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Lori Lander Murphy

People

Confined to a Wheelchair, He’s Become the Voice for the Voiceless

Donnacha Rynne with his friend, Tom Prendergast, who recorded the conversations that became part of  "Being Donnacha."

Donnacha Rynne with his friend, Tom Prendergast, who recorded the conversations that became part of "Being Donnacha."

Just the Moon

Just the Moon
Delicate light for the eye
Standing on dewy pastures
Dampening of toes
Dark but gentle light lit sky
Just the Moon
Whispering waves.
Now, silence after a day of sun, lie, lotion
Leave behind delicate night and retire
To summerhouse slumber on wheels.
As I enter this wheel house Waterboys on
Hole in the moon, this is the sea, this is the sea,
It is a dwelling for me – beautiful.

—Donnacha Rynne

Being Donnacha Rynne has never been easy. Born six weeks premature, and diagnosed with cerebral palsy by doctors who told his parents that he would never walk, never attend school and would eventually need to be institutionalized, Donnacha was just a small boy when he determined that his life would not turn out the way the doctors predicted. Instead, he went to school, worked at various jobs, and owns his own house.

So when he developed multiple sclerosis in his early 20’s, a twist of fate that seems too unjust to comprehend, Donnacha continued on in the only way he knew how.

“Donnacha’s spirit gave him the strength to overcome everything he’s been dealt. The doctors’ diagnosis when he was born wasn’t wrong, it’s his spirit that’s outshone what they said,” Anne Rynne, Donnacha’s mother explained.

And now, at age 40, dependent on a wheelchair for his mobility and requiring full-time caregivers to make sure he is dressed, fed and allowed to live life as fully as he can, Donnacha has written “Being Donnacha,” a book that he hopes can speak not only of his own life, but also provide a voice for all the other disabled people who so often go overlooked and unheard in today’s world.

I first heard about Donnacha’s book quite by accident this past summer as it was going to press. Someone posted a link to the website where pre-orders were being taken, and it caught my interest. I ordered a copy, and then promptly forgot about it until the book arrived a few weeks ago. Life was pretty busy at that time, and so it sat there in its wrapper for a few days. But when I did take it out, and sat down to read it, I found I was unable to put it down. It’s not very often that a few pages into a book you realize that you’re reading something that has the ability to change the way you view the world, but that’s exactly what Donnacha’s words did for me.

It’s a story that is bursting to be shared with the world beyond Donnacha’s backyard in Miltown Malbay, County Clare. Because Donnacha isn’t up for a lot of conversation and questioning these days, I arranged to talk with his mother Anne, who is delighted to be used as a mouthpiece for the son she is rightly so proud of.

“Donnacha has been hugely inspirational for our family, we all take our lead from him. When Donnacha’s well, we’re all well. He’s always very positive, he’s never asked ‘Why me?’ He has something to say to people that’s very seldom heard. People in wheelchairs, people who are disabled, are still people. For Donnacha, his life is about waiting, waiting, waiting, but as he’s gotten more dependent on others, he’s still Donnacha. This book is his truth, and people will get great messages from it. He’s a voice for the voiceless.”

This increasing dependence on others has been one of the most difficult things for Donnacha to come to terms with. Living on his own, in his own house and being independent, had been a source of great pride for him. But even through his frustrations, Donnacha is able to write about his ability to create his own positivity: “There is always hope. If there is no hope there is no future. It’s the only way forward. There is an air of gentleness about hope.”

The strength of Donnacha’s family is a huge part of his story. One of five children of Anne and Davoc Rynne, Donnacha has an identical twin brother, Niall. His parents decided that there would be no preferential treatment for him. That meant going to the local school, where life among other children was often a challenge. He didn’t have many friends there, and his sense of being different led to him keeping his distance. He was also made fun of occasionally, which Donnacha attributes to his peers’ “ignorance and fear.“ Having Niall there to shelter him was both a blessing and a curse.

“School was very difficult here in Clare. When Donnacha was twelve, he asked to live in Kildare with his aunt and uncle, and we let him. I suppose it was a bit radical to do that, but he was so determined. We thought, if Donnacha has the strength to do that at twelve, who are we to stop him?” Anne reflected. “He stayed up there three years. It worked and it didn’t work. He really needed to get away from Niall and be able to be his own person. That was no reflection on Niall! Donnacha and Niall have always had a very close relationship. Niall’s absolutely amazing, a tower of strength. There’s a very strong connection between them. Niall would always know when Donnacha wasn’t well. Even when Niall moved to the States for 10 years, he always knew when something was wrong.”

“Donnacha is very close to all his brothers and his sister. Niall and his youngest brother, Turlough, live here [in Ireland], and get home as often as they can. Davog, the oldest, lives in France, and Aine, his sister, lives in Vietnam. But with Skype, we can visit them easily!”

His siblings aren’t the only family that Donnacha is close to. He has a pair of uncles, Christy Moore and Luka Bloom, well known Irish folk singers (Moore was a founding member of Planxty and Bloom will be appearing in Sellersville next week) who play a major role in his life. In fact, it was Luka (Uncle Barry to Donnacha), who felt that Donnacha had a book in him. (Read our interview with Luka Bloom this week.)

“Two years ago I was sitting with Donnacha, having one of his fantastically hilarious and philosophical discussions, during which he complained that people had no time to visit him. ‘I wish people would embrace the nowness of life,’ was the phrase he uttered, and it followed me out the door when I left him,” Bloom explained in a recent interview. “Donnacha is not given to long sentences, and so he has mastered the art of encapsulating big pictures with very short sentences.

“Outside in the car, I determined there and then that a book must emanate from this important man,” Bloom said. “I knew he had too much to offer to be ignored because of logistics. I spoke with Anne and others about this, and together we conspired to bring to fruition this most important event in our lives: The release of Donnacha’s book, the manifestation of his voice, his gift to the world. We are so blessed that he is among us, and so proud of him. He is the bravest man I know.”

To do the actual work of writing down Donnacha‘s words, they knew they needed someone who was close to him and who would understand his quirkiness, but wasn’t a member of the family. Longtime friend Tom Prendergast was just that person. Once a week, for two and a half years, Tom would spend time with Donnacha, recording their conversations. It could be difficult at times, because “Donnacha literally lives in the now, in the moment, it’s part of CP, the difficulty to answer questions. Tom gets Donnacha, he gets his humor. He is a great man, a great character,” Anne explained.

There are three sections to the book: the first is Donnacha’s story, the second is comprised of sixteen poems that he wrote between March and August of 1989, and the third is titled “Knowing Donnacha,” with a series of pieces written by friends and family members who know and love him.

“Donnacha was nineteen when he wrote the poems,” Anne said. “They’re fantastic. I can’t get over how fresh they are seeing them in print.

“He has good days and bad days now, just like we all do. But he’s very strong—very strong and very frail. Donnacha was born old, he’s always been very wise and philosophical. I believe he still has a little journey to go yet. Writing this book has kept him going. He has a message for people, so that maybe they won’t feel so isolated.

“When Donnacha was young, we had him going to see a lot of different doctors, therapists and psychologists. But he always knew when the therapists were talking down to him and being patronizing. When he was seven, we had a psychologist tell us that he was dull. Dull! How insulting for starters. Donnacha was the light in our family. I am completely humbled by him. He’s just a regular guy who was dealt a tough hand.”

And plays it well.

The book “Being Donnacha” is available for purchase worldwide on the web.

If you’re in Ireland, you can pick up a copy in Hurley’s and the post office in Miltown Malbay, and in Sceal Eile (The Other Story) Bookshop in Ennis.

News

Irish Immigration Center Receives Irish Government Grant

Ireland's Minister of Foreign Affairs Micheal Martin presents a check to Immigration Center Executive Director Siobhan Lyons.

Ireland's Minister of Foreign Affairs Micheal Martin presents a check to Immigration Center Executive Director Siobhan Lyons.

During a visit to the Irish Immigration Center in Philadelphia last week, Ireland’s Minister of Foreign Affairs Micheal Martin presented Center Director Siobhan Lyons with a check for $117,000. The Irish Center is one of the recipients of the Irish Abroad grant, funded by The Department of Foreign Affairs.

Joining Martin on his visit were Noel Kilkenny, recently appointed Irish Consul; Michael Collins, Ambassador of Ireland to the U.S.; David Cooney, who heads Ireland’s United Nations Mission in New York; and Vice Consul Alan Farrelly.

They were welcomed warmly by a strong turnout from the Irish-American community.

The donation will go a long way towards funding some of The Center’s planned initiatives, most directly the expansion of the senior community activities.

“We’re deeply grateful for the money,” Lyons said. “The Irish government is one of the most generous donators to The Immigration Center.”

“One of our goals for 2011 is to staff a full-time social worker, someone who will be able to reach out to the elderly, our most vulnerable population. There is a growing number of aging immigrants, many of whom are shut-ins who can’t make it out here to The Center. By employing a social worker, someone who’s from the Irish Community, or Ireland, we’ll be able to reach those people who are most in need of our assistance. Having someone culturally sensitive to the needs of the immigrant community means that they’ll be able to establish a rapport quickly and get to the issues straight away.”

Music

The Songs She Loves So Well

Singer Fil Campbell

Singer Fil Campbell

Music is everywhere in Ireland, including the North, but because of the region’s turbulent past, many visitors never make the trip to counties and towns where the musical heritage remains rich. Singer-songwriter Fil Campbell wants everyone to know: Not only is it okay to head north, it’s desirable.

Born in the border town of Belleek (home of Belleek Pottery) in County Fermanagh, Campbell grew up just yards inside Northern Ireland. Though her friends across the way may have gone to different schools, they all sang the same songs—songs she is now reviving through her concerts, as well as her CD and DVD, “Songbirds: The First Ladies of Irish Song.”

“These are songs I learned as a child. People will remember their mothers and grandmothers singing them, there’s a great familiarity to them,” Campbell explained. “

“Songbirds” features the stories and music of five women who played an instrumental part in the 20th century lexicon of Irish music: Delia Murphy, Margaret Barry, Bridie Gallagher, Mary O’Hara and Ruby Murray. These were the women, all from greatly different backgrounds, who paved the way for today’s female singers.

Originally aired as a critically and popularly acclaimed series for RTE television, the DVD was Campbell’s brainchild. She conceived, wrote and produced the program after she started getting requests from audiences abroad who wanted her to sing “traditional” Irish songs.

“It was a complete accident,” Campbell laughed. “I knew nothing about television, or making a TV program. But we did it, and by some miracle, we actually got it onto prime-time television.”

There is nothing accidental about Campbell’s love for those tunes. In fact, they couldn’t have been more familiar. “It was interesting, coming back to these songs I’d sung as a child. I’ve always loved them, loved Irish music, but I had sort of run away from it for awhile.  Around the age of 13 or 14, I wanted to sing pop and the blues. I started playing guitar at 14 and, like all teenagers, I was influenced by the popular artists at the time, like Joan Baez, Linda Ronstadt, Sandy Denny and Elton John.”

Music, though, had always been a part of Campbell’s life. “I was always singing as a child, and I just always assumed I’d be a singer. I never thought anything else. We got a TV when I was about 6, and I was fascinated by Judy Garland. In my mind, I was going to be Judy Garland when I grew up?not like her, but her,” Campbell laughed. “It came as a bit of a shock when I wasn’t.”

At the age of 10, she began attending a boarding school in Enniskillen. “I was very fortunate because right after I arrived, the nuns put together a show. They brought out a harp, and I started learning how to play it.”

Around the age of 16, Campbell began writing her own songs. “Misty Morning,” a song she co-wrote with a girl from school, won a competition. The first band that Campbell formed was called Misty Morning. It was the first of many.

“I always sang in bands. I never consciously thought about how to go about having a career as a singer, I just did it. In college, at Queens University in Belfast, I got involved in promoting bands. As long as I was involved in music somehow, I was happy. I started out on the entertainment committee, organizing annual balls and dances. My senior year, I became the director of The Belfast Fringe Festival at Queens.” (A festival that ran for 21 days.)

“I loved that side of it, I was good at organizing. After I left college I worked for the Belfast City Council for awhile. One of the first things I did was to direct a Christmas show?it was a dolphin show,” Campbell laughed. “We drained the pool and filled it with salt water. It was just great fun.”

Through all this, Campbell never stopped singing.  She released three CDs that include many of her own songs: “The Light Beyond the Woods,” “Dreaming,” and “Beneath the Calm.” She’s toured constantly, mostly with her husband and musical partner, Tom McFarland, and with Brendan Emmet, the third member of their current band.

A new Songbirds CD will be released in a few months, filled with more of the traditional songs popularized by the first ladies of Irish song.  “There were just too many to fit on the first CD,” she explained. “This new one will include ‘Johnny the Daisy-O,’ ‘Let Him Go, Let Him Tarry’ and ‘Lowlands of Holland.’ They’re all songs that I’m singing on this tour.  I’m really having great fun running around America.”

Fun, yes, but Campbell knows she has a great place to return home to. “I live now in a small cottage on the shores of Carlingford Lough, in County Down. Still right over the border,” she laughed. “I’m at the foot of the Mourne Mountains, and I can look across the Lough and see Finn MacCool in the mountains on the other side.  We have a small recording studio in our house, and it’s just a beautiful place to wake up every morning.”

“We’re only an hour’s drive from Dublin. And there’s a huge community of artists and musicians there. We’ve got great music, music that’s full of Irish tradition. And we’ve got great shopping, too,” Campbell added. “So the next time your over, come see the North of Ireland. It’s not to be missed.”

Fil Campbell will be performing at The Irish Center, 6815 Emlen Street, in Mt. Airy, this Sunday, September 26, at 7:30 p.m. Tickets are $15. For further information, go to Fil’s Web site:  http://www.filcampbell.com/index.htm

Also, check out Fil’s myspace page: http://www.myspace.com/filcampbell

Links to Fil performing some of her songs:

“Good-bye Mick, Good-bye Pat” http://www.youtube.com/watch?v=nJD4UX5_avk

“Seoladh na nGamhna”
http://www.youtube.com/watch?v=F3mKvseQuxo&feature=related

“The Homes of Donegal”  http://www.youtube.com/watch?v=Z3xp_DgHLgQ

“Farewell My Own Dear Native Land” http://www.youtube.com/watch?v=Z1puRgf_FJ0

“The Bonny Boy” http://www.youtube.com/user/irishphiladelphia#p/u/3/27gSkn7TLOo

Music

Gary Quinn: He Keeps Her Lit

Accordion player Gary Quinn from Galway.

Accordion player Gary Quinn from Galway.

There’s just no way around the truth of it—life and Facebook, they work in mysterious ways. One minute, you’re updating your status, and the next Facebook friend whom you’ve never met invites you to fly into Philadelphia to play the Philadelphia Ceili Group’s 36th Annual Traditional Irish Music and Dance Festival. (It starts this coming Thursday and runs through Saturday night at the Irish Center.)

For former All-Ireland Champion Accordion player Gary Quinn, this is exactly what happened a few weeks ago when a last minute change was made to the Festival’s line-up, and a spot became open for the Friday, September 10 Fireside Concert.

The County Galway musician was happy to take the gig. Since his debut cd, “Keep Her Lit,” launched in 2008 to critical and popular acclaim, Quinn has seen his music career take off. A performance stateside is a natural progression.

“A few years ago, I was getting near to turning 40, and I began to take my music more seriously. I’d always been playing, and writing tunes, but I decided that I mean to go out of this world the way I came in—playing music.”

Quinn isn’t kidding. He began taking accordion lessons at age 4, but a deeper interest in the chips at the nearby take-away shop caused his mother put a stop to the lessons. A year later, at age 5, Quinn was listening to the radio when a tune came on that hooked him, and he sat down and played it on his accordion.

“That was my first reel, ‘Bonnie Kate,’ and it’s still my favorite tune,” Quinn recalled. “I’ll play it next Friday night at the concert.”

“I realized that music is the international language of the world. If you can play music, you can communicate with anyone. It doesn’t matter if you can’t speak the same language … if you can sit down together and play the same 8 notes, then you can understand each other.”

Quinn immediately knew who to call to bring with him for the trip: Derry-born guitar player Anthony McGrath. “He’s a fantastic guitar player, and a really good guy. He’s played with all sorts of people.”

In fact, Quinn and McGrath joined forces recently with Limerick fiddle player Kevin Farrell and Dublin singer and bodhran player Joyce Redmond to form the band Eriuna. The name is derived from that of the celtic goddess Eriu, also the source of Ireland’s identity as Erin.

Quinn, who hails from Brierfield near Moylough in County Galway, where he still lives now with his wife and two young children, grew up in an area infused with brilliant music and brilliant musicians. His first influence was Joe Cooley, “who was a revolutionist when it came to accordion playing. You could hear his personality in his music. He played with such feeling.”

Joe Burke and Finbarr Dwyer, “both technically brilliant and fantastic players,“ also left an imprint on Quinn’s style. But it is Mairtin O’Connor that Quinn holds up as “a total gentleman. He gave me permission to record a few of his tunes on my cd.” And after the album was completed O’Connor had this to say about it: “The spirit of joyful music is alive and well in his hands and on this recording he keeps our spirits well buoyed … He is joined by some wonderful players and the overall result is a pleasure to listen to.”

Quinn could not have been more elated by this endorsement from his hero.

Many of the tunes on “Keep Her Lit” are Quinn’s own compositions, including the title track. A mechanic by trade, Quinn hears music in the whole world around him.

“I get inspiration from everything. Good feelings, happy feelings, sad feelings. For instance with “Keep Her Lit,” I could hear the tune in the lorry engine as I was working on it. I’m so fortunate to be able to combine these two things I love, playing music and working on cars.”

“I’m very, very happy right now. It’s a bit too late for me to get famous now, at 40, but my life is exactly where I want it.”

Gary Quinn and Anthony McGrath will be performing at 8PM, Friday, September 10 at The Philadelphia Ceili Group Festival, and will be teaching workshops on Saturday, September 11th from 11AM to 1PM. The Irish Center is located at 6815 Emlen Street, near the Carpenter Lane SEPTA station, in Philadelphia.

History

An Echo Through Time: The Lost Irishmen of Duffy’s Cut

A hole in the back of this skull is being carefully examined.

A hole in the back of this skull is being carefully examined.

On April 13, 1832, the John Stamp set sail from Ireland bound for Philadelphia. Among the passengers were a group of young laborers, men between the ages of 18 and 30, set to work upon a track of railroad known as mile 59 in what is now Malvern, PA. Within two months of their June 23rd arrival, they would all be dead, buried anonymously and without ceremony, in a mass grave in Duffy’s Cut.

For over 170 years, these men, 57 in all, were lost to history.

Local archeologists Frank and Bill Watson, along with their dedicated team, have found them.

It’s a still unfolding tale ready-made for “History’s Mysteries:” Irish immigrants, prejudice, cholera, murder, cover-ups, secret files, ghosts and 21st century technology.

My visit to the Duffy’s Cut site came just a little over a month after the discovery of two more bodies, identified as Skeleton #6 and Skeleton #7. This is exciting stuff, with #6 almost in its entirety, only the right arm and ribs lost to decay. They know the man was very tall for his day, about 5’8, and around 30 years of age. His wisdom tooth, which was intact, will be sent off for DNA testing.

Skeleton #7, on the other hand, was a much shorter man, around 5’2. But his skull tells a very big story: the crack shows he was hit on the head, and there’s a hole in the back that is being examined very carefully by Janet Monge, Adjunct Associate Professor in the University of Pennsylvania’s Archeology Department. It’s presumed to be a bullet hole.

What has become increasingly clear is that these Irish immigrants did not all die from the cholera that attacked them; at least some of them were murdered because of fears they would spread the disease, and because they were considered dispensable.

Cholera in the 1830’s was a source of mass hysteria in communities. Its cause was unknown then, but it would have been communicated by contaminated drinking water. It killed about 30-40% of its victims, so the 100% mortality rate at Duffy’s Cut has always been suspect.

The surrounding community would have been afraid of the outbreak spreading from the railroad workers to the general population, and the men would have been quarantined to their site. They would have been turned away from any homes they approached for help.

However, it’s known that they did receive care from a local blacksmith, tentatively identified as MalachI Harris, and four nuns from The Sisters of Charity.

Seven men attempted to escape from the site, but were hunted down by The East Whiteland Horse Company, a group of farmers acting as local vigilantes whose mission was “to track down horse thieves and other breakers of the law.” Those seven men are the only ones to have been provided coffins before their burials; coffins that have mostly disintegrated due to time and the particular composition of the local soil.

“When we first started the dig at the site, there was no sign of life here. Nothing. And now, living creatures are coming back,” Frank Watson, who has a Ph.D. in historical theology, said as we watched a beautiful blue butterfly hovering for several minutes, flitting from one place to another almost as a guide to what discovery will be made next.

It was the file that Frank inherited from his grandfather, Joseph F. Tripician, that was the key to discovering these men. “Our grandfather was the personal assistant to four different presidents at what was The Philadelphia and Columbia Railroad. He was an immigrant from Sicily, who worked his way up.“

Since the 1830’s folktales and ghost stories had circulated locally about the deaths of the railroad workers. One tale, recorded in an area newspaper in the 1880’s, told of a man walking by Duffy’s Cut in the fall of 1832 (on the way home from the pub), who saw Irishmen dancing on graves. In 1909, there was a railroad marker placed there, but without details.

In other words, an urban legend with no corroborating evidence.

Except for the detailed documents that were hidden away in the secret file kept by each of the presidents of the P&C Railroad, amassed and passed down over a period of 100 plus years. The file began with information from the time of Philip Duffy, the man who was charged with the building of the railroad, and the man who was cited in an 1829 issue of the “American Republic” as “prosecuting his Herculean task with a sturdy looking band of the sons of Erin.”

These documents revealed beyond a shadow of a doubt the existence of a mass unmarked grave along mile 59.

The last president that Tripician worked for was Martin W. Clement, who died in 1966. It was Clement who had the 1909 marker erected at the site, and who actively worked to acquire a lot of the information stored in the file. In 1968, when the railroad was bought out two years after Clement‘s death, Tripician ended up with the file. And after his death, his grandson Frank Watson inherited it.

In 2002, Frank and his brother Bill, who is Professor and Chair of History at Immaculata University, were finally sorting through their grandfather’s papers, and Frank pulled out the file. Reading through it, they were struck by what they found there, including the account of the dancing Irish ghosts; two years before, Bill and his piping buddy Thomas Conner had experienced the same phenomenon on the campus of Immaculata College. The college is located about one mile west of Duffy’s Cut.

That was the start of The Project. They began assembling a team that now includes geophysicist Timothy Bechtel and forensic dentist Dr. Matt Patterson. Dr. Janet Monge and Samantha Cox from The University of Pennsylvania are key to “cracking the whip in terms of archaeology.” Immaculata College has supported them, even providing the insurance and a grant this summer that has paid for new tools and food for the volunteer crew. Norman Goodman, a former deputy coroner from Chester County, has pledged to help obtain death certificates for the men. East Whiteland Township, as well as the residents of the development surrounding Duffy’s Cut, have all been cooperative. Former students like Robert Frank, Patrick Barry (Frank and Barry found the first bone) and Earl Schandelmier have stayed with the project beyond graduation from Immaculata.

As the momentum has built over the past few years, following the initial discovery of artifacts like a Derry pipe stem and a bowl marked with a harp flag and the words “Flag of Ireland,” the story has garnered international attention. Tile Films in Dublin began filming the dig, and when the documentary aired on RTE in 2007, it was one of the highest rated programs in Irish history. They sold the rights to the Smithsonian for broadcast in the U.S., and continue to film as the story unfolds. They were onsite when Skeletons #6 & #7 were uncovered.

“The story of Duffy’s Cut has gathered a huge amount of interest in Ireland,“ Frank explained. “We’ve done a lot of radio interviews. “

In fact, it was because of one of the radio interviews that the body of John Ruddy was able to be positively identified. He was the first man discovered, in March of 2009, and with a very distinctive dental characteristic: he was missing his right front molar. Missing in the sense that he never had one. After hearing about the genetic quirk on the radio, members of the Ruddy family still living in County Donegal (where the ship’s manifesto revealed John had been from) contacted the Watsons and told them that many members of their family are also missing their right front molar. And, they offered to pay for their DNA testing in order to provide a definitive match.

The fascination that Duffy’s Cut holds is in large part due to the sense of a great injustice finally being righted. According to information revealed in the file, the extreme lengths that the railroad company went to in suppressing the story continued for well over a century. In 1927, local reporter Royal Shunk sent a letter to a clerk at the railroad thanking him for the loan of a file in conjunction with an article Shunk was writing for a local paper. The story never appeared, most likely suppressed when higher-ups got wind of it.

A diary kept by the daughter of local militiaman and 1832 local cholera victim, Lt. William Ogden, was noted in the file as having information pertaining to the death of the men. The diary disappeared sometime after the death of the last sister in 1913.

As recently as four years ago, an unofficial and unauthorized visitor to the site tried to convince the Watsons that they didn’t have the proper authorization to continue with their excavation. Completely untrue, as the brothers have gone to extraordinary lengths to insure that every i is dotted, and every t is crossed.

So, when Christy Moore recorded the song “Duffy’s Cut” written by Wally Page and Tony Boylan, on his 2009 album, “Listen,” Frank Watson sent him a message telling him how much the song meant.

The men, who were once victims of the kind of injustice that history is peppered with, are now the stuff of legend. It’s been a long time coming, but it’s an amends that could never have been made without the advances in technology available today, as well as the unique set of circumstances that put The Duffy’s Cut file in the hands of the Watson Brothers.

As Bill Watson said, “It’s like an echo through time. There was something so right about removing those men. They weren’t meant to die here.”

Edel Fox
Music, People

Trad Music’s Newest Shining Star

Edel Fox

Edel Fox

To describe the concertina playing of Edel Fox is really to describe the woman herself: joyful, masterful, brilliant, engaging and effortlessly seductive.

At 24, her accomplishments and accolades are beyond the pale…and completely justified. The release of her first solo CD, “Chords & Beryls” coincides with her sixth summer spent touring the States, an annual tradition since she began playing and teaching at The Catskills Irish Arts Week. This year, Fox and Connemara fiddlers Liz and Yvonne Kane embarked on a collaborative concert tour that found them in Philadelphia last week for a Philadelphia Ceili Group performance.

“The name of the CD came from my grandmother and my aunt, who represent an older generation of the music,” Fox explained. “A beryl is a variation in the melody, a twist in the tune. “The Reel with the Beryl” is a tune by Mrs. Crotty–she was a very prominent exponent of the concertina. Herself and Aggie White and Mrs. Harrington all helped to put women on the map in terms of trad music in the 1950s and 60s. They were among the first to play in public. It really was a starting point for Irish women in music, allowing them to gain prominence on an instrument.”

By the age of seven, Fox was already gaining prominence on her concertina in her hometown of Miltown Malbay, County Clare, where her teachers included Noel Hill, Dymphna O’Sullivan, Tim Collins and Tony O’Connell. In 2004, Fox was named the TG4 Young Musician of the Year, and in 2006 she and fiddle player Ronan O’Flaherty recorded a CD together, aptly titled “Edel Fox & Ronan O’Flaherty.”

“We got so much enjoyment from doing that CD,” Fox said. “We were both very naïve to the whole process, but we loved being able to create something that people enjoyed.”

“I never felt ready to go into the studio to record my own CD, it really felt quite daunting. But last summer in the car ride up from Elkins, West Virginia to The Catskills, I was traveling with Liz and Yvonne, and they said, ‘You should do a solo album and have it ready for next summer so we can tour.’”

“Around Christmas I got on the ball,” Fox laughed. “I recorded in a studio in Miltown Malbay from January to April. I just needed a little push. I’m slow to do something, but once I put my head down it comes easy enough. I just need a little encouragement, that’s all.”

“I’d been learning a lot of tunes, some of them came from Bobby Casey, and there’s a few newer tunes as well. It’s quite a mix of stuff.”

Quite a lovely mix of stuff, and quite a lovely mix of musicians as well. Joining Edel on her cd are Jack Talty, Padraic O’Reilly, Mick Connelly, Brian Mooney, Johnny Ringo McDonagh and Una McLaughlin.

[And because I’m the writer, and I get to have favorites, this is where I mention that “The Joyous Waltz” which Edel plays with Jackie Daly on her album, is the track most listened to on my copy of the CD. It’s absolutely gorgeous. I’m also partial to the reels “The Honeymoon/Lough Mountain/Love at the Endngs.” But the tune that wins best title award is definitely “Kitty Got a Clinking Coming From the Fair.” On her CD notes, Edel writes that she has yet to find out what a “clinking” is.]

“It was a funny time of year. I’d been working for two years on getting my Masters degree in music therapy, and my final semester was this past January to May. But that’s a typical me thing to do, I work better under pressure instead of spreading it out,” Fox explained.

“I’m qualified to practice the psychotherapy and psychology of music. I really love it, using music to help people with social and emotional difficulties. My work experiences include counseling adults in a psychiatric unit and adolescents in a care home. Every client, every patient, has different needs…but they have problems expressing emotions or communicating verbally. Music can help with that, whether through listening, songwriting, instrument-playing. Sometimes it’s through improvisation—musical or percussive. It’s about bringing two people in one place together to create communication.”

In addition to her studies and album recording, this past spring Fox also continued the teaching that she’s been doing since she herself was 16.

“I teach concertina five evenings a week, from 4 or 5 until 9 at night. It’s so different from the work I do as a therapist. Teaching is about how to do ornamentation, it’s directive while the therapy is collaborative. It’s challenging, but I absolutely love it.”

“I started teaching at The Catskills my first summer there. My first time coming to The States was when I was 17, with the Comhaltas tour. I met so many people out of that, and got asked back to do gigs, and to do The Irish Arts Week the next year. It’s been great.”

Playing the 1896 Jeffries concertina that she bought from a dealer in England eight years ago (“I love the tone of an older instrument, nothing is better than the tone of a mature concertina”), Fox will soon return to Ireland to begin her Irish tour with The Kane Sisters, promoting their CDs at home. With September and the start of the teaching year right around the corner, Edel is poised to return to the busy schedule she knows and thrives on.

“I’ll be job hunting,” Fox laughed. “But I’ll have plenty to keep me busy. I love it.”

Music

No Rivalry Here: A Chat With Trad’s Top Sister Act

The Kane Sisters

The Kane Sisters

Seamless. Synchronized. Fluid. Flowing. Liz and Yvonne Kane are well used to hearing adjectives like these bestowed upon their beautifully matched fiddle playing. So it’s no mystery where The Kane Sisters got the name for their new CD, “Side By Side.”

“We get that all the time,” Yvonne laughed. “It’s a sibling thing, like. I think it happens for any siblings at all when they play together. Seamus and Manus McGuire are like that when they play. It’s nothing you could plan, it just happens naturally.”

The Kane Sisters, along with concertina player Edel Fox, are playing a Philadelphia Ceili Group concert at The Irish Center this Sunday, August 1, as part of their summer tour of the United States. It’s a routine that has become an anticipated annual follow-up to their presence at The Catskills Irish Arts Week.

“This was our fifth year in The Catskills, Paul Keating has kept asking us back,” Yvonne said. “It’s been great. And for the last three years, we’ve been down in Elkins, West Virginia, [for Irish/Celtic Week]. And then we do a few gigs.”

And this year, they launched “Side By Side,” their third CD, in The Catskills. It’s been six years since the release of their last CD, “Under the Diamond.”

“It didn’t feel like that long…but when we left the Catskills last year, we said, ‘We need to get to work on a new album.’ And we’ve gotten to know Edel through playing at CIAW. She was working on her first CD, ‘Chords & Beryls,’ so we also said, ‘We have to tour together next summer.’”

“It feels weird to have launched the album over here first… it hasn’t launched at home yet. We were supposed to launch it at Miltown Malbay, but we didn’t get the CDs until the day before we left for the States. But once we’re back home, we’ve got a good list of gigs beginning August 11th.”

Home for The Kane Sisters is their birthplace of Letterfrack in North Connemara.

“We love living there. We both lived away for a number of years. I was in Galway for 11 years, and Liz was in Cork for six years, then Galway for five. We’ve been back for nearly four years.”

“During the school year, we both teach… we love it. We have about 180 students, both kids and adults, and we travel all around Connemara. Liz commutes throughout South Connemara, and I have students in North Connemara… Clifden, Letterfrack, Inishbofin.”

Inishbofin? The island about five miles off the coast of Connemara?

“Yes,” Yvonne laughed. “I’ve got 10 amazing students out there… there’s only 18 kids in the entire school. I love going out there, and although I do now draw the line at taking the ferry in the bad weather, I have gotten on it before on bad days!”

Their musical heritage is steeped in the rich sounds of Ireland’s West. Their first instrument was the whistle because “everybody starts off playing tin whistles in school, whether you want to or not.”

They then moved on to the fiddle, being taught by musician Mary Finn as well as their grandfather, local fiddle player Jimmy Mullen.

“He would have us listening to all kinds of tunes. He just loved great tunes, flowing tunes. Like Michael Coleman from County Sligo, and Finbarr Dwyer.”

And they are much influenced by Paddy Fahey.

“He’s got great rhythm in his tunes… the East Galway fiddle style has got a good lift to it, similar to East Clare. The style’s not necessarily a slower one, I don’t know why people say that.”

The new CD, in addition to having tunes composed by Paddy Fahey, Finbarr Dwyer, Paddy O’Brien and Martin Mulhaire, also has three tunes composed by Liz.

“She’s the one who writes,” Yvonne explained. “I haven’t taken to it yet, but you never know…”

“When we make an album, we usually like to root and find new tunes, or tunes that haven’t been recorded. We’re always on the lookout for new tunes. We don’t work well unless we’re under pressure,” Yvonne acknowledged. “We’d be gone during the day teaching, and then we’d practice the tunes starting at 11 at night for about a week before we began recording, so the tunes were fresh in our minds.”

“We keep changing up the tunes all the time… we like changing the key of tunes, it makes them brighter, more enjoyable to play.”

And this time, esteemed musician and producer (and grandson of songbird Delia Murphy) Ronan Browne brought the recording studio to them.

“Ronan has a mobile recording studio, so we were able to sit at Liz’s house and record the tunes. We had great fun recording this CD… it probably has a different sound from the others, more of a live sound.”

And they are not alone; they are joined on “Side By Side” by Patsy Broderick on piano, Mick Conneely on Bouzouki, Dáith Sproule on Guitar and Ottawa Valley Step Dancer Nathan Pilatzke.

In fact, Nathan Pilatzke will be joining Liz and Yvonne and Edel onstage for some of the PCG concert, and his footwork is not to be missed. Seeing him dance last year in The Catskills was a thoroughly memorable experience.

And one last thing not to be missed: the notable and distinctive fashion style of these three brilliant women of Irish music.

“We’re all about our style,” Yvonne laughed when I couldn’t resist bringing it up at the end of the interview. “We love our style. When we get a day off, we go out and do some mini shopping. We love the fashion in New York, but it doesn’t compare to the fashion in Ireland—it’s too good.”

People

A Little Lunch With Her Friends

Immigration Center regular Kathleen Murtagh tries on Mairead Conley's new crown.

Immigration Center regular Kathleen Murtagh tries on Mairead Conley's new crown. (Click on the photo to view the slideshow.

The regular Wednesday Lunch at The Irish Immigration Center of Philadelphia had a special purpose and special guests this past week. The Center’s Deputy Director of Community Programming, Mairead Conley, was celebrated for her recent selection as the Midatlantic Rose of Tralee.

Karen Boyce McCollum, herself the 2005 Philadelphia Rose of Tralee, was on hand to graciously oblige the crowd by singing the song that started it all. While Kathleen Murtagh, who was one of the encouraging voices that convinced Mairead to enter her name this year, got a chance to try on the tiara.

And in keeping with Center Director Siobhan Lyons’ motto that “all are welcome,” 2010 Rosebud Grace Murphy brought her Dachshund puppy Daisy to help toast Mairead.

“We really do welcome everyone,” Siobhan laughed. “We’re here to help anyone who can use our services.”

Check out our photos from the afternoon, at upper right.