 'users','login user's uid' and 'posts' as mainCollectionName, userUid and collectionName respectively. Can anybody guide me how do I get all the posts regardless of users?

A: After searching I found a solution here. The following method gives the desired output.
  Stream<QuerySnapshot> readItems({required String collectionName}) {
    Query<Map<String, dynamic>> detailCollection = _firestore.collectionGroup(collectionName);

    return detailCollection.snapshots();
  }

A: It is possible to get all sub collections data from all the documents in a collection. Try this way
_firestore
  .collection(`${mainCollectionName}/*/${collectionName}`)
  .get()

Refer to this page for more details about querying collections and sub collections - https://firebase.googleblog.com/2019/06/understanding-collection-group-queries.html

redpajama_set_name: RedPajamaStackExchange


Update: Unfortunately, the Muse slot is no longer available.
Muse Wild Inspiration from the developer Netent is a slot with ancient Greece as the theme and symbols drawn in a cute comic style. Meet the three beautiful goddesses in a tranquil seaside town, and win up to 590,000 coins in the slot that mainly focuses on special wild features. The special wild features include expanding wilds, sticky wilds and multiplier wilds, and you can also trigger up to 30 free spins with combined wild features.
The variance of the slot is relatively low, and you will probably get frequent winning combinations. The special wild features also trigger often, and they will keep you on the edge of your seat when you play the game. This game is good for players who wish to play just a few rounds, as well as players who want to enjoy a game for a longer time. Although the free spins can really make it worth your while, the payouts in the base game can also be very good. The theoretical return to player is 97%, which is above average for an online slot.
Unfortunately, you cannot play Muse Wild Inspiration on mobile devices, as the slot is not yet optimised for mobile play.
The special features of this slot include three different wild symbol features that trigger with the corresponding goddess. The Expanding Wild will cover the entire reel, the Sticky Wild will stay on its position and award a free re-spin, and the x2 Wild will double the payout of the combination it completed.
The scatter symbol with Hermes' sandals triggers the free spins. You can get 10, 20 or 30 free spins for 3, 4 or 5 scatter symbols respectively. During the free spins you can get combined wild features that will make the spins even more interesting. You can get either a Sticky x2 Wild, an Expanding x2 Wild or a Sticky Expanding Wild.
The Muse Wild Inspiration slot has 5 reels with 25 fixed pay-lines. You can play the game with coin values ranging from 0.01 up to 0.50 £/$/€, and you can select to play up to 10 coins per line. The minimum bet in one spin is 0.25 £/$/€, and you can play up to 125 £/$/€ per spin.


Intro Welltalks What led you to start Kismet Essentials? It was really just one step leading to another that kind of brought me here. I've always been involved in business, my parents had their own local businesses and I grew up helping them.


I get aggrivated reading discussions about code that have an objective air — that there is a higher, truer form of code we are all trying to obtain, like a Platonic ideal.
There are many ways to the top of the mountain. And there are many mountain tops. And maybe some of us are actually navigating towards river vallies or misty caves.
Programming is not computer science, it is a computer artform, a computer craft.
Becoming a better coder feels like pursuing a mirage. The closer I approach the goal, the sooner it fades away. But I can become better at expressing myself through code.


text:
Illuminism
anunnaki,alien gods and spirituality
Anunnaki Website
Watchers from Eden?
AI and Consciousness
The Four Horsemen
Zeitgeist.
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The Five Invasions of Ireland
Posted: July 31, 2014 by phaedrap1 in Occult, Spirituality
Irish Mythology has no creation myth which explains how things came into being. The world, or more specifically, Ireland, was always there. The Mythology states that, before the Celts, there were five waves of invaders. Each had a profound effect on the land.
By Steve Blamires
Five successive groups of invaders are said to have arrived in Ireland before the present day Gaels arrived. The first three groups are known by the names of their respective leaders and the last two by the names of the races involved.These five invaders were:
Cessair
Partholon
Nemed
The Fir Bolg
The Tuatha De Danann
The first of these Cessair was a woman and she arrived with her mainly female companions before the Biblical Flood. She was said to be a grand-daughter of Noah and he, with his inside information, warned her of what God had up his sleeve for the wicked peoples of this world.She fled to Ireland because, "She thought it probable that a place where people had never come before, and where no evil or sin had been committed, and which was free from the world's reptiles and monsters, that place would be free from the Flood."
She arrived forty days before the deluge but two of her three ships were wrecked and she eventually came ashore at Corca Dhuibhne which is the Dingle Peninsula in Co. Kerry. The total crew of the ship that survived was fifty women and three men. These men were Cessair's father Bith, son of Noah; Ladra the pilot of the ship; and Fionntán. They divided the women amongst the men and amongst Fionntán's women was Cessair herself. The other two men soon died and Fionntán, horrified at the prospect of having to see to the fifty women on his own, fled. Cessair consequently died of a broken heart and soon after all the other women died too, leaving Fionntán all alone in this new country.
A curious passage in the Lebor Gabala Erenn gives an account of one of the other men, Ladra: "Ladra, the pilot, from whom is Ard Ladrann named he is the first dead man of Ireland before the flood. He died of excess of women, or it is the shaft of the oar that penetrated his buttock. Whatever way it was, however, that Ladra is the first dead man in Ireland." Whether this strange insertion was meant to be deliberately humorous or not we shall never know!
During his various shape-shifting he witnessed all the great events thet took place in Ireland…
A variant account of this first invasion of Ireland states that Noah had refused entry into the Ark to these three men because he believed them to be robbers for some reason or other. Cessair had offered to bring them to safety if they accepted her leadership which they gladly did and they duly arrived in Ireland. The story thereafter is much the same as the one just recounted. Cessair is given a more important role in this version though in that she is credited with bringing the first sheep to Ireland.
Fionntán, the sole survivor of Cessair's expedition, lived to be five and a half thousand years old and during these long years he took on various forms including that of a salmon, an eagle and a hawk. During his various shape-shiftings he witnessed all the great events that took place in Ireland and he passed on this knowledge to the historians before he eventually died. That is why we know of Cessair and her companions and all of the many events that took place long before anybody was there to write it all down. So much for the first invasion.
Ireland then lay waste for several hundred years after Cessair and her companions died until eventually Partholon arrived with his followers. Partholon is a corruption of the original form of the name Bartholomaeus which was said to mean "son of him who stayed the waters" and consequently he is associated with the post-deluge invasion of Ireland whereas Cessair was the pre-deluge invader.
According to the Lebor Gabala Erenn he was a Greek who fled Greece after slaying his father and mother in an unsuccessful attempt to take the kingship from his brother. After seven years of wandering he arrived in Ireland with his wife and his three sons with their wives. Of these it is said that Beoil made the first guest-house in Ireland, Brea instituted cooking and duelling, and that Malaliach was the first brewer who made ale from fern. Partholon also brought with him four oxen which were the first cattle in Ireland. At the time they arrived in this new country there was only one clear plain in all of Ireland, so they set about making more room for themselves and cleared another four plains.
The next invader, Nemed, which is an old Celtic word for a holy or secred place, thus giving him druidical connections…
After thirty years in Ireland Partholon eventually died but his survivors and descendants continued to inhabit the country for a further five hundred and twenty years by which time they numbered over nine thousand. They were all overtaken by a plague however and they all died between two Mondays in May. All, that is, except a character called Tuán mac Cairill, son of Partholon's brother Starn. He seems to have been very similar in nature to Cessair's Fionntán in that he too lived for a very long time, took on various forms a salmon, a stag, a boar and an eagle, witnessed all the great events which shaped Ireland and subsequently recounted them to the latter day historians and recorders. And so the second invasion came to an end.
The next invader, Nemed, which is an old Celtic word for a holy or sacred place, thus giving him druidical connections, arrived thirty years after Partholon's people had been wiped out by the plague. He had a fleet of numerous ships, but on their journey they came across a tower of gold in the sea. Greedy for the gold they went to take the tower but the sea rose in a great torrent and swept them all away except for one ship. This was Nemed's own and on board were his wife Macha, his four sons and their wives, and twenty other people. After a year and a half of wandering they eventually landed in Ireland.
Ireland by this time was being used as a base by the strange race known as the Fomoire and after three great battles Nemed defeated them and built himself a strong fort in south Armagh. Nemed eventually died from the plague and the Fomoire returned and imposed heavy taxes on his survivors. After a while the survivors of Nemed's original people decided they had had enough of the Fomoire's oppression and they staged a revolt. They put up a good fight but were eventually over-powered by the evil Fomoire and only one ship managed to escape from Ireland with a crew of thirty warriors on board.
According to tradition later groups of settlers in Ireland were descended from these fleeing warriors. One grandson of Nemed's, Semeon, went to Greece where his progeny later became the race known as the Fir Bolg; another grandson, Beothach, fathered the race that would become the Tuatha De Danann and one of his sons, Fearghus Leathdearg, went to Britain and fathered the race that would later be known as the Britonic people. There are points within Nemed's story which imply that he was originally of the race later to be known as the Tuatha De Danann the fact that his name is a well-known Celtic one associated with druids and, consequently, the Tuatha De Danann; his wife Macha is a goddess of the later Tuatha De Danann; his fight against the Fomoire who were by tradition the enemies of the Tuatha De Danann and the constant reference to threes his was the third invasion, they were thirty years at sea before finding Ireland, they had three great battles with the Fomoire, thirty warriors escaped Ireland, three of his descendants fathered the three main races all hint at these people actually being the forerunners to the Tuatha De Danann. Whether this was deliberate or whether it indicates a corruption in the original story of the five invasions we do not know but, for us at least, it does not really matter.
The last two invasions were not by induviduals but by whole rases of people.
From this we can see that the first three invaders of Ireland all bear striking similarities to each other and may well have come originally from one source which was later changed and adapted to suit the tastes of the day. Of the many legends which deal with these three invaders there are many which claim each one cleared more and more of the plains of Ireland and caused more and more rivers to burst forth and lakes to fill up which accounted for the way Ireland appeared to the Bronze Age Celt listening to these pseudo-histories. It is worth noting at this point that the Irish mythology is in a way unique amongst world mythologies in that it does not have a Creation myth, a story explaining how things came into being, as all other world mythologies and religions do. From what we can gather the Irish Celts believed that the world, or more specifically Ireland, had always existed but it had been changed and shaped throughout its existence by the successive waves of invaders and in-comers into the form that appeared to the Celt of the day.
The last two invasions were not by individuals but by whole races of people. The first of these was the Fir Bolg who, as we have just seen, were believed to be descendants of Nemed; so they were, in a sense, returning to their rightful lands.
The word Fir means men and the word Bolg can mean bag so the name Fir Bolg may mean 'Men of the Bag' and there are various legends explaining how they got this curious name. One legend says that while they were in Greece they were under bondage to the Greeks and they were forced to carry good soil to the high places and infertile regions in order to make Greece more suitable to agricultural development. They moved this good earth around in large leather bags and hence earned the name Men of the Bags. Another legend claims that the sharp cacti and bushes which they had to brush through whilst carrying these bags cut their legs and they took to wearing trousers in order to protect themselves. These trousers they made from the old and torn earth-bags and, hence, the name Men of the Bags which really referred to their leggings. Another tradition claims that while they were in Greece they carried around with them little bags containing soil from Ireland which had the effect of warding off the numerous poisonous snakes and reptiles which they encountered in Greece and, again, they earned the nick-name Men of the Bags because of this.
Another meaning of the word Bolg though is 'spear' and it could be the Fir Bolg actually means 'Men of the Spear' or spear-throwing warriors. This, to me, seems much more likely, especially as in one later legend specific mention is made of their very effective spears. Whatever the name originally signified we no longer know.
When they arrived in Ireland, which was destitute of people, five brothers divided the land amongst themselves and this explained the five fifths of Ireland. It is also said that during their captivity in Greece they became very numerous and actually split into three main sections there were the Fir Bolg proper, the Gaileoin, and the Fir Domhnann.
According to tradition the Gaileoin got their name, which means 'Javelins of Wounding', from the two words 'gai' a javelin and 'leoin' to wound, because they dug the hard clay of Greece with these short stabbing javelins. The Fir Domhnann were named after the deepness, 'domhaine' in Irish, of the clay after it was heaped on the bare Greek rocks.
It is the members of the Tuatha De Danann who make up the complete Irish Celtic pantheon.
In reality however we can compare these mythical peoples with known actual Celtic tribes the Fir Bolg would appear to have been the Belgae people who occupied modern day Belgium and parts of southern Britain, the Gaileoin were actually the Laighin, the main tribe of present day Leinster, and the Fir Domhnann were the Dumnonii tribe who occupied vast parts of Britain and western Europe. So even at these early stages we are able to identify elements amongst the mythology which are confirmed by history.
The Fir Bolg were only in possession of Ireland for thirty- seven years before the Tuatha De Danann invaded and drove them out to Islay, Rathlin, the Isle of Man, and Arran. Much later the Scottish Picts drove them out of Scotland and they ended up back in Ireland.
This last lot of invaders, the Tuatha De Danann, are the most interesting from a mythological point of view and it is the members of this strange race who make up the complete Irish Celtic pantheon. The meaning of their name is open to interpretation although it is most commonly given as 'The People of the Goddess Danu'.
The word Tuatha does mean people but it specifically refers to rustic people and it is the root from which the present day Gaelic and Irish words for farmer and the countryside come. The implication of this word is that it is the ordinary people as opposed to the gentry or nobility who are being referred to. Tuatha also means the North and in the main legend dealing with the arrival in Ireland of the Tuatha De Danann "Cath Maige Tuired" the Battle of Moytura it is specifically stated that they came from the North. They also went on to develop the agricultural potential of Ireland and all this information is in fact already contained within the little word Tuatha.
The 'De' part of their name does mean goddess and the Danann part does refer to the goddess Danu. It was this same goddess who gave her name to the river Danube and to the country of Denmark. There is however an inconsistency in calling these people the 'People of the Goddess Danu' because this implies that Danu was an important goddess for one reason or another, perhaps even a mother goddess who was believed to be the great mother of this whole race. If we examine Irish Celtic mythology, however, in any detail we will discover that Danu is in fact a relatively obscure goddess and is certainly not a mother-goddess figure. It is also known that the Celts held all of their gods and goddesses to be of equal importance, so why single out a relatively obscure goddess, give her a status which she did not deserve and which went against one of their main religious tenets, and then call themselves after this goddess?
The answer to this may well lie in a misunderstanding as to why Danu was used as a tribal name. All of the Celtic deities had specific functions and associations and one of Danu's main associations was with craftsmanship and artistic ability. Because the deity's name was often interchangeable with his or her function it may well be that Tuatha De Danann actually means the People of the Goddess of Craftsmanship or, to put it a bit more simply, the Artistic People. Judging by the amazing Celtic artefacts and works of art in the form of jewellery and intricately prepared weapons and utensils which have come down to us today, this may well be a far better interpretation of their name than the People of the Goddess Danu which tells us little and is actually inconsistent with Celtic belief.
The sons of Mit arrived in Ireland from Spain and … eventually took possession of it from the defeated Tuatha De Danann.
These people then arrived in Ireland, fought with the entrenched Fir Bolg, defeated them and then took over the sovereignty of Ireland themselves. They too set about clearing plains and causing new rivers and lakes to burst forth and it is the adventures of the Tuatha De Danann which go to make up the whole corpus of knowledge we now refer to as the Mythological Cycle.
These, then, are the five invasions of Ireland according to ancient tradition. Things did not stop there with the Tuatha De Danann though because later stories tell us how the Sons of Mil arrived in Ireland from Spain and, after many adventures and battles, eventually took possession of it from the defeated Tuatha DeDanann. These Sons of Mil are said to be the forefathers of the Gaelic people, both Irish and Scottish, and their descendants are therefore technically still in charge of Ireland.
Mil's full name is "Miles Hispaniae" which simply means soldier of Spain. This association with Spain is due to a fanciful derivation of the Latin word for Ireland Hibernia being derived from Iberia or Hiberia.
Mil's arrival in Ireland, or strictly speaking his sons' arrival in Ireland, is given yet again in the Lebor Gabala Erenn which from the mythologist's point of view is an absolute treasure-house.
According to the ancient tradition the people of Scythia were descended from Noah's son Japheth and one of their members was Fenius the Ancient who was amongst the people who went to build the Tower of Babel. Fenius was a great linguist and when the languages were separated by God he alone retained knowledge of them all. His grandson was called Gaedheal Glas and he fashioned the Irish, or Gaelic, language out of the seventy-two languages then in existence. Gaedheal and his descendants lived inEgypt and Gaedheal himself was friendly with Moses. According to one story Moses saved Gaedheal's life after he had been bitten by a serpent by touching the affected part with his rod. The skin turned green at this place and hence his name Gaedheal Glas which means green. Moses also then proclaimed that Gaedheal would forever be safe from serpents and in whichever land he finally settled there would be no serpents there to molest him or his descendants.
After many years and different adventures the descendants of Gaedheal left Egypt and travelled around the Mediterranean Sea for a long time before they arrived in Spain which they subjugated by force. Their king at that time, Breoghan, built a great tower to protect their newly acquired territory and one clear evening his son Ith saw Ireland from that tower. Mil was Breoghan's grandson and he left Spain curious to learn about his ancestors' homes of Scythia and Egypt. His first wife died in Scythia but when in Egypt he remarried the pharaoh's daughter who was called Scota. It was she who gave her name to the tribe who later became the Scots. Between his two wives he fathered no less than thirty-two sons and six of these sons Eibhear, Amhairghin Glungheal, Ir, Colptha, Erannan and Eireamhoin whose mother was Scota, later play an important part in the taking and naming of Ireland from the Tuatha De Danann.
Amhairghin sang a magic verse which calmed the seas… Mil set sail for Ireland but stopped on the way in Spain to sort out some trouble that was brewing there and, unfortunately, was killed before he had a chance to resume his journey to Ireland. Meanwhile his uncle Ith had already set sail for Ireland and landed with his party just as the kings of the Tuatha De Danann were holding a counsel to determine how best to divide the land amongst themselves. Ith came up with a suggestion which, on the surface, seemed very fair but on his way back to his boats the Tuatha De Danann became suspicious of his motives and killed him. His followers returned to Spain and teamed up with the sons of Mil to return to Ireland and take it by force.
As they approached Ireland, Erannan climbed the mast to have a better look at the place, fell and was killed. Another of Mil's sons, Ir, rowed ahead but his oar broke: he fell backwards into the sea and was drowned. Finally they landed at Inbhear Sceine (Kenmare Bay in Co. Kerry) and Amhairghin was the first to set foot on Irish soil. The sons of Mil encountered the three Tuatha De Danann goddesses Banba, Fotla and Eriu each of whom asked that Ireland be named after her in turn. This was granted and then the sons of Mil met their respective husbands MacCuill, Mac Ceacht and Mac Gréine.
These three gods asked that they be allowed to keep the kingship of Ireland for a mere three days more and that during that time the sons of Mil should return to their ships and wait off the Irish coast a distance of nine waves. They agreed to this but while sitting out in their ships the Tuatha De Danann druids caused a great storm to spring up which swept them further out to sea and was in danger of swamping their ships until Amhairghin sang a magic verse which calmed the seas and they were able to return. In a fit of anger Donn threatened to kill everyone in Ireland once they arrived there and, at this, the wind blew up again and he and his brother Aireach were drowned. The surviving sons of Mil eventually landed in Ireland at the Boyne estuary and after a great battle against the Tuatha De Danann at Tailtiu (Teltown in Co. Meath) they were victorious. From them it is claimed are descended the present day inhabitants of Ireland and Scotland, known collectively as the Gaels.
The magic song which Amhairghin sang to calm the waves is very similar to the shape-shifting tales recounted by Fionntán and Tuán and this for some reason seems to have been an integral part of assuming the kingship and sovereignty of Ireland. A version of this strange song has come down to us today and is as follows:
I am a wind of the sea,
I am a wave of the sea,
I am a sound of the sea,
I am an ox of seven fights,
I am a stag of seven tines,
I am a hawk on a cliff,
I am a tear of the sun,
I am fair among flowers,
I am a boar,
I am a salmon in a pool,
I am a lake on a plain,
I am a hill of poetry,
I am a battle-waging spear,
I am a god who forms fire for a head.
Who makes clear the ruggedness of the mountains?
Who but myself knows where the sun shall set?
Who foretells the ages of the moon?
Who brings the cattle from the House of Tethra and segregates them?
For whom but me will the fish of the laughing ocean be making welcome?
Who shapes the weapons from hill to hill?
Invoke, People of the Sea, invoke the poet, that he may compose a spell for you.
For I, the druid, :who set out letters in Ogham,
I, who part combatants,
I will approach the rath of the Sidhe to seek a cunning poet that together we may
concoct incantations.
I am wind of the sea.
From this amazing diversity of ideas and pseudo-history mingling with known factual history we can begin to see why the Irish mythology is so vast and so complex. This brief look at the Celtic peoples and the Irish 'coming into being' legends should also serve to point out that it is useless to talk in the all-encompassing terms of 'the Celts' or 'Celtic' as these words must be refined before we can even begin to understand just what people are being referred to and, consequently, which pantheon of deities is involved and which corpus of legends surrounding them, and of course, which magical system is being discussed.
This article first appeared in SEANCHAS, Volume 4, no. 2 which was published in 1992 by CELTIC RESEARCH & FOLKLORE SOCIETY, Spion Kop, Lamlash, Isle of Arran, Scotland. ISSN 0956-3873.
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text:
Giving Mom a time out
By Stacey Kennelly
Photo By Stacey kennelly
It's a bird! It's a plane! No … it's super mom! Meet Andrea Wagner, creator of the Super Moms Support Group, a new group that meets at the Church on The Esplanade once a month to give "super moms"—single moms who have taken on all the responsibilities of parenthood—a time out from motherhood. Wagner, a mother of two boys (ages 10 and 3), started the group after she noticed more and more single mothers coming to the church, where she works part-time.
What is a "super mom"?
A super mom is a mom that is raising kids on her own and doing everything a mom does without a lot of help.
Why did you start the group?
We actually started the group because people in our church have been praying for single moms for about six months. It was something that people had in their hearts.
What do you do during meetings?
Right now we're doing a once-a-month event where we have dinner together with moms and kids as families. Then we break off and the kids have child care and we play board games like Pictionary or Yahtzee. We're trying to establish connections and get to know each other and really build partnerships so we can call on each other when we need to and figure out what we need from each other.
What have you learned from others in the group?
I've learned that it's amazing how, when a mom has just a few moments, just an hour here or there to talk to other people, how much stress that relieves. It gives them more energy to go back to their things. As a mom, you really don't have time off. I've learned that the change in the women's faces after they've just had some time to have fun.
What have you learned about yourself?
Through doing this, I've learned that all things are possible. And really, I've learned how God can move in my life as well as anyone else's. I'm learning a lot about how to organize events, but that's just coming alongside it. I'm really learning how to put into words what my experiences have been, so I can share them with other people.
What's the best part about being a super mom?
Being a part of the group is really rewarding because we find ways to encourage each other and empower each other. A lot of times as a single mom you get isolated and it's really nice to be around others who are going through the same the thing. [Being a single parent] is a lot of work, but it's really rewarding to know that you're doing all you can for your children.
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