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Posted on October 6, 2017 June 26, 2019 by rushymountain
Guest contributor Nicolas Brown presents his thoughts on one of the Big Tunes in the Sliabh Luachra tradition:
Johnny Cope,
where did you walk?
https://rushymountain.files.wordpress.com/2017/10/planxty-johnny-cope.mp3
"Johnny Cope" from Cold Blow and the Rainy Night by Planxty, 1974
Most of us probably first heard the epic six-part Johnny Cope as it opened Planxty's third album, "Cold Blow and a Rainy Night", but Johnny's journey starts much earlier than that.
Image 1. Broadside from Bodleian Library collection
The tune is strongly associated with Irish traditional music, but actually began life in Scotland. The song sung by Planxty originated with Adam Skivring, who wrote it in 1745 to lampoon Sir John Cope, commander-in-chief of the English forces in Scotland at the Battle of Prestonpans at the start of the 1745 Jacobite uprising, where he was very decisively defeated by Bonnie Prince Charlie. If the lyrics are any judge, he was more than a bit of a coward about the whole thing, although the court martial did find otherwise. There are opinions that the melody was derived from an even earlier tune, rather than composed by Skivring (see the Johnny Cope entry at the Traditional Tune Archive that references Samuel Bayard's book Dance to the Fiddle). However, for the sake of containing the article, let us put this as the starting point of Johnny Cope's march from Scotland.
Image 2. Johnny Cope from Aird's Scotch, English, Irish, and Foreign Airs, vol. 2, p. 19
The trail of Johnny Cope's passage can be traced to page 19 of the second volume of James Aird's 1792 collection of Scotch, English, Irish, and Foreign Airs, where a four-part version is found that bears quite a strong resemblance to the current favourite setting. Aird published his collections in Glasgow, and prominence was given to Scottish melodies, and in addition the title refers to an event of significance to the Scottish, so the tune surely started life in Scotland. The question then becomes, how did this Scottish melody become so paradigmatically Irish?
Image 3. Johnny Cope from O'Farrell's Pocket Companion, vol. 3, p. 51
The tune shows up in one of the early Irish bagpipe music collections, O'Farrell's Pocket Companion for the Irish or Union Pipes ("Being a Grand Selection of Favorite Tunes both Scotch and Irish etc"), in Vol 3, page 51, published between 1804 and 1810, where it is almost identical to the setting in Aird's, and this may be the first instance of the tune found in a primarily Irish context. However, there was a lot of "borrowing" (nowadays we would likely call it plagiarism) and O'Farrell did label this one as "Scotch", so it's unlikely that it was thought of as Irish, yet.
Image 4. Johnny Cope from the Edinburgh Repository of Music, vol 2 p.30
The melody appears again in Scotland, this time in the Edinburgh Repository of Music, vol 2 p. 30, published around 1818. This is once again a four-part setting, however there are significant differences, and especially the fourth part in this version has changed significantly.
Image 5. Johnny Cope from Howe's The Musician's Companion part 2, p. 49
Another setting of the tune is found in Howe's The Musician's Companion part 2, p. 49, published in Boston in 1843. This one is a bit of an oddity, and features a whopping eight parts. It's worth noting this version because it shows that the tune had spread to America. Also curious is the note that it is "A favorite English Air."
Image 6. Johnny Cope from Ross's Collection of Pipe Music
Back in Scotland we find the Ross's Collection of Pipe Music, where a martial version of the melody is presented in five parts, published around 1869.
Image 7. Hey! Johnnie Cope from Kerr's Merry Melodies, vol 3, p. 41.
In the 1880s, James Kerr published twelve volumes of music, four of them called Merry Melodies, which include jigs, reels, and other lively tunes. Volume 3 contains a two-part version of Johnny Cope. John Chambers' has provided abc notation and kindly included a photo of the page on his website.
Image 8. Johnny Cope – Reel from Köhler's Violin Repository, vol. 1, p. 23
Image 9. Johnny Cope from Köhler's Violin Repository, vol. 1, p. 57
Two additional Scottish versions are worth mentioning, from Köhler's Violin Repository, vol. 1, p. 23 and p. 57, the first a two-part reel and the second a six-part tune just labeled "Variations", published in 1881 in Edinburgh. I should clarify that I have found references to additional settings in other collections, but these are the ones I have been able to verify myself.
Image 10. Johnny Cope from O'Neill's Music of Ireland
Image 11. Johnnie Cope from O'Neill's Irish Music and the Repository of Scots & Irish Airs
We'll now check back in with Irish music collections, and start with largest collector of Irish music, the Chief himself, Captain Francis O'Neill, collector of music, and Superintendent of the Chicago Police. In O'Neill's Music of Ireland (published 1903) we find tucked away in the Marches and Miscellaneous section, #1812, p. 340, a curious two-part tune called Johnny Cope. In his Irish Music (published 1915 and arranged with piano harmonies), we find a reprint of a version published in a mysterious collection called The Repository of Scots & Irish Airs, with a note from O'Neill regarding the Irishness of the tune: "A footnote in Wood's Songs of Scotland states that this old air originally consisted of one strain. The chorus or burden of a silly song, adapted to it was the first strain repeated an octave higher. The simple air although claimed as Scotch is in the Irish style and known all over Ireland. The above setting without the harmonization was copied from, 'The Repository of Scots and Irish Airs' – printed in 1799." This setting is listed as being in March time.
Image 12. Johnny Cope from Joyce's final manuscript
One of Chief O'Neill's contemporaries was P. W. Joyce, and more information can be found about him at the Irish Traditional Music Archives. The ITMA has made tunes available from his "final manuscript", which was found at his bedside at his death in 1914. Found within this collection was another four-part version of Johnny Cope.
Image 13. Jonny Cope from Roche's Collection of Irish airs, marches & dance tunes, vol. 3
Also from the Irish Traditional Music Archives one more two-part version of Johnny Cope was found, this time coming from Roche's Collection of Irish airs, marches & dance tunes, vol. 3, first published in 1912. This is the last version that I could find of Johnny Cope published prior to any recordings of Pádraig O'Keeffe.
Image 14A. Johnny Cope from Treoir Magazine, Vol 7 No. 3, 1975
Image 14B. Johnny Cope from Treoir Magazine, Vol 29 No. 1, 1997
Pádraig O'Keeffe's setting of Johnny Cope was published in Breandán Breathnach's Ceol Rince na hEireann, vol 3. P. 95, #208 as notated from Sean Keane and in Johnny O'Leary of Sliabh Luachra p. 163, #285, edited by Terry Moylan. It was also found on the Comhaltas Traditional Music Archive, listed as being published in Treoir magazine in 1975 and again in 1997, and these sources are shown above.
https://rushymountain.files.wordpress.com/2017/10/padraig-okeeffe-johnny-cope.mp3
"Johnny Cope [hornpipe]" from The Sliabh Luachra Fiddle Master by Pádraig O'Keeffe. Recorded 1949, released 1993. Track 5 of 16.
That's enough for published scores, what about recorded sources? The first recording of the Irish version appears to be from Pádraig O'Keeffe, recorded by RTE in 1949. Subsequent recordings from Julia Clifford, Seamus Ennis, and eventually the recording by Planxty mentioned at the beginning of this essay have cemented the six-part O'Keeffe version as the definitive Irish Johnny Cope. Note that there are also many Scottish and Cape Breton recordings of versions of Johnny Cope, but for the sake of this article we'll focus just on the Irish ones. (Well, with one exception which we'll get to later.) A good listing of recordings of O'Keeffe's version can be found at Alan Ng's site, although he hasn't indexed Planxty, and a listing of all included recordings of a tune by the name Johnny Cope can be found at thesession.org. Planxty's recording might be the most widespread of the six-parter. Liam O'Flynn, the uilleann piper in the band, was good friends and roommates with Seamus Ennis, and there is a recording of Ennis playing this version, so it's very likely that he got the tune directly from Ennis. The liner notes to that record mention that it was collected by Seamus Ennis from Pádraig O'Keeffe, so we can be pretty sure that he got the tune directly from O'Keeffe. This is also what Alan Ward wrote in his Music from Sliabh Luachra. So we can conclude that the six-parter came at least from Pádraig O'Keeffe, but we don't know how it got to be in the form it is before his recording. There is speculation that O'Keeffe may have got the tune from his uncle Cal O'Callahan, either the full six parts, or a shorter version O'Keeffe then embellished. There also seems to have been a copy of Ryan's Mammoth Collection and New and Scientific Self-instructing School for the Violin by George Saunders (published Boston in 1847) in the Sliabh Luachra area , so it's reasonable to assume that there may well have been other collections circulating in the region from which O'Keeffe could have gotten either the full six parts or a shorter version. Unfortunately neither collection includes Johnny Cope (by that name), so they are not the proverbial smoking gun.
Ward's Music from Sliabh Luachra actually mentions that a musician named Joe Conway "played the standard march as a quadrille polka and the last two parts of Pádraig's version as a barn dance which he named The Doon Roses", which lends credence to the idea of embellishment. Further, it seems that O'Keeffe only ever wrote down a two-part version for students or as manuscripts, further influencing the idea that perhaps he (or his uncle) used creativity to arrive at the Big Tune. Patrick Cavanagh drew my attention to a recording of North Kerry fiddler Tom Barrett playing a local version of Johnny Cope that consists of two parts, the first of which is fairly similar to O'Keeffe's fifth part, and the second of which only bears a passing resemblance to O'Keeffe's second or third part. A very similar setting of Barrett's tune is included in the reels section of Sliabh Luachra on Parade, p. 86, #166, as "The Far Away Boys", published 1987. The tunes in this collection come from Cuz Teahan, and this one has the note "This is another very old piece". It isn't known when Barrett or Teahan first started playing or heard this tune and so it's not known if this came before or after or at the same time as O'Keeffe's version, however Teahan's note leads me to suspect it is older.
https://rushymountain.files.wordpress.com/2017/10/tom-barrett-johnny-cope-barndance.mp3
excerpt from "The Grand Ould Man/Johnnie Cope/Wrens Hornpipe" from Lios A'Cheoil by Tom And Kerry Barrett. 2002. Track 18 of 20.
The above are what we can reference from printed and recorded sources, with published data to back it up. In other words, these are, as much as can be said for certain, the facts. So where did O'Keeffe's version come from? Is the six-part an embellishment of the two-part tune or just a tangentially related version? What kind of a tune is it anyway? What follows is speculation and conjecture, or more favorably an educated opinion based on written scores… And the first thing to do is compare written sources to Pádraig's setting.
Let's compare settings found in published sources with our O'Keeffe version, starting with the Aird/O'Farrell (we'll call this the AF4) setting – these two settings are so close as to not be worth differentiating. This setting is almost in the same key (only lacking the F#), is in common time (4/4), and has quite a few similarities to O'Keeffe's setting (let's call it PK6 from now on). Comparing parts, we find that the first and second parts correspond fairly well to the first and second in PK6, and furthermore the third part corresponds pretty well to the fourth part in PK6. The last part in AF4 does not really match anything in PK6. Since there are no markings in either collection to indicate a rhythm, dance, or tune type, it can be guessed, but the melody and structure feel to me to be fairly march-like. Jumping out of order to Joyce, it can be seen that the setting found at his deathbed is note-for-note identical to that found in O'Farrell's. Both O'Neill and Joyce copied tunes from older collections, so it seems likely that this setting is merely a copy of AF4, and in any case since this manuscript of Joyce was never published, it is not likely to have been the source for O'Keeffe. Moving back in order, to the Edinburgh Repository setting (ER4), we see that the setting has switched to 2/4 time, likely indicating or emphasizing the use as a march, and has some embellishments to make feel to have more of a melodic flow, but otherwise nearly identical to AF4 in the first and third parts, and only a bit more different in the second part. However, the fourth part of ER4 is what becomes interesting: the shape of this part follows very well the shape of the third part of PK6! Also interesting is the addition of some occasional F# accidentals in the second and fourth part.
What about the Howe's setting (HO8)? Despite having eight parts, to my ear this setting has less of a similarity to PK6. HO8 has a somewhat broadly similar first and second part, but these almost appear to be repeated as variations for the third and fourth part. The fifth part again seems almost a variation on the first part, and the sixth part finally changes to something new (corresponding to the fourth part of PK6 or third of AF4). The seventh part is also new, with possibly a hint of the fourth part of ER4, and the eighth part seems completely new, or maybe a heavy variation on the sixth part. The marking labels this an "English Air", but this doesn't really help categorize the tune. As an aside, these last two parts bring another tune to mind, the Drunken Sailor. And to add another (further) aside, the Groves Hornpipe is very close to being a major key version of the Drunken Sailor, and so may also be related to Johnny Cope.
Chronologically, the next setting found was a five-parter in Ross' Collection (RP5). Ross was a highland pipe major, so by inference the key of the setting is likely to be A mixolydian, as two sharps are assumed, but not written. The setting is essentially one part (the first) and three variations (second, fourth, and fifth) of that part, with a second part (the third) in the middle. The first and third correspond loosely to the first and third in AF4, but otherwise this setting appears to be departure away from PK6 rather than closer to it. The title is actually shown as Johnny Cope, March, and the structure definitely feels quite march-y; indeed certain features of the tune are reminiscent of another Scottish march, The Burning of the Piper's Hut, if only slightly. Kerr's Merry Melodies (KM2) is the first two-part setting found, despite O'Neill's note about the original being one strain, but this may be due to holes in the research above. The KM2 setting is moved up to Bm, but otherwise corresponds reasonably well to the first two parts of AF4 and PK6. The endings of both parts show elaboration, and a similarity to the ending of the fourth part of HO8, which features a rising motif, but it doesn't appear that this version has influenced PK6 at all.
This brings us to Köhler's settings, KR2 the two-parter and KR6 the six-parter both in G minor (aeolian). The KR2 version doesn't appear directly related to Johnny Cope all that much, but it does seem similar to the Drunken Sailor. Curiously it's also marked as composed by W. B. Laybourn. The KR6 setting at first glance also appears to be unique, but in fact is identical, after adjusting the key to match, to the last six parts of the setting in Howe's. Additionally, the setting found in O'Neill's Irish Music (ON6), also a six-parter, and also in G minor (aeolian), is almost exactly the same as KR6. This setting was copied from a publication O'Neill said was published in 1799, and it turns out to be The Repository of Scots & Irish Airs, Strathspeys, Reels &c. by John McFadyen, meaning this key and the six parts are older than HO8, strongly implying plagiarism (or copying) on the part of Köhler, but even more perplexingly, making one wonder what exactly W. B. Laybourn arranged. There is no marking for KR6, but O'Neill included the marking "March Time" for his setting. In any case, this setting is definitely from a Scottish source.
https://rushymountain.files.wordpress.com/2017/10/joseph-cormier-johnny-cope.mp3
Joseph Cormier plays 'Johnnie Cope', Waltham, Massachusetts, 1990, recorded by Alan Govenar
You may recall I mentioned there would be one exception to recordings mentioned: Joseph Cormier, a Cape Breton fiddler, recorded a version of Johnny Cope in 1974, and was recorded again in 1990. His recorded version is almost note for note the version found in McFadyen's and Köhler's, and I believe this version is still known well in Cape Breton musical circles, as are a couple more. The Traditional Tune Archive includes a note that the setting in Köhler may have been the source or inspiration for Pádraig O'Keeffe, but to my ear they are not similar enough. The note continues and mentions that it may have been the inspiration for the Drunken Sailor – this is believable, as there are definite similarities, as I remarked upon above.
There are two more printed settings to be examined – the curious two-part version tucked away in the march and miscellaneous section of O'Neill's Music of Ireland (ON2) and the two-part version found in the Roche Collection (RC2). These versions are very different from the previous settings. The two settings are almost note-for-note identical, except that ON2 is notated with a key signature of A and RC2 of G, and the third last bar in the B part is slightly different. Both settings start with an E-A figure not found in previous settings of Johnny Cope and the B part is quite a bit different from anything found in other settings. Otherwise, there are apparent similarities in the A part, especially to KM2. This version is very similar to the polka recorded by Denis Doody (and more recently by Bryan O'Leary) in A dorian, which matches the key signature of RC2. Also of interest, the opening figure, and the shape of the A part, strongly suggest the Battle of Aughrim.
[Editor's Note: Though I don't have any direct evidence to support it, I have a strong suspicion that the polka played by Denis Doody is the same as Joe Conway's "quadrille polka" referenced in the Ward booklet.]
https://rushymountain.files.wordpress.com/2017/10/denis-doody-johnny-cope-polka.mp3
Excerpt from "Johnny Cope's/Din Tarrant's [Polkas]" from Kerry music by Denis Doody. Released: 1978. Track 1 of 23.
The setting (or settings) from Barrett and Teahan are different again, but as mentioned above have one part that is reasonably similar to the fifth part of PK6. [Heavy speculation alert: the RC2 setting could be the two-part one played by Joe Conway, and even perhaps written down by O'Keeffe, as mentioned above in Alan Ward's writing. Alternatively, the Barrett/Teahan setting could have been the two-part barndance. And a third possibility is that this referenced version may be a completely different two-part tune. This setting, and its origins, are even more mysterious than that of O'Keeffe's, so not much more will be said about it.]
Image 15. A visual representation of similarities between parts of the various settings.
Not much has been said so far about the fifth and sixth parts of PK6. Ward's booklet makes reference to there being a standalone barndance of these two parts. However, there are similarities between these parts and the other parts of O'Keeffe's setting.
Image 16. Transcription of some parts of O'Keeffe's setting.
In the above image, note that the sixth part starts with what is essentially an inversion of the fourth part—A to E instead of E to A. The endings starting at the second half of the second-to-last measure of the fifth and sixth parts nearly matches that of the second and third parts. Finally, the fifth part follows the same general pattern of the first part: both start with two measures of a mode centered on A, followed by two measures centered on G, except that in the case of the fifth part, the notes played are the fifth of the chord, rather than the root. There are enough similarities and differences that to my mind, one of three possibilities (or a combination thereof) exists:
1. O'Keeffe borrowed and modified some or all of the proto-barndance and/or modified the existing four parts of Johnny Cope enough to make the two "new" parts fit.
2. He created one or two new parts completely.
3. Or he happened upon a chance bit of the universe where coincidences happen and the existing tune just fit as-is.
It's also possible that someone else, such as perhaps his uncle, did any of those three things.
Here's where the really heavy speculation starts. To sum up all of the observations above: from Ward's booklet and the Barrett recording, it seems that it could be possible that O'Keeffe used an existing barndance for one or both of the final two parts of his version. He could also have created one or both of those parts to suite the tune. There are enough similarities between the early four-part printed versions (especially ER4) to suggest that he got the first four parts of his setting either from a collection or transmitted via the oral tradition from a Scottish source. Cal O'Callahan's sojourn to the U.S. may have been the source, or some other unknown collection may have given inspiration. There are enough differences to conclude that there was definitely an amount of creativity and variation at work, and it is my opinion that it was O'Keeffe's creativity that made it his own, even while it's also possible that he didn't completely invent any of the source material.
The only firm conclusion that can be made at this time is that the version we all know and love can be traced pretty conclusively from Planxty (and Liam O'Flynn), to Seamus Ennis, back to Pádraig O'Keeffe.
One comment on the type of tune: Ward labeled Julia Clifford's recording of PK6 as a hornpipe, but noted that it "is referred to as a hornpipe for convenience, though if Julia's performance is anything to go by it would have been more for listening than dancing to." Seamus Ennis' and Planxty's recordings are also classified as a hornpipe, but this may be simply for convenience as well. After listening to some of the other recorded versions I would conclude that this tune falls somewhere on a spectrum, sometimes closer to a march, sometimes maybe a barndance, and other times more decidedly as a hornpipe.
Much information at the Traditional Tune Archive regarding Johnny Cope's path through history is referenced from Samuel Bayard's book Dance to the Fiddle. Since this book is a compilation of music from Pennsylvania, perhaps there is a link to be found between the story of Cal O'Callaghan and his stay in Ohio. There are also other collections of music where Johnny Cope may be found hiding that could shed more light (or just add more to the confusion) on the setting from O'Keeffe, as well.
As they say, further research is needed.
Nicolas Brown, Ferndale, MI
Nicolas Brown is "an excellent piper who incorporates smart, subtle touches in his ornamentation and regulator work to yield a smooth, gentlemanly style." (The Irish Echo) He was born in Illinois and raised in Ontario, and first started playing Irish music when he was in his late teens. A friend lent him a practice set of uilleann pipes, with which he proceeded to torture his extremely patient and understanding parents. Norman Stiff (a student of Chris Langan) started teaching him and gave him two CDs: one of Willie Clancy and one of Seamus Ennis. Nicolas proceeded to listen to these two recordings on repeat for the next year. Eventually, he got his own set of pipes and a flute (and some more CDs!) and set out on his journey down the Irish music rabbit hole. Over the last 15 years, Nicolas has not only become a very proficient musician, but has also developed a vast knowledge of Irish music history, about the old musicians, tune histories, Irish music in America, and more. Nicolas has performed and given workshops at various venues and festivals in Canada and the US. Nicolas plays a hybrid concert pitch "D" set of uilleann pipes, a Joe Kennedy flat pitch "B" set of union pipes, an antique Wylde concert flute, and a John Gallagher B flute (the first modern 8-keyed B flute, as far as he's aware!)
Posted in TunesTagged barndances, hornpipes, marches, polkas1 Comment
The Pride of Rathmore & The Girls of Farranfore (reels)
Posted on July 1, 2017 January 2, 2021 by rushymountain
Two reels, named for Kerry townlands (both with stations on the Tralee-Mallow train line… coincidence, or not???), a classic Sliabh Luachra pairing, inextricably intertwined. Both in E minor, the two share similar phrases and motifs, which make for an interesting pairing. The set appears to have originated with a recording of Paddy Cronin made sometime in the 1950s for the Boston-based O'Byrne-De Witt/Copley label when he was still a recent arrival in the States. The set seems to have caught on, and was subsequently played in the same arrangement by a number of other musicians. Con Curtin & Edmond Murphy were recorded playing the set by Bill Leader at The Favourite pub in London in 1968. Maire O'Keeffe played them as the opening track of her album Cóisir in 1993, and the pair have been a popular couple wherever Sliabh Luachra musicians are gathered together.
The Pride of Rathmore https://www.irishtune.info/tune/1614/ was in the repertoire of many of Paddy Cronin's peers back in Sliabh Luachra, but it's unclear if it became popular primarily because of Cronin's recording or if it was played widely before that. It was recorded by Julia and Billy Clifford as The Rabbit's Burrow on their album Ceol as Sliabh Luachra. It was collected by Breandán Breathnach for his book Ceol Rince na hÉireann, Volume 2, from the Glencollins fiddler Molly Myers Murphy in 1970. As she learned mostly from Tom Billy Murphy, it could very well have been from his repertoire. I have one unconfirmed source that says she was also a student of Pádraig O'Keeffe, at least for a time, so perhaps she could have got it from him, or she could have learned it from another source, including Paddy Cronin's recording, either directly or indirectly. It can also be found in Martin Mulvihill's collection, sourced from Anne Sheehy (McAuliffe).
The Girls of Farranfore https://www.irishtune.info/tune/440/ is known to have been in Pádraig O'Keeffe's repertoire as well as Denis Murphy's. It may be Pádraig had it from Ryan's Mammoth Collection: 1050 Reels and Jigs, printed in 1883 in Boston, Massachusetts (where it is called Paddy the Piper), either directly or through his uncle Cal who may have brought a copy of the collection back with him from his time in the States. However, as printed, the tune lacks the distinctive G arpeggio in the third bar of the A part which is present in Pádraig's playing and is such a singular detail of the tune as it's played today. When the G arpeggio is absent, the tune is often called The Game of Love (by which name it goes in Capt. O'Neill's Waifs and Strays of Irish Melody, 1922), but there are exceptions. Paddy Cronin recorded it again as Paddy the Piper on his LP The Rakish Paddy, but in the place of the usual G arpeggio he plays a wobbling descending figure. It's a very well-traveled tune; Breandán Breathnach collected it from Clare fiddler Peter O'Loughlin in 1966, and in varying forms it exists in Co. Fermanagh as The Aberdeen Lasses, in Scotland as Rory McNab.
There is an aberration, a mutation, an unnatural progeny of these tunes, often called The Gneeveguilla Reel or Considine's Grove. (There is a two-part reel in O'Neill's 1001 called Considine's Grove, sourced from Edward Cronin of Limerick Junction, Tipperary. It is vaguely reminiscent of Rathmore crossed with The Man of the House. Thanks to Friend of Sliabh Luachra Paul DeGrae for catching that!) It is played as a three-part reel, the first two parts being essentially Rathmore, and the third part being the tasty 2nd half of Farranfore's A part, played twice. It seems to have caught on in a big way with the "straight trad" crowd, which makes it problematic at best to start the two-part Rathmore in the wrong kind of company. The first appearance of this unholy matrimony in a commercial recording seems to be on Mary Bergin's Feadóga Stáin 2, released in 1993. One hesitates to lay the blame for such a crime against humanity entirely at her feet; perhaps she was led innocently astray by some unnamed source. To be fair though, we could look on this new development as a logical, if indirect, result of Paddy Cronin's pervasive influence on these two tunes. It seems each time he was recorded playing them, he altered them in small ways or big, always twisting and turning them, changing them up to suit his fancy throughout the years.
Paddy Cronin plays the set on his 78 rpm recording from the 1950s. https://rushymountain.files.wordpress.com/2017/07/01-paddy-cronin-78-pride-of-rathmore-maids-of-farranfore.mp3
Pádraig O'Keeffe plays The Girls of Farranfore with his setting of The Bucks of Oranmore https://rushymountain.files.wordpress.com/2017/07/02-padraig-okeeffe-farranfore-and-the-bucks.mp3
Denis Murphy plays Farranfore (listed as The Mountcollins Reel) on an old 78 https://rushymountain.files.wordpress.com/2017/07/03-denis-murphy-mount-collins-reel-aka-maids-of-farranfore.mp3
Paddy Cronin again with a very different setting on his LP The Rakish Paddy https://rushymountain.files.wordpress.com/2017/07/04-paddy-cronin-rakish-paddy-paddy-the-piper.mp3
Posted in TunesTagged reels2 Comments
The Top of Maol (polka)
Posted on April 27, 2016 October 30, 2016 by rushymountain
This tune, like so many others, goes by a few names. It's often called the Queen's Polka, or sometimes the Groves of Gneeveguilla, but Pádraig O'Keeffe named this tune Top of Maol to commemorate the fact that he could see the top of Sliabh Maol to the northeast from his home at Glountane Cross. Finding the place now can be tricky! What was once called Sliabh Maol is now either Baraveha or Knockfeha, where the Brown Flesk River rises. The bogs of Maol could be part of what are now collectively known as the Mount Eagle bogs, or the adjacent land which has been given over to the forestry schemes which have drastically changed the face of the local countryside. And the townland which was once Maol is now generally referred to as Glanowen. The travelling fiddler Phillip Walsh, who gave his name to Walsh's Hornpipe, hailed from Maol, and there's also a little-played reel known as Sliabh Maol. [Many thanks to Donal Cullinane for help with the geography!]
as it appears in Sliabh Luachra on Parade, a collection of Cuz Teahan's repertoire
https://www.irishtune.info/tune/2630/
Posted in TunesTagged polkas3 Comments

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text:
Secret Staircase
It's a String Thing!
Lachrymae
Line Dances
The Opera Room
Echo – Blast – Trace
The City Sings
Ring Ring Bell
Helen Ottaway
Collaborating Artists
Helen founded Artmusic in 1999 with arts administrator Steve Ehrlicher. With artists from other disciplines she has created a body of indoor and outdoor site-specific installation and performance work.
Born in Oxford (1956), Helen studied music at University of London, Goldsmiths' College. She participated in courses and projects led by John Cage, also appearing in Peter Greenaway's film on the composer (Channel 4).
As composer/performer Helen has collaborated with a wide range of artists including theatre director/composer Graeme Miller (Dungeness 1987), artists Deborah Thomas (Red Velvet Piece, 1998), Roswitha Gerlitz (Moment of Being, 2004), performance artist Franko B (I'm Thinking of You, 2008-9), theatre company 30 Bird (Chodzenie-Siberia, 2011) and sound designer Alastair Goolden (1999 – present)
Commissions include two String Quartets (Nottinghamshire County Council, 1998 and Bath Film Festival 2003); title and incidental music for the documentary The River, (BBC2 1999), and A Suite of Somerset Apples for Harpsichord (Frome Festival, 2006). She was the composer for In Praise of Trees (Salisbury Festival and English Nature), creating the choral work The Echoing Green (premiere Salisbury Cathedral, 2002). Her piano piece, Green/yellow features in the soundtrack for DV8's production Can We Talk About This. In Autumn 2017 she took part in the Sura Medura International Artists Residency in Sri Lanka, creating sketches for new work about loss and the sea.
Helen was the curator of LISTEN, A season of sound art hosted by Black Swan Arts in Frome. The season took place over 6 weeks in the summer of 2019 and showcased the work of local, national and international artists. Visit the LISTEN wbsite here.
In 2019 Helen was commissioned by Inside Out Dorset to create Wind and Unwind, a new piece for musical box and voice for Dorset Moon in Sherborne Abbey. In 2020 she was commissioned by The Bernardi String Group and Shipley Art Festival to write White Storks for String Octet to celebrate the return of White Storks to Sussex. The premiere was broadcast on Zoom in July 2020 and can be viewed on Andrew Bernardi's You Tube channel here (White Storks starts at 29 minutes). She is currently working on a new work for solo piano for award winning Palestinian-Jordanian pianist Iyad Sughayer.
Visit Helen's blog.
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Embolization and Ablation Therapy: A Patient's Experience
Pictured: Liver cancer survivor Paul Switalski with his wife and caregiver Joanne.
Wednesday, September 11, 2019 - 04:53 pm
Interventional Radiology Approaches Offer Alternative-to-Surgery Options
If you've undergone cancer treatment at Roswell Park and needed a mediport to deliver treatment and draw blood, you've probably met one of our interventional radiology physicians, even if you don't remember them. However, liver cancer survivor Paul Switalski and his wife and caregiver Joanne, will never forget Roswell Park Interventional Radiologist Michael Petroziello, MD. In addition to being "the kindest doctor we've ever met," Joanne says, "Dr. Petroziello performed three different kinds of minimally invasive procedures to treat Paul's liver cancer, which allowed him to avoid having a liver transplant." Those procedures are called intra-arterial or transarterial therapies, and they are a specialty of Roswell Park's interventional radiology team.
What Is an Interventional Radiologist?
Interventional radiologists are specially trained physicians who use imaging technology and minimally-invasive techniques to diagnose — and treat — a variety of diseases, including tumors in the liver, lung and kidney, and fibroids in the uterus.
Using advanced medical imaging such as ultrasound and computed tomography (CT), interventional radiologists insert catheters into the patient, guiding them through the appropriate blood vessels to gain access to the veins (as in the case of a chest port or mediport), take a biopsy, or to intervene in a disease by delivering a therapy directly to a tumor via the arteries. These interventions, including embolization and ablation therapies, offer effective treatment options for certain tumor types.
Find out more about interventional radiology at Roswell Park.
"Because these procedures use small incisions and precision targeting of tumors, many of the risks and side effects of major surgery and systemic chemotherapy are avoided, allowing for much quicker recovery," explains Dr. Petroziello. The procedures may be used for several reasons, including to give a patient a break from systemic chemotherapy and to provide effective treatment for patients who cannot undergo major surgery or traditional chemotherapy.
When Paul was diagnosed with liver cancer in 2016, he was advised to undergo a liver transplant. "But there was no guarantee that a suitable liver would be available soon enough, and we couldn't take the chance on waiting," Joanne says. So, in collaboration with Paul's Roswell Park oncologist, Dr. Petroziello performed a series of embolization and ablation procedures to treat Paul's liver tumors.
What Is Transarterial Chemoembolization?
Embolization is a procedure in which tiny beads are injected into the artery that supplies blood to a tumor. The beads travel through the artery (transarterial) and collect at the tumor, blocking the blood supply and causing the tumor to shrink and die. In bland embolization, just the beads are used. In chemoembolization, the beads contain chemotherapy drugs.
"These chemo-soaked beads pack a one-two punch, blocking blood flow to the tumor while releasing anti-cancer drugs," explains Dr. Petroziello. "This allows a higher amount of the drug to reach the tumor and for a longer period of time, but decreases the side effects of chemotherapy, as the drug is directed to the tumor and doesn't have to circulate throughout the body in order to be effective."
What Is Radioembolization?
With radioembolization, the tiny beads contain yttrium (y90), a radioactive isotope that kills cancer cells. Radioembolization is also called Selective Internal Radiotherapy (SIRT) or Transarterial Radioembolization (TARE). This procedure usually involves two steps. First, a mapping angiogram is performed to map out the anatomy of the tumor and calculate the dose of radiation necessary. Then, treatment is delivered in one or two sessions, under conscious sedation. "This is a same-day, outpatient procedure," says Dr. Petroziello.
In Paul's case, he first underwent chemoembolization, where the catheter was inserted into the femoral artery, via a small incision in the groin. However, Dr. Petroziello says that Roswell Park's interventional radiologists now perform many procedures by inserting the catheter through the wrist instead. These radial wrist interventions heal more quickly and allow the patient free mobility afterwards, rather than the three to four hours of bed rest required after traditional groin access procedures.
Joanne recalls that while Paul experienced some discomfort at the incision site and some short-term nausea due to the chemotherapy, he needed only a single session of the chemoembolization.
What Is Ablation Therapy?
In ablation therapy, the interventional radiologist inserts a probe into a main artery, guiding it through the blood vessels to the tumor. Energy is passed through the probe, to destroy, or ablate, tumor tissue without damaging nearby healthy tissue. Ablation procedures may use extreme cold (cryoablation) or heat (thermal ablation) or electrical signals (NanoKnife ablation) to destroy the tumor. "Ablation is an outpatient, same-day procedure done under conscious sedation, and it is much less invasive than major surgery," Dr. Petroziello explains.
Six weeks after Paul's initial chemoembolization, a CT scan showed that the main tumor in Paul's liver had been destroyed, but some smaller lesions were still present. The next step was to attack these with a session of thermal ablation followed by two sessions of radioembolization, each three months apart.
"Paul had very little discomfort during these procedures because the incisions were very small," says Joanne. "And Dr. Petroziello could not have been more kind to us. He called us at home after each procedure to see how Paul was doing. He was always there to explain things to us whenever we had any questions. And most importantly, only eight months after being told he would need a liver transplant, scans, blood tests and liver function tests showed that Paul's cancer was gone, and he no longer needs medications for his liver function. We just can't say enough good things about the kind of specialized medical care that Dr. Petroziello and Roswell Park gave us."
Michael Petroziello, MD
Assistant Professor of Oncology
Department of Diagnostic Radiology
Stage 4 Liver Cancer Survivor: David's Story
Four-Time Liver Cancer Survivor: Ronald's Story
New Treatments for Liver Cancer


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Criterion's August has Sid & Nancy, plus new Twilight/Kino, Joe vs the Volcano, Shakes the Clown & more
We've got some great new title announcements for you today!
First or all, The Criterion Collection has just revealed their August Blu-ray and DVD slate, which breaks down as follows. Look for Michael Curtiz's The Breaking Point (Cat #889 – Blu-ray and DVD) on 8/8, Mike Leigh's Meantime (Cat #890 – Blu-ray and DVD) and an updating of Ronald Neame's Hopscotch (Cat #105 – Blu-ray, DVD, and iTunes) on 8/15, and Sacha Guitry's La Poison (Cat #891 – Blu-ray and DVD) and an updating of Alex Cox's Sid & Nancy (Cat #20 – Blu-ray and DVD) on 8/22. Also, it now appears that Orson Welles' Othello (Cat #870 – Blu-ray and DVD) has finally been rescheduled for release on 9/26. We've updated our Criterion Spines Project page accordingly. [Read on here…]
Published in My Two Cents
Bluray Disc
Criterion August slate
La Poison
Orson Welles' Othello
Twilight Time June Slate
Snake in the Eagle's Shadow
Hell and High Water
The Valachi Papers
The Quiet American
The Gumball Rally
Joe Versus the Volcano
The Ballad of Cable Hogue
The Mighty Ducks Trilogy
Disney Movie Club
Shakes the Clown
Speed Racer: The Complete Series
Kino Lorber Studio Classics
Bob Hope Singles
Star Slammer
Star Crystal
The Last of the Finest
Clambake
The Devil's Brigade
The Birthday Party
Logan official, Whale Rider from Shout!, new Kino & more, plus go see Guardians of the Galaxy Vol. 2
All right, I've got a couple things for you today…
First of all, let me just say this: Go see James Gunn's Guardians of the Galaxy, Vol. 2. If you liked the first film at all, you'll love this one too. It's every bit as over-the-top, outrageous, and ridiculous as the original, and you'll laugh the whole way through. I really think that for sheer originality and fun, Guardians is my pick for the crown jewel of the Marvel Cinematic Universe. Much like Deadpool, it doesn't ever really take itself seriously, but it has a ton of heart. It's highly recommended.
Also, here at the site today, we've updated the Release Dates & Artwork section to include all the latest Blu-ray, DVD, and 4K Ultra HD cover artwork and Amazon.com pre-order links. As always, whenever you order anything through our Amazon links, you're helping to support our work here at The Bits and we really do appreciate it. [Read on here…]
Guardians of the Galaxy Vol 2
Release Dates & Artwork update
Logan Noir
Fargo Steelbook
They Live Steelbook
The Fog Steelbook
Escape from New York Steelbook
Missing in Action: Collector's Edition
Hickok 4K
Terminator Genisys 4K
Lupin the Third: Island of Assassins
Lost Horizon
SpaceCamp
The Shoot Horses Don't They?


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City Economic Recovery Tracker
Week of Dec 7
NYC Recovery Index
News Markets News
Pornhub Partnership Ups Verge Cryptocurrency Price
By Shoshanna Delventhal
The price of the digital coin Verge (XVG) skyrocketed Tuesday following news that adult entertainment giant Mindgeek, the owner of Pornhub and Brazzers, is now accepting payments in the form of the anonymous cryptocurrency.
The partnership, which had been hinted at over the past month, means that users now have the option to pay for a premium subscription without leaving any trace. In March, Verge launched a crowdfunding campaign with a target of collecting 75 million worth of the cryptocurrency. It is currently unknown whether Mindgeek has taken an ownership stake in the digital currency, according to Fortune. (See also: Santander Launches Blockchain Payments Service.)
"Pornhub is a global organization with nearly a hundred million daily users," said Verge founder Justin Sunerok. "This partnership represents an enormous market with a global reach that will compete with fiat currencies. It's huge for Verge and we're extremely excited to finally be able to announce it."
Thirsty for New Tech
In a statement, Pornhub Vice President Corey Price indicated that the alliance will increase security on its platform and maintain the adult entertainment industry's role at the forefront of the adoption of new technology.
"History has proven that the adult entertainment industry plays a critical role in adoption for innovative technology. We saw that with VHS, Betamax, credit card payment icons and, most recently, VR goggles. We expect to see widespread adoption of crypto and blockchain in short order," stated the VP. In allowing customers to pay in digital currency on its three sites, including Pornhub, Brazzers, and adult gaming portal Nutaku, Price foresees an "uptick on the purchasing of content."
Mindgeek, a clear market leader in the porn streaming industry—think a YouTube-like platform for X-rated content—makes a portion of its money on charging subscription fees for its higher-quality clips. The company, which owns several production studios, is not well-liked in its industry, and has been repeatedly accused of stealing content from other "tube sites," as reported by Fortune. Nonetheless, its acceptance of cryptocurrency is a significant decision given the firm's massive hold on its market and its place as first in its space to put such plans into action.
XVG Price Up 160% in the Past Month
Verge has also faced its fair share of criticism, most recently with allegations of paid pumping by John McAfee and its recent crowdfunding efforts used to "support development" of its partnership with Mindgeek. Without explanation, Verge removed 18 million XVG from its fundraising pool without explanation, causing alarm among some investors.
At a price just below $0.08 on Tuesday at 3:43 p.m. UTC, XVG reflects a $1.14 billion market capitalization and has gained 160% over the most recent one-month-period. (See also: Bitcoin 'Fad' May Survive a Crash: Robert Shiller.)
Cryptocurrency Strategy & Education
More than Half of Top 100 Cryptos Have No Utility: Report
How Facebook Makes Money
Who Is Charlie Shrem?
Why Is Cryptocurrency Trading Popular In South Korea?
What Is Poloniex?
How Does Bitcoin Mining Work?
What is the Ethereum Enterprise Alliance?
The Ethereum Enterprise Alliance brings together start-ups and Fortune 500 companies to work on Ethereum as an enterprise-grade technology.
Acorn Collective
Acorn Collective was a project that aimed to be the first blockchain crowdfunding platform.
Blockchain Explained
A guide to help you understand what blockchain is and how it can be used by industries. You've probably encountered a definition like this: "blockchain is a distributed, decentralized, public ledger." But blockchain is easier to understand than it sounds.
What is Monaco (MCO) cryptocurrency?
Monaco is a cryptocurrency platform that offers its own virtual coin, MCO tokens. It is a subsidiary of Crypto.com.
Bitcoin cash is a cryptocurrency created in August 2017, arising from a fork of Bitcoin.
An initial coin offering (ICO) is an unregulated means by which funds are raised for a new cryptocurrency venture.


Effective communication is as important for us as individuals, health professionals and team members as it is for the people in our care. This seminar supports building confidence and resilience in the workplace, with a focus on developing self-awareness, self-care and skills to manage criticism, difficult situations and workplace bullying.
Anne Evans-Murray runs an enjoyable seminar that promotes respectful communication and offers practical strategies for dealing with challenging behaviour in the workplace. The seminar is conducted in a non-threatening environment with no role-play or need for self-disclosure required of participants. Anne will demonstrate techniques and give tips to develop powerful body language and verbal skills. Morning tea is provided on the day.


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Hs Code Stone Crusher Sand Making Stone Quarry 4.6 3858 Ratings ] The Gulin product line, consisting of more than 30 machines, sets the standard for our industry. We plan to help you meet your needs with our equipment, with our distribution and product support system, and the continual introduction and updating of products.
A haul truck transports rock to the crushing plant. Rocks can be crushed into many different sizes of aggregate with a machine called a jaw crusher. The machine works like a jaw by crushing and chewing large rocks into small rocks. It is usually stationed in a permanent place at the quarry.
We take big rocks out of quarries and make smaller rocks and sand by crushing them. We sell the crushed rock and sand to builders and contractors who use them to build roads, highways, bridges, houses, shopping malls, schools, churches and other buildings and structures. Words that are highlighted in the Quarry Story are defined at the end.


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Pheasant Hunting - Turkey Hunting - Quail Hunting - Rooster Hunting - Bird Hunting at The Dunn Deal Hunting Lodge
The Prairie Habitat
Doug Leier 2019
Even though it's July I'm thinking of fall and for a good reason.
Last year's pheasant harvest was likely higher than in any year since the mid-1940s. The past winter was relatively mild which should have meant fairly good carryover of birds. While abundant rains over much of the state could inhibit nest success and brood survival to some extent, across the board, winter weather, habitat and hatching conditions haven't shifted too far out of the average ranges.
As we know, that's just this year. Like most, I feel a bit hesitant going through another fall, almost expecting a hum-dinger of a winter to meet us head on. Let's just say change is inevitable, and one of the winters we'll be shoveling more than we'd care to.
One element regarding future fall prospects that is a little more easily gauged than if and when the next Alberta Clipper hits, is the status of the Conservation Reserve Program, which is a huge component of prairie habitat which is the backbone for much of the fall bounty we have experienced.
Kevin Kading, the leader of the Game and Fish Department private lands section, says: "After last year the immediate picture is a little more clear. Much of the state was offered CRP extensions or reenrollments ranging from 2-15 years, but fast forwarding a few years it again becomes a little tougher to gauge."
In 2019, Kading saidy, 84 percent of North Dakota's CRP acres were accepted for either long-term reenrollments or short-term contract extensions. Over the next three years, however, many of those short-term extended contracts will expire, which would reduce North Dakota's CRP acres by another 10 percent by 2010.
"A new federal farm bill could result in continued extensions and more reenrollments, "Kading added, "It's really hard to say, .things could go the other way too and people should be aware that the future of CRP, and how it will look down the road are still undertermined as discussions for the 2019 Farm Bill are just getting underway."
Landowner interest and financial considerations drive much of the CRP, and Game and Fish private land programs. Essentially, if the funding incentive for putting or keeping land in CRP doesn't match, for example, a corn-driven ethanol market, or CRP criteria changes so less land in eligible, we can expect a significant change in our prairie landscape.
Since a good share of the Department's Private Land Open to Sportsmen program, or PLOTS, is based on CRP acres, Game and Fish biologists haven't been sitting on their hands waiting to see what happens. Within the wheel of private lands programs are spokes which include the CRP access program.
The Game and Fish has $2 million specifically targeted for these programs and we pays $1-$4 per acre in an upfront lump sum to landowners with CRP renrollment or extension agreements. The variation in payments takes into account factors such as whether the land is in the heart of pheasant range, or on the fringe.
"Initially last year we had more than 500 landowners express interest in the program," Kading saiy, "which resulted in 100,000 new acres coming into the PLOTS program."
Game and Fish is also working with landowners who opt out of CRP, but still want to keep the land in grass, rather than returning it to cropland. "Maybe they want to graze it, but not break the sod, "Kading said, "so even if the land is not currently enrolled in CRP, but has been before we still have our working lands program we can plug in.
The PLOTS program is nearing the benchmark of 1 million acres. It's hard to imagine that a little over a decade ago the PLOTS program was just a concept, but Kading understands there's still more work ahead.
"We'll take a step back and look at our programs and results and ask ourselves questions as hunters and biologists, "Kading said. "What's working? What can we do better? It's hard to predict how corn and other commodity prices will impact interest in our programs or what changes may come through the farm bill, but we are already looking ahead to see how we can make things better for landowners, wildlife and hunters of North Dakota."
Hunter's Information
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If you've got a stiff or injured joint, one of the things you can do is to lubricate the joint. At The Stone Clinic in San Francisco, Dr. Kevin Stone is able to loosen the joint by injecting hyaluronic acid, the natural lubricant of the joint. Sometimes it's done with growth factors and sometimes just as the joint lubricant.


Eden Lake Reviewed by John Guzdek on Friday, August 26th, 2011.
If you go down to the woods today… you might get tortured and set on fire by teenagers.
Shortly after the chavs have set fire to London and other British cities the time seems right to revisit this pretty decent kids gone wild horror from James Watkins. Eden Lake is the sadistic lovechild of French horror film Them and OAP revenge thriller Harry Brown.
Eden Lake is the beauty spot that Steve (Fassbender) takes girlfriend Jenny (Reilly) to for a romantic weekend away. Unfortunately, the besotted lovers end up sharing their getaway with a group of loud, argumentative chavs (young British social delinquents in tracksuits) hell-bent on ruining it for them. When Steve tries to assert his manliness they start to turn nasty and it turns into a battle for survival for the lovely couple.
Two thirds of the way through though, Eden Lake evolves from standard horror fare to something truly haunting that will make an impression on you. It's when the movie becomes really grounded in the real world that it starts getting scary and maybe the scenario is a little over the top, and the teenagers over-caricaturised, but it could happen (although I do apologise for the Daily Mail summing up).
This entry was written by John Guzdek, posted on August 26, 2011 at 9:59 am, filed under Action, British, Drama, Horror, Movies, Reviews, Thriller. Bookmark the permalink. Follow any comments here with the RSS feed for this post. Trackbacks are closed, but you can post a comment.
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Stuart Margolin, Emmy-winning actor from 'The Rockford Files,' dead at 82 after cancer diagnosis
Charles Trepany Elise Brisco
Stuart Margolin, an Emmy-winning actor from "The Rockford Files," has died. He was 82.
His stepdaughter Michelle Martini told USA TODAY on Wednesday that the actor died Monday, a decade after he was diagnosed with pancreatic cancer.
"It just got to a point where it was too hard to fight (the cancer) anymore," she said.
Martini recalled the impact Margolin had on her family. The actor married her mother Patricia Margolin in 1982, becoming stepfather to her and her brothers Max and Christopher.
"He was one of the most generous people I've ever met," Martini said. "He really took my brothers and myself, and he made a family for us, and he changed our lives in so many ways. And he was an amazing husband to my mother."
Patricia recalled her "lifelong romance" with Margolin to USA TODAY, which began when they were teenagers and met in juvenile court. Margolin was on trial for running away from home and attempting to live on his own at age 14. Patricia, also a teenager at the time, was tasked with judging the case due to a criminal justice reform initiative that sought to have juveniles with lesser cases evaluated by their peers.
"I was a juvenile judge, and I found him guilty and referred him to the Dallas Police Department," said Patricia, who also went on to have a career in law enforcement. "That's how we met."
Not long after their court date, Patricia and Margolin met again at a dance "and that's how the romance started," she said. Though each went on to marry other people, they divorced around the same time and rekindled their relationship.
They recently celebrated 40 years of marriage.
"He was the love of my life all my life," Patricia said.
Margolin's career spanned nearly six decades, with his first acting credit in 1961 in "The Gertrude Berg Show" and his most recent credit as a voice actor in the 2022 short film "Home," per IMDb.
Stephen 'tWitch' Boss, dancer and 'Ellen DeGeneres Show' DJ, dies at 40
One of his most notable acting appearances began in 1974 as he starred in NBC's "The Rockford Files." In the detective drama, Margolin acted alongside actor James Garner as the trouble-making friend of Garner's Jim Rockford, named Evelyn "Angel" Martin.
Margolin's role as Evelyn landed him Emmy awards in 1979 and 1980 for best supporting actor. He also earned an Emmy nomination in 1987 for outstanding directing in a variety or music program for "The Tracey Ullman Show."
"The Rockford Files" series came to an end in 1980, but the story continued in several TV movies that aired in the 1990s.
In addition to his acting career, Margolin was also a writer, producer and director. He directed several episodes of television, including shows "Touched by an Angel," "Magnum, P.I." and "Quantum Leap."
Kirstie Alley, star of 'Cheers' and 'Look Who's Talking,' dies at 71 of colon cancer


The trunks contained three black and white habits, an extra pair of shoes, undergarments, and some prayer books. The trunk also held whatever supplies needed for a sister's ministry, such as bulletin board decorations if she was a teacher or a white habit if she was a nurse. If a sister had any personal possessions that were especially dear to her, such as a family photo, those would have to fit in her trunk too.
During my final year of college I was seriously discerning religious life. Part of what attracted me to the lifestyle was a deep desire to live simply. I wanted to decrease my environmental impacts and lighten my living. I wanted to live in solidarity with some of the poorest people I have encountered in my lifetime and not accumulate too much stuff.
My desire for simplicity persisted. On my convent move-in day, I felt embarrassed that my belongings filled an entire mini van. I apologized to the sisters who helped me move. I remember one sister commenting that my questions and feelings about poverty would be dealt with later.
Indeed, my feelings and questions were dealt with later, through the process and nature of initial formation.
Much has changed since the time when each sister was expected to limit her possessions to one trunk. No one expects us to keep our belongings in one trunk anymore. One sister told me that sisters started using suitcases when the shift was made to lay clothes in the early 1970s.
During my earliest years of formation, I learned that my community will not provide a certain expectation about how much stuff I may have or how much space I require. As a woman who recently spent days paring down stuff that would have filled a medium-sized moving truck, I have felt somewhat envious of the prescribed limitations applied to my elder sisters.
Truly, the way that we each live out our vows of material and spiritual poverty is just as diverse as the members of our congregation. Some sisters have an amount of personal possessions equivalent to any middle-class American. Other sisters barely have anything to their names. As a newer member, I have been frustrated by this lack of consistency. Other times, I have felt lost and confused. I really wanted someone to make it easy for me and tell me how to do it; I wanted to remain immature.
What was expected of me, I slowly learned, was that I gain the inner strength to discern how God was personally calling me to live out the vow of poverty in today's world. No one was going to tell me what I could and couldn't have, for I am not a child and should not be treated like one. As an adult, I had to figure out how to appropriately live my commitment in a communal, messy, Gospel way.
The type of poverty I am living today along with my Franciscan Sisters is grounded in Christ and requires practice and prayer. It takes discipline, discernment and integrity. It's a challenging process of commitment to growth and accountability.
And, what it is required most is not a trunk; it is a hefty portion of strong Gospel-centered personal responsibility.


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Weak Governance, Poverty, Unemployment 'Root' Factors Of Terrorism –ECOWAS
The Vice President of Economic Community of West African States (ECOWAS), Finda Koroma, has highlighted: weak governance, poverty and unemployment, as the root causes of terrorism in Nigeria.
Speaking at the inauguration of the Early Warning Study on the Spillover of Violent Extremism to ECOWAS Coastal Member States in Abuja on Monday. Koroma, noted to tackle terrorism, the aforementioned must be addressed.
Oyo Monarch, 10 Chiefs Face Terrorism Charges In Abuja
Don't Listen To Sycophants, Nigeria Collapsing Into Terrorists' Hands, Ortom Tells Buhari
She said: "The ECOWAS Commission understands that it would be illusionary to fight against terrorism without attacking its root causes, such as bad or in some cases, weak governance, poverty, youth unemployment and human rights abuses.
"This need to address the root causes of violent extremism was specifically mentioned by the United Nations Secretary-General in his Plan of Action to Prevent Violent Extremism of December 2015.
"This Plan of Action asserts that structural factors such as the lack of prospects for youth or unemployment, contribute largely to their adherence to the agenda of terrorist groups which they find attractive and therefore consider as an alternative likely to offer a better tomorrow for them.
"After North-East of Nigeria, the Lake Chad Basin, the Sahel, the Nothern Part of Mali, the threats escalated in the Liptako-Gourma region, made up of Niger, Mali and Burkina Faso. From the North of Mali and Burkina Faso, violent extremist groups conducted years back, attacks in the southern part of these member states.
"Since 2019, the southwestern regions of Burkina Faso have seen an escalation of jihadist presence from JNIM's Katibat Macina, who are present in the Cascades region and in the forests along the Ivorian border."
Tags: ECOWASFederal Governmnetterrorism
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The Sultan of Sokoto, Alhaji Sa'ad Abubakar, has criticised the Federal Government for not honouring its agreement with the Academic...
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The Nigeria Union of Petroleum and Natural Gas Workers (NUPENG) has threatened to embark on a nationwide strike if the...
We'll Give N5,000 Transport Fare To 40m Nigerians To Cushion Fuel Subsidy Removal - FG


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The future has many possibilities. You'll be proud of any single one of them. That's because you work hard and show up meaningfully as best as you can within each and every moment.
You live life as a gift - not a trial to overcome. You set your sights on thriving not just surviving.
You grasp hold of every challenge as an opportunity to learn, connect and help out.
There may be sliding doors moments in life where futures turn out differently from one another. But it dosen't much matter when you are soaking within this moment - right here and now.
So deliberate within this moment in fact that the sum of moments now, build towards a future dominated with purpose, direction, clarity and impact.