1.
Legend
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Legend, for its active and passive participants, includes no happenings that are outside the realm of possibility, but may include miracles. Legends may be transformed over time, in order to keep fresh and vital. Many legends operate within the realm of uncertainty, never being believed by the participants. The Brothers Grimm defined legend as folktale historically grounded, a modern folklorists professional definition of legend was proposed by Timothy R. Legend is a loanword from Old French that entered English usage circa 1340. The Old French noun legende derives from the Medieval Latin legenda, in its early English-language usage, the word indicated a narrative of an event. The word legendary was originally a noun meaning a collection or corpus of legends and this word changed to legendry, and legendary became the adjectival form. By 1613, English-speaking Protestants began to use the word when they wished to imply that an event was fictitious, thus, legend gained its modern connotations of undocumented and spurious, which distinguish it from the meaning of chronicle. In 1866, Jacob Grimm described the tale as poetic. Questions of categorising legends, in hopes of compiling a series of categories on the line of the Aarne–Thompson folktale index. Compared to the highly structured folktale, legend is comparatively amorphous, in Einleitung in der Geschichtswissenschaft, Ernst Bernheim asserted that a legend is simply a longstanding rumour. Gordon Allport credited the staying-power of some rumours to the persistent cultural state-of-mind that they embody and capsulise, in the narrow Christian sense, legenda were hagiographical accounts, often collected in a legendary. Hippolyte Delehaye distinguished legend from myth, The legend, on the hand, has, of necessity. It refers imaginary events to some real personage, or it localizes romantic stories in some definite spot, stories that exceed the boundaries of realism are called fables. For example, the talking animal formula of Aesop identifies his brief stories as fables, the parable of the Prodigal Son would be a legend if it were told as having actually happened to a specific son of a historical father. If it included a donkey that gave sage advice to the Prodigal Son it would be a fable, Legend may be transmitted orally, passed on person-to-person, or, in the original sense, through written text. Jacob de Voragines Legenda Aurea or The Golden Legend comprises a series of vitae or instructive biographical narratives and they are presented as lives of the saints, but the profusion of miraculous happenings and above all their uncritical context are characteristics of hagiography. The Legenda was intended to inspire extemporized homilies and sermons appropriate to the saint of the day, the vanishing hitchhiker is the best-known urban legend in America, traceable as far back as 1870, but it is found around the world including in Korea and Russia. In the legend, a girl in a white dress picked up alongside of the road by a passerby
2.
Ballad
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A ballad /ˈbæləd/ is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally danced songs, Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century. They were widely used across Europe, and later in the Americas, Australia, Ballads are 13 lines with an ABABBCBC form, consisting of couplets of rhymed verse, each of 14 syllables. Many ballads were written and sold as single sheet broadsides, the form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the took on the meaning of a slow form of popular love song and is now often used for any love song. The ballad derives its name from medieval French dance songs or ballares, from which ballet is also derived, as a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf. Musically they were influenced by the Minnesinger, the earliest example of a recognizable ballad in form in England is Judas in a 13th-century manuscript. This means that the two words, ballad and ballet, are derived from the French language. Ballads were originally written to accompany dances, and so were composed in couplets with refrains in alternate lines and these refrains would have been sung by the dancers in time with the dance. Most northern and west European ballads are written in ballad stanzas or quatrains of alternating lines of iambic tetrameter and iambic trimeter, known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed, there is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. Ballads usually use the dialect of the people and are heavily influenced by the region in which they originate. Scottish ballads in particular are distinctively un-English, even showing some pre-Christian influences in the inclusion of elements such as the fairies in the Scottish ballad Tam Lin. The ballads do not have any known author or correct version, instead, having passed down mainly by oral tradition since the Middle Ages. The ballads remained a tradition until the increased interest in folk songs in the 18th century led collectors such as Bishop Thomas Percy to publish volumes of popular ballads. In all traditions most ballads are narrative in nature, with a story, often concise, and rely on imagery, rather than description. Themes concerning rural laborers and their sexuality are common, and there are many ballads based on the Robin Hood legend. Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas
3.
Shapeshifting
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In mythology, folklore and speculative fiction, shapeshifting is the ability of a being or creature to completely transform its physical form or shape. This is usually achieved through an inherent ability of a creature, divine intervention. The idea persisted through the Middle Ages, where the agency causing shapeshifting is usually a sorcerer or witch and it remains a common trope in modern fantasy, childrens literature, and works of popular culture. The most common form of shapeshifting myths is that of therianthropy, legends allow for transformations into plants and objects, and the assumption of another human countenance. Shapeshifting to the form of a wolf is known as lycanthropy. Therianthropy is the general term for human-animal shifts, but it is rarely used in that capacity. It was also common for deities to transform mortals into animals, other terms for shapeshifters include metamorph, the Navajo skin-walker, mimic, and therianthrope. The prefix were-, coming from the Old English word for man, is used to designate shapeshifters, despite its root. While the popular idea of a shapeshifter is of a human being who turns into something else, proteus was noted among the gods for his shapeshifting, both Menelaus and Aristaeus seized him to win information from him, and succeeded only because they held on during his various changes. Nereus told Heracles where to find the Apples of the Hesperides for the same reason, the Titan Metis, the first wife of Zeus and the mother of the goddess Athena, was believed to be able to change her appearance into anything she wanted. In one story, she was so proud, that her husband, Zeus and he then swallowed her because he feared that he and Metis would have a son who would be more powerful than Zeus himself. She stayed alive inside his head and built armor for her daughter, the banging of her metalworking made Zeus have a headache, so Hephaestus clove his head with an axe. Athena sprang from her fathers head, fully grown, and in battle armor, in Greek mythology, the transformation is often a punishment from the gods to humans who crossed them. Zeus transformed King Lycaon into a wolf as a punishment for either killing Zeus children or serving him the flesh of Lycaons own murdered son Nyctimus, Demeter transformed Ascalabus into a lizard for mocking her sorrow and thirst during her search for her daughter Persephone. She also turned King Lyncus into a lynx for trying to murder her prophet Triptolemus, Athena transformed Arachne into a spider for challenging her as a weaver and/or weaving a tapestry that insulted the gods. Artemis transformed Actaeon into a stag for spying on her bathing, io was a priestess of Hera in Argos, a nymph who was raped by Zeus, who changed her into a heifer to escape detection. The young Tiresias was walking through a forest when he found two snakes in the act of love and he poked them with a stick and was instantly changed into a woman. He lived in this form for many years, and even married and had children
4.
Folklore
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Folklore is the body of expressive culture shared by a particular group of people, it encompasses the traditions common to that culture, subculture or group. These include oral traditions such as tales, proverbs and jokes and they include material culture, ranging from traditional building styles to handmade toys common to the group. Folklore also includes customary lore, the forms and rituals of celebrations like Christmas and weddings, folk dances, each one of these, either singly or in combination, is considered a folklore artifact. Just as essential as the form, folklore also encompasses the transmission of these artifacts from one region to another or from one generation to the next, for folklore is not taught in a formal school curriculum or studied in the fine arts. Instead these traditions are passed along informally from one individual to another either through verbal instruction or demonstration, the academic study of folklore is called folkloristics. To fully understand folklore, it is helpful to clarify its component parts and it is well-documented that the term was coined in 1846 by the Englishman William Thoms. He fabricated it to replace the contemporary terminology of popular antiquities or popular literature, the second half of the compound word, lore, proves easier to define as its meaning has stayed relatively stable over the last two centuries. Coming from Old English lār instruction, and with German and Dutch cognates, it is the knowledge and traditions of a particular group, the concept of folk proves somewhat more elusive. When Thoms first created this term, folk applied only to rural, frequently poor, a more modern definition of folk is a social group which includes two or more persons with common traits, who express their shared identity through distinctive traditions. Folk is a concept which can refer to a nation as in American folklore or to a single family. This expanded social definition of folk supports a view of the material, i. e. the lore. These now include all things people make with words, things they make with their hands, Folklore is no longer circumscribed as being chronologically old or obsolete. The folklorist studies the traditional artifacts of a group and how they are transmitted. Transmission is a part of the folklore process. Without communicating these beliefs and customs within the group over space and time, for folklore is also a verb. These folk artifacts continue to be passed along informally, as a rule anonymously, the folk group is not individualistic, it is community-based and nurtures its lore in community. As new groups emerge, new folklore is created… surfers, motorcyclists, in direct contrast to high culture, where any single work of a named artist is protected by copyright law, folklore is a function of shared identity within the social group. Having identified folk artifacts, the professional folklorist strives to understand the significance of these beliefs, customs, for these cultural units would not be passed along unless they had some continued relevance within the group
5.
Yarrow Water
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The Yarrow Water is a river in the Borders in the south east of Scotland. It is a tributary of the Ettrick Water and renowned for its high quality trout, the name Yarrow may derive from the Celtic word garw meaning rough or possibly share a derivation with the English name Jarrow. The valley was the birthplace of Mungo Park and has inspired several well-known songs and its traditions and folk tales were well documented by Walter Scott, who spent part of his childhood nearby, and in adult life returned to live in the vicinity at Abbotsford House, near Melrose. This confluence, which occurs at the edge of the Duke of Buccleuchs Bowhill Estate, is known as the Meetings Pool. The valley is traversed by the A708 that runs from Selkirk to Moffat, the explorer Mungo Park was born at Foulshiels on the left bank of the river in 1771. In May 1804 Walter Scott came upon Park throwing stones into a pool in the river and remarked that This appears. Park replied that this was Not so idle perhaps, as you suppose and this was the way I used to ascertain the depth of a river in Africa. Although he had not yet told anyone, Park was considering his second, at about the same time, James Hogg had come to the attention of Scott whilst the former was working at Blackhouse Farm in the Yarrow valley. The impressive ruins of Newark Castle, held by the Earls of Douglas in the 15th century, the folk song The Dowie Dens o Yarrow refers to an ambush and murder that takes place in the locality. These include a poem by William Hamilton of Bangour called The Braes of Yarrow first published in Edinburgh in 1724, the Sang of the Outlaw Murray is a lay that may have been composed in the reign of James V and which was collected by Walter Scott. He was assured by the late excellent antiquarian Mr. Plummer, sheriff-depute of Selkirkshire. that he remembered the insignia of the unicorns, &c. so often mentioned in the ballad, in existence there. In his 1803 publication Yarrow Unvisited William Wordsworth wrote, Whats Yarrow but a river bare, there are a thousand such elsewhere As worthy of your wonder. The wood of Carterhaugh near the confluence of the Yarrow and Ettrick, is the setting for the ballad Tam Lin and this song, collected in 1729, tells the story of a maiden and her relationship to the faery world. It begins, O I forbid you, maidens a, That wear gowd on your hair, To come or gae by Carterhaugh, theres nane that gaes by Carterhaugh But they leave him a wad, Either their rings, or green mantles, Or else their maidenhead. It is possible that this tale is derived from the 13th century ballad, Thomas the Rhymer, the subject matter of Tam Lin is referred to in various other local traditions. Scott recorded that, The peasants point out upon the plain, when he awakened he was amazed to find himself in the midst of a populous city, to which, as well as to the means of his transportation, he was an utter stranger. His coat was left upon the Peatlaw, and his bonnet, yarrowford List of places in the Scottish Borders List of places in Scotland Coventry, Martin Castles of the Clans. ISBN 978-1-899874-36-1 Hamilton, William The Poems and Songs of William Hamilton of Bangour, percy, Thomas Reliques of Ancient English Poetry, Consisting of Ballads, Songs, and Other Pieces of Our Earlier Poets
6.
Elf
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An elf is a type of supernatural being in Germanic mythology and folklore. Reconstructing the early concept of an elf depends almost entirely on texts in Old English or relating to Norse mythology, later evidence for elves appears in diverse sources such as medical texts, prayers, ballads, and folktales. Legends of álfar may have been changing and were perhaps always heterogeneous so it might be argued that any particular source will only reflect the state of affairs at one given time. However, the character of beliefs in elves across the Germanic-speaking world has varied considerably across time, space. In Old Norse mythological texts, elves seem at least at times to be counted among the gods, in medieval German texts they seem more consistently monstrous. Elves are prominently associated with sexual threats, seducing people and causing them harm, for example, a number of early modern ballads in the British Isles and Scandinavia, originating in the medieval period, describe human encounters with elves. In English literature of the Elizabethan era, elves became conflated with the fairies of Romance culture, German Romanticist writers were influenced by this notion of the elf, and reimported the English word elf in that context into the German language. In Scandinavia, probably through a process of euphemism, elves often came to be conflated with the called the huldra or huldufólk. Meanwhile, German folklore has tended to see the conflation of elves with dwarfs, the Christmas elves of contemporary popular culture are of relatively recent tradition, popularized during the late nineteenth-century in the United States. Elves entered the high fantasy genre in the wake of works published by authors such as J. R. R. Tolkien, for which. The English word elf is from the Old English word most often attested as ælf, although this word took a variety of forms in different Old English dialects, these converged on the form elf during the Middle English period. During the Old English period, separate forms were used for female elves, the main medieval Germanic cognates of elf are Old Norse alfr, plural alfar, and Old High German alp, plural alpî, elpî. These words must come from Common Germanic, the ancestor-language of English, German, and the Scandinavian languages, Germanic *ɑlβi-z~*ɑlβɑ-z is generally agreed to be cognate with the Latin albus, Old Irish ailbhín, Albanian elb, and Germanic words for ‘swan’ such as Modern Icelandic álpt. These all come from an Indo-European base *albh-, and seem to be connected by whiteness, the Germanic word presumably originally meant white person, perhaps as a euphemism. Jakob Grimm thought that whiteness implied positive moral connotations, and, noting Snorri Sturlusons ljósálfar and this is not necessarily the case, however. Compare descriptions such as ‘swan white’ to describe the beauty of fair complexion, Norse cultural values view masculinity as an ideal of beauty, which the Alfr personifies. For example, the Norse Eddas similarly celebrate the beauty of Baldr. Icelandic Sagas celebrate the beauty of the giants, and certain warrior kings that descend from them
7.
Tithe
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A tithe is a one-tenth part of something, paid as a contribution to a religious organization or compulsory tax to government. Today, tithes are normally voluntary and paid in cash, cheques, or stocks, whereas historically tithes were required and paid in kind, several European countries operate a formal process linked to the tax system allowing some churches to assess tithes. Traditional Jewish law and practice has included various forms of tithing since ancient times, orthodox Jews commonly practice maaser kesafim. In modern Israel, Jews continue to follow the laws of agricultural tithing, e. g. maaser rishon, terumat maaser, and maaser sheni. Instead, the New Testament scriptures are seen as teaching the concept of offerings as a means of supporting the church,1 Corinthians 16,2,2 Corinthians 9,7. Also, some of the earliest groups sold everything they had and held the proceeds in common to be used for the furtherance of the Gospel, Acts 2, 44-47, Acts 4, 34-35. Further, Acts 5, 1-20 contains the account of a man, tithes were mentioned at the Council of Tours in 567 and the Synod of Mâcon in 585. They were formally recognized under Pope Adrian I in 787, none of the extant laws of the Ancient Near East deal with tithing, although other secondary documents show that it was a widespread practice in the Ancient Near East. Who is in charge of the tithe, hebrew is a Semitic language, related to Akkadian, the lingua franca of that time. In Genesis 14, 18-20, Abraham, after rescuing Lot, after Melchizedeks blessing, Abraham gave him a tenth of everything he has obtained from battle, Then Melchizedek king of Salem brought out bread and wine. He was priest of God Most High, and he blessed Abram, saying, “Blessed be Abram by God Most High, Creator of heaven and earth. And praise be to God Most High, who delivered your enemies into your hand. ”Then Abram gave him a tenth of everything. ”And he was afraid and said, “How awesome is this place. This is none other than the house of God, and this is the gate of heaven. ”So early in the morning Jacob took the stone that he had put under his head and set it up for a pillar and poured oil on the top of it. He called the name of that place Bethel, but the name of the city was Luz at the first, and of all that you give me I will give a full tenth to you. ”The tithe is specifically mentioned in the Books of Leviticus, Numbers and Deuteronomy. The tithe system was organized in a cycle, corresponding to the Shemittah-cycle. These tithes were in reality more like taxes for the people of Israel and were mandatory and this tithe was distributed locally within thy gates to support the Levites and assist the poor. Every year, Bikkurim, Terumah, Maaser Rishon and Terumat Maaser were separated from the grain, wine, the first tithe is giving of one tenth of agricultural produce to the Levite. Historically, during the First Temple period, the first tithe was given to the Levites, approximately at the beginning of the Second Temple construction, Ezra and his Beth din implemented its giving to the kohanim
8.
Hell
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Hell, in many mythological, folklore and religious traditions, is a place of torment and punishment in an afterlife. Religions with a divine history often depict hells as eternal destinations while Religions with a cyclic history often depict a hell as an intermediary period between incarnations. Typically these traditions locate hell in another dimension or under the Earths surface, other afterlife destinations include Heaven, Purgatory, Paradise, and Limbo. Hell is sometimes portrayed as populated with demons who torment those dwelling there, many are ruled by a death god such as Nergal, Hades, Hel, Enma or Satan. Subsequently, the word was used to transfer a pagan concept to Christian theology, Some have theorized that English word hell is derived from Old Norse hel. However, this is unlikely as hel appears in Old English before the Viking invasions. Furthermore, the word has cognates in all the other Germanic languages and has a Proto-Germanic origin, Hell appears in several mythologies and religions. It is commonly inhabited by demons and the souls of dead people, a fable about hell which recurs in folklore across several cultures is the allegory of the long spoons. Hell is often depicted in art and literature, perhaps most famously in Dantes Divine Comedy, punishment in Hell typically corresponds to sins committed during life. In many religious cultures, including Christianity and Islam, Hell is often depicted as fiery, painful and harsh, despite these common depictions of Hell as a place of fire, some other traditions portray Hell as cold. Buddhist - and particularly Tibetan Buddhist - descriptions of hell feature a number of hot. Among Christian descriptions Dantes Inferno portrays the innermost circle of Hell as a lake of blood. At death a person faced judgment by a tribunal of forty-two divine judges, if they had led a life in conformance with the precepts of the Goddess Maat, who represented truth and right living, the person was welcomed into the Two Fields. If found guilty the person was thrown to a devourer and would be condemned to the lake of fire, the person taken by the devourer is subject first to terrifying punishment and then annihilated. These depictions of punishment may have influenced medieval perceptions of the inferno in hell via early Christian, purification for those considered justified appears in the descriptions of Flame Island, where humans experience the triumph over evil and rebirth. For the damned complete destruction into a state of non-being awaits but there is no suggestion of eternal torture, the weighing of the heart in Egyptian mythology can lead to annihilation. The Tale of Khaemwese describes the torment of a man, who lacked charity. Divine pardon at judgement always remained a concern for the Ancient Egyptians
9.
Halloween
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It begins the three-day observance of Allhallowtide, the time in the liturgical year dedicated to remembering the dead, including saints, martyrs, and all the faithful departed. Some academics, however, support the view that Halloween began independently as a solely Christian holiday. Some Christians historically abstained from meat on All Hallows Eve, a reflected in the eating of certain foods on this vigil day, including apples, potato pancakes. The word Halloween or Halloween dates to about 1745 and is of Christian origin, the word Halloween means hallowed evening or holy evening. It comes from a Scottish term for All Hallows Eve, in Scots, the word eve is even, and this is contracted to een or een. Over time, Hallow Een evolved into Halloween, although the phrase All Hallows is found in Old English All Hallows Eve is itself not seen until 1556. Todays Halloween customs are thought to have influenced by folk customs and beliefs from the Celtic-speaking countries. Samhain was the first and most important of the four days in the medieval Gaelic calendar and was celebrated on 31 October–1 November in Ireland, Scotland. A kindred festival was held at the time of year by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany. For the Celts, the day ended and began at sunset, Samhain and Calan Gaeaf are mentioned in some of the earliest Irish and Welsh literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century, samhain/Calan Gaeaf marked the end of the harvest season and beginning of winter or the darker half of the year. Like Beltane/Calan Mai, it was seen as a liminal time and this meant the Aos Sí, the spirits or fairies, could more easily come into our world and were particularly active. Most scholars see the Aos Sí as degraded versions of ancient gods whose power remained active in the minds even after they had been officially replaced by later religious beliefs. The Aos Sí were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings, at Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for the Aos Sí, the souls of the dead were also said to revisit their homes seeking hospitality. Places were set at the table and by the fire to welcome them. The belief that the souls of the return home on one night of the year. In 19th century Ireland, candles would be lit and prayers offered for the souls of the dead
10.
Proteus
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In Greek mythology, Proteus is an early sea-god or god of rivers and oceanic bodies of water, one of several deities whom Homer calls the Old Man of the Sea. Some who ascribe to him a specific domain call him the god of sea change. He can foretell the future, but, in a familiar to several cultures, will change his shape to avoid having to. From this feature of Proteus comes the adjective protean, with the meaning of versatile, mutable, capable of assuming many forms. Protean has positive connotations of flexibility, versatility and adaptability, Proteus name suggests the first, as protogonos is the primordial or the firstborn. It is not certain to what this refers, but in myths where he is the son of Poseidon, it refers to his being Poseidons eldest son, older than Poseidons other son. The first attestation of the name, although it is not certain whether it refers to the god or just a person, is in Mycenaean Greek, the attested form, in Linear B, is
11.
Roxburgh
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Roxburgh /ˈrɒksbərə/, also known as Rosbroch, is a civil parish and now-destroyed royal burgh, in its eponymous historic county of Roxburghshire in the Scottish Borders. It was an important trading burgh in High Medieval to early modern Scotland, in the Middle Ages it had at least as much importance as Edinburgh, Stirling, Perth, or Berwick-upon-Tweed, for a time acting as de facto capital. Its position also acted as a barrier to English invasion, the town stood on a defensible peninsula between the rivers Tweed and Teviot, with Roxburgh Castle guarding the narrow neck of the peninsula. Nothing remains of the town except some ruined segments of castle ramparts and its site lies to the south of modern Kelso and Floors Castle, which lie on the other side of the Tweed. The Duke of Roxburghe owns the site, English and Scots forces repeatedly captured and recaptured the town during the Scottish Wars of Independence, notably in 1314, in the run-up to Bannockburn. Its final recapture in 1460 saw the town and castle destroyed, after this time the town never regained its importance because the final English capture of Berwick-upon-Tweed in 1482 left Roxburgh with little reason to exist, henceforth lacking a port. Roxburgh was superseded as the county town of the county of Roxburghshire by Jedburgh. Roxburgh probably comes from Old English *hrōcas burh, rooks burgh, in more recent times, Roxburgh referred to a local government district in the Borders region of Scotland. Its borders broadly resembled those of the county of Roxburghshire. In 1996 the district of Roxburgh became part of the Scottish Borders unitary area, today the name Roxburgh belongs to a small village about 2 miles south-southwest of the site of the historic Roxburgh. List of places in the Scottish Borders Sadler, John, border Fury, England and Scotland at War, 1296–1568
12.
Foulis Castle
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Foulis Castle is situated five miles south-west of Alness in Ross and Cromarty, Scotland. It is a white washed mansion that incorporates an old house with gun loops. The castle was held by the Clan Munro from the century or earlier. The remains of an 11th-century Motte, believed to be the very first fortification at Foulis, Foulis Castle itself is mentioned briefly in records that date back to the 14th century although the original Tower of Foulis was believed to have been built in 1154. It is recorded by contemporary evidence that Uilleam III, Earl of Ross granted a charter to Robert de Munro of Foulis for the lands of Estirfowlys with the Tower of Strathskehech from 1350. It is also recorded that Euphemia I, Countess of Ross granted two charters to Roberts son, Hugh Munro, 9th Baron of Foulis in 1394. A document signed and sealed at Foulis Castle in 1491 reads in Gaelic caisteal biorach, nead na h-iolair, which means castle gaunt-peaked and this is in allusion to the clan chiefs hereldic emblem. In 1542 Donald Mackay of Strathnaver, chief of the Clan Mackay was imprisoned in Foulis Castle, the castles tower and fortalice are also mentioned in a charter from the crown in 1587. The castle survived up to the 18th century until it was attacked by Jacobites in 1746, Sir Robert Munro, 6th Baronet was killed at the Battle of Falkirk Muir in 1746 and the castle was sacked and burned by the Jacobites in the same year. Roberts son the next chief, Sir Harry Munro, 7th Baronet returned home from captivity to find the castle had been set on fire. The Jacobites were defeated just a few months later by Government forces at the Battle of Culloden, Sir Harry Munro set about rebuilding the castle incorporating what he could of the original building. However as the Battle of Culloden had brought an end to the Highland clan system there was no need for such a defensive fort anymore. As with many castles at this time it was re-built as a mansion house as we see it today. The castle was re-built as a classical mansion between 1754 and 1792. Foulis Castle still remains the home of the Chief of Munro, however the Munro of Foulis-Obsdale Baronets now live in London. Unfortunately no records survive of what the fortifications at Castle Foulis looked like before 1746, however much has been learned about the castle and what the fortifications might have looked before 1746 by Captain and Mrs. Munro in their various stages of restoration. They believe that it was surrounded by a series of smaller dwellings. They found in 1957–59, much evidence to suggest that in the courtyard area horses and cattle were kept, and that it was a community able to withstand a siege
13.
Lord Forbes
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Lord Forbes is the senior Lordship of Parliament in the Peerage of Scotland. The title was created sometime after 1436 for Alexander de Forbes, the precise date of the creation is not known, but in a Precept dated July 12,1442, he is already styled Lord Forbes. Browns 1834 Peerage of Scotland gives a year of 1440. Alexanders descendant, the twelfth Lord, served as Lord Lieutenant of Aberdeenshire and Kincardineshire and his great-grandson, the seventeenth Lord, was a general in the Army and sat in the House of Lords as a Scottish Representative Peer from 1806 to 1843. His son, the eighteenth Lord, fought at the Battle of Waterloo in 1815 and he was succeeded by his son, the nineteenth Lord. He was a Scottish Representative Peer from 1874 to 1906 and his nephew, the twenty-first Lord, served as a Scottish Representative Peer between 1917 and 1924. As of 2017 the title is held by his son, the twenty-third Lord Forbes, Lord Forbes is Chief of Clan Forbes. Hon. Patrick Forbes, third son of the second Lord Forbes, was the ancestor of both the Earls of Granard and the Forbes baronets of Craigievar, also, the Lords Forbes of Pitsligo were descended from Sir William Forbes, brother of Alexander Forbes, 1st Lord Forbes. The family seat is Forbes Castle, near Alford, Aberdeenshire, neil Malcolm Ross Forbes, Master of Forbes. The heir apparents heir apparent is his son, Geordie Malcolm Andrew Forbes, Clan Forbes Earl of Granard Lord Forbes of Pitsligo Forbes baronets genealogics. org
14.
Castle Forbes
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Castle Forbes is a 19th-century country house in the Scottish baronial architecture style near Alford in Aberdeenshire, Scotland. The 6,000 acres Vale of Alford estate has been home to the Forbes for over 600 years, the original house was named Putachie. The present castle overlooking the River Don was built in 1815 by the 17th Lord Forbes, today it is occupied by Malcolm Forbes, 23rd Lord Forbes, and his wife Jinny and open to residential guests. The estate offers fishing and golf, in 1996, a former dairy building was converted into a small perfumery. The castle is a category B listed building, there is a stone circle dating to 3000 BC on the estate
15.
Earl of Moray
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The title Earl of Moray has been created several times in the Peerage of Scotland. Prior to the establishment of the peerage, Earl of Moray. The province of Morays importance as part of the kingdom of Scotland was demonstrated during the years of warfare between 1296 and 1340. The province was forced to submit to Edward I of England in 1303, in 1312 Robert I re-established the Earldom of Moray for his nephew, Thomas Randolph, 1st Earl of Moray. The new earldom included all of the old province and the lands of the Laich or coastal area of Moray. With the absence of noble leaders, power fell to lesser figures who functioned in kin-based groups such as the Clan Donnachaidh of Atholl and this drew in lords and men from outside of the province, from further south such as the Dunbars and Stewarts who staked their claims. The division of Moray led to conflict which was exacerbated by the activities of local kindreds and the eastward spread of the Gaelic superpower. Scotlands rulers were slow to react to the problems in the earldom of Moray and their response was largely indirect and the governor, Robert Stewart, Duke of Albany, campaigned in the region in 1405 and 1411. James I of Scotland did the same in 1428 and 1429 and they preferred to rely on a Lieutenant, Alexander Stewart, Earl of Mar, the son of the Wolf of Badenoch. When the Earl of Mar died in 1435, a power vacuum allowed the Lords of the Isles to dominate Moray from the 1430s to the 1450s, the crowns earldom was restricted to the coastal areas of Moray and was held by lords whose resources lay elsewhere. The last of these lords were the Clan Douglas, Earls of Douglas who were forfeited in 1455, after the Battle of Arkinholm against the king. The Clan Gordon, Earls of Huntly secured Badenoch in 1452, the earldom eventually descended to Elizabeth Stewart, 7th Countess of Moray, whose husband was also recognised as earl. However, when her husband, James, was killed in battle against the Sovereign in 1455, the next grant was made to James Stewart, the son of King James IV. He, however, died without children, and the title became extinct, the title was next given to George Gordon, 4th Earl of Huntly. Gordon fell out of favour, and in 1462, he was killed. The most recent creation was in favour of another James Stewart, other Scottish titles associated with this creation are, Lord Abernethy and Strathearn, Lord Doune and Lord St Colme. He was also a direct descendant of King Robert II. The family seats are Doune Lodge, near Doune, Stirling and Darnaway Castle, near Forres, findláech mac Ruaidrí Máel Coluim mac Maíl Brigti Gille Coemgáin mac Maíl Brigti Mac Bethad mac Findláich, Lulach mac Gille Coemgáin Máel Snechtai mac Lulaich
16.
Yogh
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The letter yogh was used in Middle English and Older Scots, representing y and various velar phonemes. It was derived from the Old English form of the letter g, in Middle English writing, tailed z came to be indistinguishable from yogh. In Middle Scots, the character became confused with a cursive z. Consequently, some Lowland Scots words have a z in place of a yogh, Yogh is shaped similarly to the Arabic numeral three, which is sometimes substituted for the character in online reference works. There is some confusion about the letter in the literature, as the English language was far from standardised at the time, the upper and lower case letters are represented in Unicode by code points U+021C Ȝ LATIN CAPITAL LETTER YOGH and U+021D ȝ LATIN SMALL LETTER YOGH respectively. In Modern English, Yogh is pronounced either UK /ˈjɒɡ/, /ˈjɒx/, with an o, or US /ˈjoʊɡ/, /ˈjoʊk/, /ˈjoʊx/. It stood for /ɡ/ and its various allophones—including and the velar fricative —as well as the phoneme /j/. In Middle English, it stood for the phoneme /x/. Sometimes, yogh stood for /j/ or /w/, as in the word ⟨ȝoȝelinge⟩, in Middle Scots, it represented the sound /j/ in the clusters /lj/, /ŋj/ and /nj/ written lȝ and nȝ. Yogh was also used for /j/ rather than y, in medieval Cornish manuscripts, yogh was used to represent the voiced dental fricative, as in ⟨ȝoȝo⟩, now written ⟨dhodho⟩, pronounced. The original Germanic g sound was expressed by the gyfu rune in the Anglo-Saxon futhorc, following palatalization, both gyfu and Latin g in Old English expressed the /j/ sound before front vowels. For example, year was written as either ȝear or gear, in the Old English period, the ȝ glyph was simply the way Latin g was written in the Uncial script introduced at the Christianisation of Anglo-Saxon England by the Hiberno-Scottish mission. It only came to be used as a distinct from g in the Middle English period. The process of replacing the yogh with gh was slow, and was not completed until the end of the fifteenth century. Not every English word that contains a gh was originally spelled with a yogh, for example, spaghetti is Italian, the medieval author Orm used this letter in three ways when writing Early Middle English. By itself, it represented /j/, so he used this letter for the y in yet, doubled, it represented /i/, so he ended his spelling of may with two yoghs. Finally, the digraph of yogh followed by an h represented /ɣ/, in The Tale of Melibee, Geoffrey Chaucer wrote, Ȝe haue cast alle here wordes in an hochepoche. In the late Middle English period, yogh was no longer used, Middle English re-imported G in its French form for /ɡ/
17.
Francis James Child
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Francis James Child was an American scholar, educator, and folklorist, best known today for his collection of English and Scottish ballads now known as the Child Ballads. Child was Boylston professor of rhetoric and oratory at Harvard University, in 1876 he was named Harvards first Professor of English, a position which allowed him to focus on academic research. It was during this time that he work on the Child Ballads. The Child Ballads were published in five volumes between 1882 and 1898, while Child was primarily a literary scholar with little interest in the music of the ballads, his work became a major contribution to the study of English-language folk music. Francis James Child was born in Boston, Massachusetts, the family was poor, but thanks to the city of Bostons system of free public schools, the boy was educated at the Bostons Grammar and English High Schools. At Harvard, Frank excelled in all classes and also read widely outside his studies for his own pleasure and he was graduated in 1846, topping his class in all subjects and was chosen Class Orator by his graduating class, who received his valedictory speech with tumultuous applause. Upon graduation Child was appointed tutor in mathematics at Harvard and in 1848 was transferred to a tutorship in history, political economy, in 1848, Child published a critically annotated edition of Four Old Plays of the early English Renaissance. There were then no graduate schools in America, but a loan from a benefactor, bowditch, to whom the book was dedicated, enabled Child to take a leave of absence from his teaching duties to pursue his studies in Germany. In 1851, at the age of 26, Child succeeded Edward T, channing as Harvards Boylston Professor of Rhetoric and Oratory, a position he held until Adams Sherman Hill was appointed to the professorship in 1876. Harvard had at time a enrollment of 382 undergraduates and a faculty of 14, including the president of the University. As a mathematician, wrote folklore scholar David E, the volumes on the works of Edmund Spenser and the English and Scottish Ballads, Child edited himself. Child planned an edition of the works of Chaucer, as well. He soon realized that this could not be done, however, Childs linguistic researches are largely responsible for how Chaucerian grammar, pronunciation, and scansion are now generally understood. Childs largest undertaking, however, grew out of the original English and Scottish Ballads volume in his British Poets series, the material for this volume was mostly derived from texts in previously published books. Child and Furnivall then went on to found The Ballad Society, with a view to publishing other important early ballad collections, thereafter, Child devoted himself to the comparative study of British vernacular ballads, using methods adopted from historical comparative philology to arrive at the earliest attested versions. Child considered that folk ballads came from a more time in the past when society was not so rigidly segregated into classes. He conceived the people as comprising all the classes of society, rich, middle, and poor, although Child concentrated his collections on manuscript texts with a view to determining their chronology, he also gave a sedulous but conservative hearing to popular versions still surviving. 1–12, was the model for Childs resulting canonical five-volume edition of some 305 English and Scottish ballads, worked and overworked to the last, he died in Boston after completing his task – apart from a planned general introduction and bibliography
18.
Joseph Jacobs
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Joseph Jacobs was an Australian folklorist, literary critic, social scientist, historian and writer of English literature who became a notable collector and publisher of English folklore. He also edited editions of The Thousand and One Nights and he went on to join The Folklore Society in England and became an editor of the society journal Folklore. Joseph Jacobs also contributed to The Jewish Encyclopedia and he was the sixth surviving son of John Jacobs, a publican who had emigrated from London around 1837, and his wife Sarah, née Myers. Jacobs was educated at Sydney Grammar School and at the University of Sydney and he did not complete his studies in Sydney, but left for England at the age of 18 and entered St Johns College, Cambridge. He graduated with a B. A. in 1876, and in 1877, Jacobs married Georgina Horne and fathered two sons and a daughter. In 1900, when he became revising editor of the Jewish Encyclopedia, based in New York and he died on 30 January 1916 at his home in Yonkers, New York. Jacobs was secretary of the Society of Hebrew Literature from 1878 to 1884 and this led to the formation of the mansion house fund and committee, of which Jacobs was secretary from 1882 to 1900. He was a student of anthropology at the Statistical Laboratory at University College London in the 1880s under Francis Galton and his Studies in Jewish Statistics, Social, Vital and Anthropometric made his reputation as the first proponent of Jewish race science. He wrote many articles for the Athenaeum, which published in 1891 the collection, George Eliot, Matthew Arnold, Browning, Newman, Essays. In the same year appeared his Studies in Jewish Statistics, in 1892, Tennyson and In Memoriam, and in 1893, his important book on The Jews of Angevin England. His historical novel dealing with the life of Jesus, As Others Saw Him, A Retrospective A. D.54, was published anonymously in 1895, in the year his Jewish Ideals. In this year, he was invited to the United States of America to give a course of lectures on the Philosophy of Jewish History, the Story of Geographical Discovery was published towards the end of 1898 and ran into several editions. He had been compiling and editing the Jewish Year Book since 1896, in 1900, he accepted an invitation to become revising editor of the Jewish Encyclopedia, which was then being prepared at New York. He settled permanently in the United States, where he wrote articles for the Jewish Encyclopedia. He then became registrar and professor of English at the Jewish Theological Seminary of America in New York, in 1908, he was appointed a member of the board of seven, which made a new English translation of the Bible for the Jewish Publication Society of America. In 1913, he resigned his positions at the seminary to become editor of the American Hebrew, in 1920, Book I of his Jewish Contributions to Civilization, which was practically finished at the time of his death, was published at Philadelphia. Jacobs was also a contributor to the Encyclopædia Britannica, and James Hastings Encyclopaedia of Religion, although he collected many tales under the name of fairy tales, many of them are unusual sorts of tales. Binnorie and Tamlane are prose versions of ballads, The Old Woman and Her Pig is a rhyme, Henny-Penny is a fable
19.
Michael Drayton
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Michael Drayton was an English poet who came to prominence in the Elizabethan era. Drayton was born at Hartshill, near Nuneaton, Warwickshire, England, almost nothing is known about his early life, beyond the fact that in 1580 he was in the service of Thomas Goodere of Collingham, Nottinghamshire. More recent work has cast doubt on those speculations, in 1590 he produced his first book, The Harmony of the Church, a volume of spiritual poems, dedicated to Lady Devereux. It is notable for a version of the Song of Solomon, however, with the exception of forty copies, seized by the Archbishop of Canterbury, the whole edition was destroyed by public order. Nevertheless, Drayton published a vast amount within the few years. In 1593 appeared Idea, The Shepherds Garland, a collection of nine pastorals, in which he celebrated his own love-sorrows under the poetic name of Rowland. The basic idea was expanded in a cycle of sonnets, published in 1594, under the title of Ideas Mirror. It appears that he failed to win his Idea, and lived and died a bachelor. It has been said Draytons sonnets possess a direct, instant, and universal appeal, by reason of their simple straightforward ring and foreshadowed the style of Fairfax, Waller. Drayton was the first to bring the term ode, for a poem, to popularity in England and was a master of the short. Also in 1593 there appeared the first of Draytons historical poems, The Legend of Piers Gaveston, and the year saw the publication of Matilda. In his Fig for Momus, Lodge reciprocated these friendly courtesies, in 1596 Drayton published his long and important poem Mortimeriados, a very serious production in ottava rima. He later enlarged and modified this poem, and republished it in 1603 under the title of The Barons Wars, in 1596 also appeared another historical poem, The Legend of Robert, Duke of Normandy, with which Piers Gaveston was reprinted. In 1597 appeared Englands Heroical Epistles, a series of historical studies and these last poems, written in the heroic couplet, contain some of the finest passages in Draytons writings. By 1597, the poet was resting on his laurels and it seems that he was much favoured at the court of Elizabeth, and he hoped that it would be the same with her successor. But when, in 1603, he addressed a poem of compliment to James I, on his accession, it was ridiculed and his bitterness found expression in a satire, The Owl, but he had no talent in this kind of composition. Not much more entertaining was his scriptural narrative of Moses in a Map of his Miracles, in 1605 Drayton reprinted his most important works, his historical poems and the Idea, in a single volume which ran through eight editions during his lifetime. Some of the odes are extremely spirited, in this volume he printed for the first time the famous Ballad of Agincourt
20.
Oberon
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Oberon is a king of the fairies in medieval and Renaissance literature. He is best known as a character in William Shakespeares play A Midsummer Nights Dream, in which he is Consort to Titania, Oberons status as king of the fairies comes from the character of Alberich, a sorcerer in the legendary history of the Merovingian dynasty. In the legend, he is the brother of Merowech, whose name is the eponym of the Merovingians. Alberich wins for his eldest son, Walbert, the hand of a princess of Constantinople, in the Nibelungenlied, a Burgundian poem written around the turn of the 13th century, Alberich guards the treasure of the Nibelungen, but is overcome by Siegfried. Huon, son of Seguin count of Bordeaux, passed through the forest inhabited by Oberon and he was warned by a hermit not to speak to Oberon, but his courtesy had him answer Oberons greetings, and so gain his aid in his quest. Huon had killed Charlot, the Emperors son, in self-defense and he succeeds only with Oberons aid. This elf is dwarfish in height, though very handsome and he explains that, at his christening, an offended fairy cursed him to dwarfish height, but relented and gave him great beauty as compensation. Alberich features as a dwarf in the Nibelungen, the height was thus explained. The real Seguin was Count of Bordeaux under Louis the Pious in 839, Charles lEnfant, a son of Charles the Bald, died in 866 of wounds inflicted by a certain Aubouin in the circumstances of an ambush similar to the Charlot of the story. Thus, Oberon appears in a 13th-century French courtly fantasy that is based on a shred of 9th century fact and he is given some Celtic trappings, such as a magical cup that is ever full for the virtuous. The magic cup supplied their evening meal, for such was its virtue that it afforded not only wine, in this story, he is said to be the child of Morgan le Fay and Julius Caesar. Shakespeare saw or heard of the French heroic song through the c. 1540 translation of John Bourchier, Lord Berners, in Philip Henslowes diary, there is a note of a performance of a play Hewen of Burdocize on December 28,1593. Oberon is the king of all of the fairies in William Shakespeares A Midsummer Nights Dream who is feuding with his wife Titania and they are fighting over a changeling child whom Oberon wants to raise as his henchman. Titania wants to keep the child because he is the child of Titanias mortal follower who died, because Oberon and Titania are powerful fairies, their arguments affect the weather. Titania describes what happens to nature when Oberon tricks Titania into loving Bottom, the flower was accidentally struck by Cupids arrow when he attempted to shoot a young maiden in a field, instead infusing the flower with love. Oberon sends his servant, Puck, to fetch the flower, furious that Titania will not give him the child, he puts juice from a magical flower into her eyes while she is asleep. The effect of the juice will cause Titania to fall in love with the first live thing she sees. Titania awakens and finds herself madly in love with Bottom, an actor in the Mechanicals whos head was just transformed into that of a donkeys, thanks to a curse from Puck
21.
Scottish mythology
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It was the belief that Beira, the Queen of Winter, had a firm hold on the country by raising storms during January and February thus preventing greenery to emerge. She was considered a tough and brutal old woman who stirred the deadly spiraling action of Corryvreckan, ushering snow, even the creation of lochs and mountains were attributed to her. Scottish mythology is not like the Greek and Roman myths as it deals with aspects of nature. In this context the most powerful and feared goddess representing winter is Beira who rules winter for its entire duration, immediately, the following season she readily concedes to Dual Lord and Lady who then enjoy equal power during the ensuing season. This myth is akin to the myth of the Mayans and deals with female power in the creation. However, Donald Mackenzie in his book Scottish Wonder Tales from Myth and Legend states that the goddesses of the Scottish myths are not glorified, Scottish mythology is dominated by goddesses, and according to Donald Mackenzie they are greater and stronger than the gods. The Celtic goddesses were authoritative and were associated with female fertility as related to female divinity, in olden times the Celtics land and national societies were both linked with the body of the goddess and her representative on earth was the queen. Another ambivalent character in Scottish myths was the hag, the Goddess, the Gaelic Cailleach, and the Giantess, the hag is also considered a healer and helpful during childbirth and is divine and said to have long ancestry and incredible longevity. She is also known as at once creator and destroyer, gentle and fierce, several origin legends for the Scots arose during the historical period, serving various purposes. One Scottish origin legend, or pseudo-historical account of the foundation of the Scottish people, as they roamed through Ireland, from Clonmacnoise, Armagh and Kildare to Cork, and finally, to Bangor, they were continually engaged at war with the Pictanei. After some time, they crossed the Irish Sea to invade Caledonia North of Roman Britain, successively capturing Iona, the latter places are echoed by the appearance of Cinnrígmonaid and Cinnbelathoir in the Chronicle of the Kings of Alba. The territory so conquered was then named Scotia after Scota, the Egyptian wife of Spartan commander Nél or Niul, once the Picts adopted Gaelic culture and their actual characteristics faded out of memory, folkloric elements filled the gaps of history. In the eighteenth century the Picts were co-opted as a Germanic race, in the Celtic domains of Scotland, also known as Gaelteached, there were ancient pre-Christian structures. These are the Ulaid, or people of the North-Eastern corner of Ireland, the Ulaid had close links with Gaelic Scotland, where Cúchulainn is said to have learned the arts of war. These stories are written for the most part in prose, the centrepiece of the Ulster Cycle is the Táin Bó Cúailnge. Other important Ulster Cycle tales include The Tragic Death of Aifes only Son, Fled Bricrenn Bricrius Feast and this cycle is, in some respects, close to the mythological cycle of the rest of the Gaelic speaking world. Some characters from the latter reappear, and the sort of shape-shifting magic is much in evidence, side by side with a grim. Scottish Gaelic adaptations of Ulster Cycle tales appear in the Glenmasan manuscript, the stories of Finn mac Cumhaill and his band of soldiers the Fianna, appear to be set around the 3rd century in Gaelic Ireland and Scotland
22.
Broadside Electric
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Broadside Electric is an American electric folk band from Philadelphia. Formed in 1990, the band was active in 2011. Audiences expect an erudite and eclectic mix of material, including child ballads, foreign language songs, and the humorous, obscure. Broadside in the name is taken from the printed song lyric sheets which became popular in the 16th century. The band was formed in 1990 by Haverford College and Bryn Mawr College students and alumni Rachel Hall, Tom Rhoads, Jim Speer, left to pursue a Ph. D in social anthropology. Left to pursue a Watson Fellowship, black-edged Visiting Card Amplificata More Bad News. With Teeth Live, Do Not Immerse Official website Broadside Electric on MySpace Broadside Electric on last. fm Broadside Electric on Virb
23.
Current 93
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Current 93 is an eclectic British experimental music group, working since the early 1980s in folk-based musical forms. The band was founded in 1982 by David Tibet, Tibet has been the only constant in the group, though Steven Stapleton has appeared on nearly every Current 93 release. Michael Cashmore has also been a constant contributor since Thunder Perfect Mind. Douglas P. of Death in June has played on well over a dozen Current 93 releases, will Oldham, Ben Chasny, Rose McDowall, Hank Williams III, among others. Current 93 have released over twenty albums and many singles as well, much of Current 93s early work was similar to late 1970s and early 1980s industrial music, abrasive tape loops, droning synthesizer noises and Tibets distorted, excoriating vocals. The later to present-day period of Current 93s recordings increasingly reflect Tibets interest in Christian mysticism, Tibet has stated that he identifies himself as a Christian. R. Jamess various ghost stories, The Cloud of Unknowing, Count Eric Stenbock, black Ships Ate The Sky on Brainwaves 1986 Aleister Crowley – The Hastings Archives/The World As Power LP1988 The Venerable Chi. med Rig. dzin Lama, Rinpoche – Tantric rNying. David Tibet – C93 interview extensive interview with David Tibet from the Judas Kiss site, conducted in 2006 Current 93 discography at MusicBrainz
24.
Elephant Revival
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Elephant Revival is a folk music group from Nederland, Colorado, formed in 2006. The band consists of Bonnie Paine, Charlie Rose, Dango Rose, Daniel Rodriguez and their style of music is often referred to as transcendental folk, which incorporates elements of Scottish/Celtic fiddle tunes, original folk pieces, traditional ballads, bluegrass, and indie rock. All members of the band are multi-instrumentalists and contribute vocals and to songwriting, the band members originate from many parts of the country but have roots in both Colorado and Tahlequah, Oklahoma, Paines hometown. Several members of the band playing together in the summer of 2006 in various group combinations in Oklahoma. The first show all five members played together was in Colorado in October 2006 at the Gold Hill Inn. After solidifying the group, Concept was soon dropped from the name, Elephant Revivals debut, self-titled recording was released in 2008 and produced by David Tiller of Taarka. In summer 2010 Elephant Revival was signed to Ruff Shod Records, Elephant Revivals second CD Break In the Clouds, also produced by Tiller, was released on November 22,2010. On June 18,2016 the band narrowly escaped a bus fire the morning before a show at Music at the Mill in Hickory, NC. Several unique instruments and belongings were destroyed in the fire but the members were unharmed and played the show that night with borrowed instruments. Bonnie Paine Charlie Rose Dango Rose Daniel Rodriguez Bridget Law, sage Cook - founding member, not currently playing with the band Elephant Revival Break In The Clouds Its Alive These Changing Skies Sands of Now Petals Official website
25.
Fairport Convention
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Fairport Convention are an English folk rock and electric folk band. Formed in 1967, they are regarded as a key group in the English folk rock movement. Since 1979, they have hosted the Cropredy Festival, which is the largest such event in England. Individually and collectively the members of Fairport Convention have received awards recognising their contribution to music. As of 2017, they continue to record and tour, bassist Ashley Hutchings met guitarist Simon Nicol in North London in 1966 when they both played in the Ethnic Shuffle Orchestra. They soon added a female singer, Judy Dyble, which gave them a distinctive sound among the many London bands of the period, Fairport Convention were soon playing regularly at underground venues such as UFO and The Electric Garden, which later became the Middle Earth club. After only a few months, they caught the attention of manager Joe Boyd who secured them a contract with Polydor Records, Boyd suggested they augment the line-up with another male vocalist. Singer Iain Matthews joined the band and their first album, Fairport Convention, was recorded in late 1967, at this early stage Fairport looked to North American folk and folk rock acts such as Joni Mitchell, Bob Dylan, and The Byrds for material and inspiration. Fairport Convention played alongside Jefferson Airplane at the First Isle of Wight Festival,1968, after disappointing album sales they signed a new contract with Island Records. Before their next recording Judy Dyble was replaced by the band with Sandy Denny and these recordings marked the growth of much greater musicality and song-writing ability among the band. The first of these featured the Thompson-penned Meet on the Ledge, during the recording of Unhalfbricking, Matthews left after having sung on only one song, eventually to form Matthews Southern Comfort. He was not replaced, the male members covered his vocal parts. The album featured a guest appearance by Birmingham folk fiddler Dave Swarbrick on a recording of A Sailors Life and these two albums began to gain the band wider recognition. Radio DJ John Peel championed their music, playing their albums on his influential BBC shows, Peel also recorded a number of sessions which were later released as the album Heyday. They enjoyed some success when they entered the singles charts with Si Tu Dois Partir. The record just missed the top twenty, but secured the band a slot on Top of the Pops, in 1969 four members of the band, one uncredited and three with pseudonyms, featured as backing musicians on the album Love Chronicles by Scottish folk artist Al Stewart. On 12 May 1969, on the way home from a gig at Mothers, martin Lamble, aged only nineteen, and Jeannie Franklyn, Richard Thompsons girlfriend, were killed. The rest of the band suffered injuries of varying severity, however, they reconvened with Dave Mattacks taking over drumming duties and Dave Swarbrick, having made contribution to Unhalfbricking, now joined as a full member
26.
Liege & Lief
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Liege & Lief is the fourth album by the English folk rock band Fairport Convention. It is the third and final album the group released in the UK in 1969, by introducing songs of this genre into the groups repertoire Denny, who had previously sung and recorded traditional folk songs as a solo artist, was instrumental in this transformation. The album was successful, peaking at number 17 on the UK Albums Chart during a 15-week run. It is often credited, though the claim is sometimes disputed, the popularity of Liege & Lief did a great deal to establish the new style commercially and artistically as a distinct genre. In an audience vote at the BBC Radio 2 Folk Awards in 2006, following the motorway accident that had killed Martin Lamble, the band were left without a drummer. After the release of Unhalfbricking, Dave Mattacks took over the role and, Dave Swarbrick, a little older than the rest of the band, had already been in a successful duo with guitarist Martin Carthy. After his appearance on Unhalfbricking, he too joined Fairport full-time, much of this material had been found by Ashley Hutchings in Cecil Sharps collection, maintained by the English Folk Dance and Song Society. The title is composed of two Middle English words, liege meaning loyal and lief meaning ready, the cover, a gatefold in grey and purple, featured cameo images of the band along with track listing and credits. Soon after the release of Liege & Lief, Ashley Hutchings left to pursue traditional music in a new band, Steeleye Span. Liege & Lief was promoted by John Peel on his Top Gear radio programme, robert Christgau of The Village Voice gave Liege & Lief a B– and said that, because of his anti-folk tastes, he was disappointed with the albums more traditional material after Unhalfbricking. The album has come to be regarded as having an influence in the development of British folk rock. At the event, the original line-up of Simon Nicol, Richard Thompson, Ashley Hutchings, Dave Swarbrick, Dave Mattacks, with Chris While replacing Sandy Denny, georgia Lucas, the daughter of Sandy Denny and Trevor Lucas, accepted the award on behalf of her late mother. This commemoration was repeated on 10 August 2007 at Cropredy, when the album was performed. In June 2007, Mojo magazine listed Liege & Lief at number 58 in its list of 100 Records that changed the world and they first aired on 27 September 1969
27.
Fiddler's Green (band)
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Fiddler’s Green is a German band that plays Irish folk music. Formed in 1990, their first concert under the name of Fiddler’s Green was at the Newcomer-Festival in Erlangen in November 1990 and their debut album entitled Fiddler’s Green was released in 1992 and featured both live and studio tracks, some traditional and some original material. It was released on their own label, Deaf Shepherd Recordings, the band has been signed to a major label, but chose to go back to being independent. The band members refer to their music as Irish Speedfolk. The band has kept up the mix of traditional Irish or Scottish songs and self-written tracks, the bands influences are wide and varied, but obviously heavily influenced by Celtic rock bands like the Pogues, the Waterboys and Great Big Sea. Recent albums also see an influence from Gothic rock music. Having enjoyed growing success in and around Germany, the band reached 1000 played concerts in 2004 and this concert was filmed and released on two DVDs, Celebrate. and Jubilate. The concert saw participation from band members and other guest musicians. Main lyric and music writer Peter Pathos left the band in summer 2006 and was replaced by Patrick Pat Prziwara, a live DVD Folks not dead was released to celebrate the bands 20th anniversary in 2010. Official website German Fansite Der grüne Geiger - Tobias Heindl
28.
Eliza Carthy
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Eliza Carthy, MBE is an English folk musician known for both singing and playing fiddle. She is the daughter of English folk musicians singer/guitarist Martin Carthy, Carthy was born in Scarborough, North Yorkshire, England. She went to school at Fyling Hall School in North Yorkshire, at the age of thirteen Carthy formed the Waterdaughters with her mother, aunt and cousin Marry Waterson. She has subsequently worked with Nancy Kerr, with her parents as Waterson–Carthy, and as part of the supergroup Blue Murder, in addition to her own solo work. Eliza Carthy led the vocals as a member of Blue Murder on the song I Bid You Goodnight found on the CD tribute to the music of Joseph Spence & the Pinder family called Out on the Rolling Sea. Along with Eliza are Lal Waterson, Norma Waterson, Jim Boyes, Martin Carthy, Barry Coope, Lester Simpson and she has twice been nominated for the Mercury Music Prize for UK album of the year, in 1998 for Red Rice, and again in 2003 for Anglicana. Eliza was a guest on the album Mermaid Avenue by Billy Bragg, Eliza and Billy also recorded together on the song My Fathers Mansions which appeared on the Pete Seeger tribute album called Where Have All The flowers Gone. In September 2002 Eliza took part in the Tribute concert for Kirsty MacColl, in 2003 Eliza swept the boards at the Radio 2 Folk Awards, winning Folk Singer of the Year, Best Album and Best Traditional Track. She was also the first traditional English musician to be nominated for a BBC Radio 3 Award for World Music in the same year, in 2004 she was part of Oysterband Big Session, a collaboration with numerous folk artists brought together by Oysterband. They produced an album The Big Session Volume One, and the group as a whole were awarded Best Group at the Folk Awards in 2005, on 29 May 2005, Carthy took part in a tribute to Peggy Seeger at the Queen Elizabeth Hall, London. A double CD Three Score and Ten contains highlights on the concert, in 2006 she contributed three songs to Rogues Gallery, Pirate Ballads, Sea Songs, and Chanteys, produced by Hal Willner. Performing as a duo with Richard Thompson, she contributed The Coo Coo Bird to a set called The Harry Smith Project also by Hal Willner. As a duo with Bob Neuwirth, she sang I Wish I Was a Mole in the Ground by Bascom Lamar Lunsford on the boxed set. Dreams of Breathing Underwater, Carthys second collection of self penned songs was released on 23 June 2008, Carthys 2008 tour was cancelled in November, as a cyst on her throat made singing inconsistent and painful. Because of her pregnancy, doctors delayed treatment until spring 2009 and she became a mother to Florence Daisy on 24 December 2008. The St Georges Day Celebrations in Trafalgar Square on 25 April 2009 were opened by Carthy who performed two songs, in 2010, Carthy released an album of collaborations with her mother entitled Gift. Her second daughter, Isabella Mary, was born on 26 November 2010, in May 2012 a biography of Eliza Carthy written by Sophie Parkes and titled Wayward Daughter was published by Soundcheck Books. In 2014, she was awarded the honour of an MBE for services to music in the Queens Birthday Honours
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Martin Carthy
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He was born in Hatfield and grew up in Hampstead, North London. His mother was an active socialist and his father, from a family of Thames lightermen, went to school and became a trade unionist. Martins father had played fiddle and guitar as a young man and his vocal and musical training began when he became a chorister at the Queens Chapel of The Savoy. He picked up his fathers old guitar for the first time after hearing Rock Island Line by Lonnie Donegan and he has cited his first major folk music influences as Big Bill Broonzy and the syncopated guitar style of Elizabeth Cotten. Carthy performed his first professional engagement at the age of 16 at The Loft and he became a resident at The Troubadour folk club in Earls Court in the early 1960s. He joined Redd Sullivans Thameside Four in 1961, in 1964 Carthy joined Marian Mackenzie, Ralph Trainer and Leon Rosselson in the group The Three City Four. The group concentrated on songs, including some of Rosselsons own. The 1965 eponymous debut The Three City Four featured Carthy singing lead vocals on two tracks – Sydney Carters Telephone Song and Rosselsons own History Lesson, roy Bailey would replace Carthy when he later left the group. Carthys debut solo album, Martin Carthy, was released in 1965, carthys arrangement of the traditional ballad Scarborough Fair was adapted, without acknowledgement, by Paul Simon on the Simon and Garfunkel album recording Parsley Sage Rosemary and Thyme in 1966. This caused a rift between the pair which was not resolved until Simon invited Carthy to sing the song with him on-stage at the Hammersmith Apollo in 2000 and he has also been involved with many musical collaborations. In June 1998 he was appointed an MBE in the Queens Birthday Honours. He was named Folk Singer of the Year at the BBC Radio 2 Folk Awards in 2002, in the 2007 Folk Awards Martin Carthy and Dave Swarbrick won Best duo. In 2014 he was awarded the Lifetime achievement award at the BBC Radio 2 Folk Awards, Carthy features throughout this boxed set as follows As Martin Carthy Prince Heathen from the album of the same name is track twelve of the second CD. The Dominion of the Sword from Rights of Passage is track two on the fifth CD, perfumes of Arabia from Skin and Bone is track twenty two on the sixth CD. As Part of the Watersons For Pence and Spiced Ale is one of the classic albums As Part of Brass Monkey The Maid And The Palmer from Brass Monkey is track eighteen on the second CD, georges Son from See How It Runs is track nine on the fifth CD. As Part of Waterson–Carthy Waterson, Carthy is one of the classic albums and we Poor Labouring Men from Broken Ground is track twenty one on the sixth CD
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Joe Jewell
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Joe Jewell is the Dublin-born lead guitarist of Irish band Aslan. His career of over twenty-five years has been characterized by numerous successes on the Irish charts and he co-wrote many of the bands finest songs including Crazy World, This Is, Wheres The Sun. Hurt Sometimes to name but a few and he also wrote the memorable riffs behind the songs and is the falsetto backing vocalist behind Christy Dignam in the band. He was also in The Precious Stones during the bands split, during live performances he uses Takamine acoustic guitars and a Fender Telecaster. Official site Review of The Platinum Collection for which Joe wrote many of the songs
