Events in Ukraine continue to dominate the news, and my thoughts inevitably drift to the anti-war movement and the peace songs of my youth. I am, at heart, a child of the 60s, and the anthems of those heady days still resonate with me. In those far off times we were convinced that the world could be a better place, if only those in power would listen to our pleas and give peace a chance.
We were, of course, hopelessly naïve in the belief that our message would be heard by those in a position to make the necessary changes. Fifty years on the world is a very different place, but as recent events demonstrate, not a lot better.
Don’t get me wrong, I believe absolutely that, regardless of ethnicity, nationality, culture, religion, gender or sexuality, the vast majority of human beings are fundamentally decent people. But not everyone, and when bad people get into positions of power, bad things can still happen. The evidence is all around us right now.
Much of the anti-war sentiment that prevailed as I grew up in the 60s and early 70s came from the conflict in far-off Vietnam, but for many Brits memories of WW2 were also raw. I remember my father telling me of the occasion when his unit came under intense aerial bombardment and one of his terrified buddies completely lost his mind, leapt onto the bonnet of his jeep, shook a furious fist at the attacking planes and screamed “Death, where is thy sting?” The poor guy found out soon enough.
And I recall, too, my mother’s horrific account of how the family house was destroyed in one of the first air-raids of the war, and of how she and her parents were forced to flee across London to her auntie’s home with all the possessions they had left in the world bundled up in a single tattered bedsheet.
In the circumstances it is no surprise that, when I first heard Edwin Star‘s rendition of War I immediately felt a connection with his words, including:
War, I despise
'Cause it means destruction of innocent lives
War means tears to thousands of mother's eyes
When their sons go off to fight
And lose their lives
I said, war, huh (good God, y'all)
What is it good for?
War can't give life
It can only take it away
In fact, the song wasn’t written by Starr himself, but was penned instead for the Motown label by Norman Whitfield and Barret Strong. Although first recorded by The Temptations in March 1970, it was Edwin Starr’s powerful version three months later that took the anti-war movement by storm, reaching #1 for three weeks on the Billboard Pop Singles chart, and #3 on the equivalent UK chart (see note #1 below).
Sadly, War’s lyrics seem just as relevant today as they did when I first heard them half a century ago.
The invasion of Ukraine has brought to mind other anti-war songs from the same era. Bob Dylan‘s Masters of War, for example, an angry attack on those who seek to profit from conflict without any concern for the suffering of those caught up in it (see note #2 below). Can you spot the connection with recent events in Ukraine? No? Then look harder!
You that never done nothin'
But build to destroy
You play with my world
Like it's your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly...
You've thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain't worth the blood
That runs in your veins
And finally, my mind turns to John Lennon, who told the world in 1969 that we should Give Peace a Chance. A couple of nights ago we changed television channels a little early to watch the evening news, and caught some tail end coverage of a Rugby Union match. The game itself was over and the studio pundits were raking over the embers, as they always do. And in the background was John Lennon with his Plastic Ono Band, belting out his anthem for peace across the stadium’s sound system.
It can’t have been a coincidence: whoever chose to play that track at the end of that rugby match must have had Ukraine on his mind. And my overwhelming reaction was one of immense sadness, sadness that, nearly 50 years after Lennon laid the track down, we still feel the need to play it.
All we are saying is "Give Peace a Chance"
All we are saying is "Give Peace a Chance"
___ ___ ___ ___ ___ ___
Note #1: Other notable covers of War include recordings by Frankie Goes to Hollywood (1984: YouTube link here) and Bruce Springsteen and the E Street Band (1986: YouTube link here). YouTube also boasts compelling amateur footage of the Boss performing the song live alongside Edwin Starr: enjoy it here).
Note #2: Notable covers of Masters of War include a recording by The Flying Pickets (1984: YouTube link here) and this acoustic YouTube version by Ed Sheeran (c.2013).
So, it’s January again. We’ve been here before, right? You know what I mean, January’s the time for new beginnings. It’s out with the old, in with the new. The time to finally do the things we’ve always dreamed of doing, and to stop doing the other stuff, the stuff that no longer fulfils and leaves us instead with that sad, damp feeling of regret. This year, we tell ourselves, things will be different.
Only they won’t, will they?
Time is simultaneously both linear and cyclical. My receding hairline and aching joints testify to time’s linear incarnation. They are all in worse shape than they were 12 months ago, and the downward spiral will inevitably continue.
But time is also cyclical, Our seasons come and go, predictable and reassuring. I don’t much like winter, but at least I know what to expect. Winters in my part of the UK are cool and dull. Often windy, sometimes foggy-damp, occasionally snowy, invariably miserable. The days are too short, the nights way, way too long. But the best thing about winter is that it doesn’t last forever. Even when conditions are at their bleakest we know for sure that better times are just around the corner, when there will once again be insects for Milky Bar to chase.
Folk music has its origins in the pre-industrial age, when rural populations were closer to the changing of the seasons than most of us are today. The seasons could not be escaped, and had to be respected. Traditional folk singers, and their more contemporary successors, therefore frequently reflected on the seasons in their lyrics.
Which brings me, finally, to The January Man. This contemporary folk song was written in the traditional style by Dave Goulder (b. 1939) who was, coincidentally, born in my home county of Derbyshire. Dave’s song captures perfectly and poignantly the way in which the seasons shape our lives. It is a magnificent piece, and exemplifies the folk music genre at its very best. You can read the lyrics here.
Like all the best folk songs, The January Man has been covered by numerous performers, including Christy Moore, Martin Carthy, Bert Jansch, Rachel Unthank, Siobhan Miller and Mike Harding. You can track them all down on YouTube.
This one is by Steeleye Span, an English folk rock band formed in 1969 and still performing today with a rather different line-up. The link below is to a version recorded on the band’s 50th anniversary tour in 2019! Steeleye were an important part of the British folk revival. Their early albums graced the record collections of many wistful, long-haired, wannabe hippies…including the Platypus Man, way back in the days when he still had hair. So, to celebrate the New Year, why not treat yourself to 4 minutes and 47 seconds of magical folk music by clicking on the link below. Happy New Year, everyone!
The final paragraphs of this post have been re-drafted following a tip-off a few hours after publication from my blogging buddy Laurie Graves of Notes from the Hinterland. Laurie advised me that the YouTube track to which I was linking does not appear to be available overseas. Hopefully the new link, to the version by Steeleye Span, works a little better. However, I’ve also found an alternative link the version I originally wrote about, an a capella masterpiece by Martin Carthy (b. 1941). Martin is one of the most influential performers of British traditional music, and The January Man shows him at his very best.
My interest in folk music was inherited from my father. He was no great expert (and no great singer either!), but he knew just what he liked. Two of his favourite performers of folk and traditional songs were Joan Baez and Burl Ives. My last post touched briefly on a memorable track by Baez, so today I’ll say a few words about one of my favourite Burl Ives ballads.
The Wayfaring Stranger is a well-known American folk song, probably dating from the early 19th century. The lyrics were first set down in Joseph Bever’s Christian Songster, published in 1858. They tell the story of a man’s arduous journey through life, and his belief that his lot will improve after death when he will leave his troubles behind him and be reunited with his loved ones.
Folk song lyrics are like the Covid virus, constantly mutating, forever evading capture and control. So what follows isn’t a definitive version, but is nevertheless a reliable guide to The Wayfaring Stranger’s tone and major themes:
I am a poor wayfaring stranger
I'm travelling through this world of woe
Yet there's no sickness, toil, nor danger
In that bright land to which I goI'm going there to see my father
I'm going there, no more to roam
I'm only going over Jordan*
I'm only going over home
I know dark clouds will gather 'round me
I know my way is rough and steep
But golden fields lie just before me
Where God's redeemed shall ever sleep
I'm going home to see my mother
And all my loved ones who've gone on
I'm only going over Jordan
I'm only going over home
I am a poor wayfaring stranger
I'm travelling through this world of woe
Yet there's no sickness, toil, nor dangerIn that bright land to which I go
I'm going there to see my father
I'm going there, no more to roam
I'm only going over Jordan
I'm only going over home
Beautiful, and deeply moving! One day – but not any time soon, I hope – a recording of The Wayfaring Stranger will be played at my funeral, as I embark upon my own final journey.
Burl Ives (1909-95) had a long association with this song. Having stormed out of his Illinois teacher training college in a fit of pique in 1929, Ives became an itinerant singer and musician who travelled across the US scratching a living by performing at small venues and doing odd jobs on the side.
Ives’s success and reputation grew, until in 1942 he was given his own radio show on CBS, playing traditional folk ballads. But the rootless, wandering lifestyle that characterised his early career obviously made a deep impression on the young man, and in memory of those times his show was titled The Wayfaring Stranger. Two years later he released a recording of the song on his album of the same name.
Countless artists have since recorded The Wayfaring Stranger, including Emmylou Harris, Johnny Cash, Ed Sheeran and Rhiannon Giddens, as well as Jack White, whose character Georgie sings it in the 2003 movie Cold Mountain. You can track down all of these covers on YouTube
Perhaps the most surprising interpretation I’ve come across was recorded by a bunch of Norwegians, the Hayde Bluegrass Orchestra. Scandinavia is not a part of the world that anyone might reasonably expect to spawn a memorable version of a classic American folk ballad, but their recording proves beyond doubt that musical talent is blind to national boundaries.
While Hayde’s rendition balances perfectly Rebekka Nilsson’s plaintive vocals with some superbly atmospheric Appalachian instrumentation, Jos Slovick demonstrates that The Wayfaring Stranger works just as well when sung unaccompanied. His a cappella version, recorded for the 2019 movie 1917 is mournful, and gut-wrenchingly haunting. Definitely one of my favourites.
Great folk songs are capable of endless reinterpretation, each new version adding subtly different dimensions to the core narrative and melody. The Wayfaring Stranger is, in my mind anyway, one of the greatest of them all.
* note: “going over Jordan” = dying and going to heaven / paradise
This will probably be my last post of 2021. Planning it, I thought I’d write a retrospective piece, focussing on the highlights of the last 12 months. Well that wouldn’t take long, would it, given that there haven’t been any highlights. It’s true that 2021 hasn’t been quite as bad as 2020, but not by much. On balance it’s another year I’d rather forget. But, thankfully, there have been a few compensations along the way.
That was the year that was (all jabbed up, with nowhere to go!)
When I left work in 2018 the plan was that we’d do a lot of travelling, see more of the world and the UK too. And for the first 18 months it worked out just fine, with big trips to the USA – centred on Yellowstone National Park – and New Zealand, as well as shorter stays in various corners of our own country. But since Covid struck nearly two years ago we’ve spent just a couple of nights away from home, in the nearby county of Rutland. Retirement wasn’t meant to be like this!
But at least we’ve had our jabs. Two doses each during the spring, and more recently booster doses to counteract the threat of the omicron variant. We remain healthy and feel safe, but the restrictions and continuing uncertainty surrounding the pandemic have so far deterred us from planning any trips next year. Seems like we’re all jabbed up, with nowhere to go.
So, with our passports gathering dust all year and our UK horizons severely restricted, we’ve had to resort to simple pleasures.
One of the few bonuses of Covid has been that, with long distance travel out of the question, we have found ourselves exploring much closer to home. We’ve finally visited some places that have been on our list for years – decades, even – but never made it to the top. And others that we were totally unaware of, even though they’re in our own backyard. So it’s not been a wasted year, but not at all what I would have predicted when I started drawing my pension in 2018.
The internet has made lockdown life much more tolerable than it would have been had Covid struck before the world went online. During 2021 I’ve spent a lot of time on the web listening to folk music, an interest that dates back to my childhood. We’ve also attended several online gigs on Zoom, and every week I’ve listened to several regional folk music shows via online catch-up radio. We even plucked up the courage to attend one day of the Derby Folk Festival in person, and enjoyed seeing Ninebarrow – a folk duo we discovered online during the first lockdown – perform live.
But more than anything else the thing that has made this year bearable has been the company of our visiting cats, Milky Bar and Malteser. Being at home just about all the time has allowed us to get to know them much better than before, and they’ve repaid us by spending lots of quality time here, sleeping, playing, making mischief and eating any treat we’ve put in front of them. Our Covid experience would have been a whole lot bleaker without those two fabulous felines.
So that’s it, that was the year that was. Of course, it could have been been much, much worse. But I can’t pretend it’s been a bundle of laughs either. Let’s all hope 2022 will be a whole lot better.
Christmas is a time for gift giving, and in that spirit I’d like to present you with this link to a recording on YouTube of Benjamin Zephaniah reading his wonderful Christmas poem that invites us all to Be Nice to Your Turkey this Christmas.
Benjamin was born and raised in Birmingham, England, and is a celebrated dub poet whose work “is strongly influenced by the music and poetry of Jamaica and what he calls ‘street politics’.” Many years ago Mrs P and I were thrilled to attend one of his gigs. It was nowhere near Christmas, but his performance of this poem still brought the house down. If you’re not familiar with his work do click on the link and listen to the man do his stuff – it may well be the best two minutes and eight seconds of your whole Christmas!
My second gift to you is Joan Baez singing The Cherry Tree Carol. I’ve already observed that my interest in folk music dates back to my childhood. My father loved Joan Baez’s singing, and had several vinyl albums of her work. I grew to love them too, and remember playing and re-playing her records on our ancient radiogram (anyone else remember radiograms?) until the grooves were worn away.
Although dating back in some form to the early 15th century, the Cherry Tree Carol as we now know it was collected by Francis James Child (1825-96) during the second half of the 19th century and included in his famous anthology of English and Scottish Popular Ballads. I am not a religious man, but the spirituality of this song moves me deeply. And who can possibly listen to Joan Baez’s fabulous folkie voice without getting a lump in their throat? Listen and enjoy!
And finally …
Thank you for reading my blog, and for sharing your comments with me from time to time. With Covid restrictions curtailing travel opportunities and limiting our social interactions, I’ve really appreciated exchanging ideas and experiences with WordPress pals from across the globe. You’ve helped make a difficult year more bearable.
I wish you all a happy, peaceful Christmas, and a healthy and fulfilling New Year.
Derby is obsessed with rams. The city centre boasts at least three statues featuring rams. The local professional soccer team (Derby County) are nicknamed “The Rams” and have a mascot called Rammie. Derby’s annual half-marathon event was for many years known as the Ramathon. Even the city’s library service, when first introducing public internet computers in the late 1990s, called its new service Cyber-RAM.
This infatuation with rams (male sheep, also known as tups) is captured in a folk song known as The Derby Ram, or alternatively As I was Going to Derby. The story it tells can be traced back at least to the early 18th century. It’s a far-fetched and humorous, if somewhat gory, account of a huge ram taken to Derby market and the challenges townsfolk encountered when processing it for meat.
The song is well known in folk-singing circles in many parts of the English-speaking world. Even George Washington is reputed to have taken time off from thrashing the Brits to belt out his own rendition, although I’m not sure how we know this story is true. Links to a couple of recordings of the song are given at the end of this post.
How this tall tale came to be associated with Derby is unclear. More widely, however, during the Middle Ages rams were regarded as symbols of physical strength and sexual potency. It therefore takes no stretch of the imagination to understand why Derby folk might have been pleased to encourage a legend that linked them with such a feisty and formidable beast.
The link continues to this day, and is being celebrated during summer 2021 by an arts project called The Derby Ram Trail. Organised by the local Museums Trust, this is a free public art trail comprising 30 ram sculptures vibrantly decorated by a range of artists.
The sculptures are made of lightweight, fire-resistant fibreglass and are based on Michael Pegler’s millstone ram, which has been a Derby landmark for around a quarter of a century. The trail weaves its way through the city centre, and its organisers hope it will “[encourage] local people to explore and enjoy their city from an exciting new perspective.”
The Derby Ram Trail website explains how the project has been organised:
Businesses across the area were invited to sponsor a blank ram sculpture – the 3D canvas! New and established artists were then invited to submit designs to transform the blank rams with individual artworks. Design ideas were presented to sponsors in January 2020 who each selected their favourite. Successful artists were then commissioned to apply their designs to the sculptures in a wide range of media, both traditional and new, including fine art, illustration, graffiti and mosaic amongst others.
Forming a trail of discovery, the sculptures provide an exceptional, creative opportunity to engage people in important topics – from health and well-being to history and culture, to name a few.
Source: Derby Ram Trail website, retrieved 13 July 2021
For those with good local knowledge, the subject matter of some of the designs has an obvious connection with Derby or the surrounding county of Derbyshire. For example, decorating a ram to reflect artistic fashions current at the time the Egyptian Pharaoh Rameses the Great, over 3,000 years ago, isn’t an obvious choice. However, once you understand that generations of local children have been inspired by two ancient Egyptian mummies displayed at Derby Museum and Art Gallery, all becomes clear. Rameses is one of my favourite rams, and the pun’s pretty good, too!
Another striking design with local connections is Royal Ram, inspired by one of Royal Crown Derby’s decorative animal paperweights. Royal Crown Derby pottery is made about a mile south of the city centre, and is sold to appreciative collectors across the world. Local heritage is also recognised in Nurse Nightingale, which honours the life and achievements of pioneering 19th century nurse Florence Nightingale, who was born just a few miles north of Derby. And standing outside the new Museum of Making, housed in the historic Silk Mill building, Derby Industries celebrates the city’s remarkable achievements in science and manufacturing.
The significance of For Those About to Rock initially escaped me, until I read on the trail’s website that the piece was inspired by music festivals held annually in Derbyshire, particularly Download and Bloodstock. The website explains that “in the Heavy Metal tradition of battle jackets, the ram is wearing a denim jacket covered in patches which, along with his tattoos, represent significant events and Derbyshire-related subjects.” By way of contrast, Woolly Rammy (a ram in sheep’s clothing) has a more obvious local connection, depicting a ram wearing a Derby-inspired woolly jumper which proudly displays a recognisably local street scene.
Doodle Derby is a bit more whimsical, being “based on all of the awesome things about our city from architecture, culture and outdoor spaces to real ale and how Derby first invented the hotdog! ‘Doodle Derby’ takes you on a tour of all the brilliant things you can do in the city and celebrates a diverse, colourful place of happiness and positivity – an inspiring Derby!” Hmm, hyperbole is alive and well, and living on the Derby Ram Trail website…but what the heck, it raises a smile, and don’t we all need that with Covid infections soaring yet again.
In some cases the connection between Derby and the ram’s design is distinctly tenuous. For example, Derby has no obvious links with pirates (some people claim it to be further from the sea than just about any other English city), but nevertheless Pirate Sheepmate seems to have made himself at home there. I love the parrot on his shoulder. Meanwhile the fierce-looking Rambo seems to be little more than an excuse for fond memories of “Sly” Stallone….and, of course, another groan-inducing pun!
Some of the rams are intended to convey a message that has universal relevance, rather than being specific to Derby. Memories Fade but Warmth Remains is perhaps the most obvious and poignant of these. The website explains that the artist “has combined the symbolism of the forget-me-not flower – a flower often associated with dementia – with that of the sunflower, symbolising warmth, deep loyalty and hope. Lynne wanted to create a message about the power of enduring love: that memories can fade but the warmth of the human spirit continues to shine.”
Walking the trail, which at a leisurely pace took us about half a day and included plenty of photo stops (Mrs P took over 400 pictures!), encouraged us to explore parts of the city centre that we’ve never seen before. It also took us past recent developments that are seeking to breathe new life into the place. Plenty of other people were also seeking out the rams, and I suspect were also discovering parts of Derby that were new to them.
The organisers set out to create a feel-good project, and from my point of view they definitely succeeded. Derby is not an especially attractive city, and has little to recommend it in either architectural or artistic terms. The decorated rams are therefore a welcome – albeit temporary – addition to the urban landscape, and certainly brighten up those parts of the city centre in which they are located.
With one exception – an old guy complaining (wrongly) that the cost of the project would result in his taxes going up – everyone we spoke with seemed to be enjoying the Derby Ram Trail, and found at least some of the artworks to be inspiring and uplifting. Perhaps the most pleasing aspect of the whole experience was the way the trail encouraged total strangers to talk to each other, and, even more remarkably, got them talking about art! That’s an achievement in which the organisers should take pride.
The sculpture trail will grace the city until 22 August 2021, after which the rams will all be herded together and sold by auction. The proceeds will go to Derby Museums Trust to support the delivery and development of their services, which seems like an appropriate reward for the organisation that was the brains behind the Derby Ram Trail. Moreover, Derby is planning an application to be the UK’s next city of culture, so its heritage and arts organisations need all the funds they can raise. Watch this space!
* * * * * * *
Links to recordings of The Derby Ram. The following link is to a version credited to Keith Kendrick, Pete Castle, Roy Harris and Derrick Hale. I’m not familiar with them, but must be from hereabouts as they’re singing it in a Derby/Derbyshire accent, which although quite distinctive is barely recognised outside the area. You don’t hear the accent so much these days, so it’s good to have fragments of it preserved here.
The YouTube video includes the lyrics. As with all folksongs the words to The Derby Ram have mutated over the generations, and this version is a case in point. The mention of the Baseball Ground (at around two-and-a-half minutes into the song) references Derby County’s home soccer ground between 1895 and 1997. It could never have appeared in the original, traditional (18th century) version of this song, and doesn’t belong in 21st century versions either.
Sherwood Forest once covered about a quarter of the historic county of Nottinghamshire, an area of around 7,800 hectares (19,000 acres). Today it’s a shadow of its former self, the Sherwood Forest National Nature Reserve weighing in at a measly 423 hectares (1,046 acres). And yet the magic lives on, courtesy of the legend of Robin Hood, hundreds of ancient oak trees and a few wandering nudists. Sounded like a fascinating place to visit, so we decided to give it a go.
In medieval times kings and their retinues of noble cronies hunted in Sherwood Forest, chasing down the buck and the boar and whatever else took their fancy. They lived the good life, with no regard for the pains and hardships of the poor. Ordinary people needed someone to fight their cause, and in Robin Hood they found just the man.
The Robin Hood story first emerged in the thirteenth century CE. Legend has it that Hood and his gang of outlaws hid out in Sherwood Forest, emerging from time to time to defend the rights of common folk, robbing from the rich and giving the proceeds to the poor, and all the while teaching the nobles a few much-needed lessons.
As is inevitable with any oral tradition the legend of Robin Hood was embellished over the centuries, courtesy of the vivid imaginations of countless storytellers, poets and balladeers. Hard evidence of the famous folk hero’s actual existence is impossible to find, but that doesn’t really matter.
As a species, we humans call superheroes into existence because we need them to exist. The Robin Hood story emerged and flourished because our downtrodden ancestors desperately needed to believe that someone was looking out for them, and that their oppressors would be held to account.
Robin Hood is part of English national consciousness, a cultural icon. He’s been portrayed countless times on both the big and small screens, played by stars as diverse as Douglas Fairbanks, Errol Flynn, Kevin Costner and Kermit the Frog. The remakes and reinterpretations keep on coming, each generation retelling the story in its own way, and although there was no sign of him when we visited Sherwood Forest last month, Hood’s spirit lives on.
Also surviving in Sherwood Forest is a magnificent collection of ancient oak trees, many of them dating from the time when the Robin Hood legend first emerged. King of them all is the Major Oak, which is estimated at between 800 and 1,100 years old. Surprisingly the name doesn’t relate to its size and great age but instead references Major Heyman Rooke, who in 1790 wrote a book detailing his local oak trees.
When Mrs P was growing up (I’ll not say exactly when, but we’re talking several decades ago!) it was possible to walk right up to the Major Oak, to touch it and even to play hide-and-seek in and around it. Sadly those days are gone. Today admirers are kept at a respectful distance by picket fencing, thus preventing soil compaction which would damage the tree’s roots.
Since the 1970s the massive boughs of the Major Oak have been propped, another precautionary measure to help protect Sherwood Forest’s most venerable resident. Plainly the tree is in the twilight of its life, but looks in surprisingly good shape for its age. A bit like me, I suppose!
Some of the other trees are not faring so well. Rotten Roger has clearly seen better days, but a nearby notice (text reproduced below) wittily explains that decaying trees like this play a vital part in Sherwood’s ecosystem.
Oooh, I’m rotten to the core, just like my namesake. [Rotten Roger] was a nasty outlaw, a spy for the Sheriff, who was caught and locked inside my trunk by Robin Hood. Now I’m rotting from the inside out, but don’t be alarmed, it’s all part of my natural cycle. When a crack appears in an old tree like me, fungi creeps in and begins to rot away my heartwood. This rotting wood is great for beetles, flies and lots of other insects…not good for outlaws though. So although I may be a little heartless, I’m much loved by all these little creatures.
The leafy trails through the Sherwood Forest Nature Reserve are wonderfully atmospheric, not least for the symphony of birdsong that echoes all around, and the butterflies that bring extra colour to the greenwood. Birdsong and butterflies are not unexpected in a place like this, but nudists are. The official Sherwood Forest website warns that there is a long history of nudists – or naturists, as I believe they prefer to be called – wandering the forest trails.
Now I’m a broadminded soul and have no problem with my fellow citizens letting it all hang out wherever the fancy takes them, but common sense tells me this behaviour may be unwise. Thickets of briars and patches of stinging nettles hidden round every corner are an obvious hazard, to say nothing of columns of marching ants and the occasional random hedgehog lurking in the undergrowth. Nudism has its place, but I humbly submit that Sherwood Forest may not be it.
When we visited the nudists were nowhere to be seen, or perhaps they were simply off somewhere nursing their injuries? Never mind, their presence or absence is of no consequence. Sherwood Forest is a majestic, tranquil haven where nature is protected and allowed to flourish, a place etched into our country’s folklore through the tales of Robin Hood and his merry band of outlaws. It’s well worth a visit if you’re ever in the area.
And finally, because it’s my ambition to share my taste in folk music with a wider audience, I invite you to listen to Barry Dransfield singing about Robin Hood and the Pedlar. The song, which can be traced back over 100 years, tells how our hero and his merry sidekick Little John encounter a pedlar, one Gamble Gold by name, and plot to rob him. A fight breaks out, but then it’s revealed that Mr Gold is in fact Robin Hood’s cousin. At this point they all adjourn to the nearest pub to sup some ale and get even merrier. Fanciful stuff, a bit cheesy I suppose. But nevertheless Robin Hood and the Pedlar is a lot of fun, and Dransfield puts in some lively guitar work for us to admire. Enjoy!
Postscript: If ancient trees are your thing you may be interested in this post about the Old Man of Calke, another majestic oak believed to be around 1,200 years old.
Ever since the first series of Gentleman Jack aired in 2019 we’d been planning to visit Shibden Hall, near Halifax in West Yorkshire, where the BBC / HBO television drama was filmed. With Covid restrictions eased we finally made it there earlier this month, in search of the ghost of Anne Lister. We were not disappointed.
Anne Lister (1791-1840), referred to contemptuously by her contemporaries as Gentleman Jack, inherited Shibden Hall in 1826. By the time of her death in 1840 she had left an indelible mark on it, and on LGBTQ history in the UK.
Her diaries, written between 1806 and 1840, are now reckoned to amount to more than five million words, spread across 7,722 pages. They – together with numerous letters, account books and other papers – are a goldmine for historians and writers seeking a better understanding of life in early nineteenth century Yorkshire.
The diaries show Anne Lister to be a complex, unconventional woman who refused to be bound by society’s expectations of a wealthy young lady. She dressed like a man and wore only black, managed her estate tenaciously, and carved out a place for herself in the male-dominated coalmining industry that flourished around Halifax, her local town.
Around one sixth of the diary entries are recorded in a baffling code devised by Lister herself. Employing a combination of symbols, numbers and Greek letters, she called it her crypt-hand. The secret text shows her to have been a self-confident lesbian who was determined to defy the social conventions of the day in order to live life and pursue relationships according to her own instincts and needs.
I love and only love the fairer sex and thus beloved of them in turn, my heart revolts from any love other than theirs.
Anne Lister’s Diary, 19th January 1821
Shibden Hall dates from 1420. It began as a timber-framed manor house, and first came into the possession of the Lister family in the early 17th century. The Hall’s current appearance owes much to Anne Lister, who set about redesigning and adding to it in the mid-1830s.
Under Lister’s direction a new three-storey Gothic tower, complete with library and modern water closets, was added to the west side of the original Hall. She also added an eastern wing including dressing rooms, a new kitchen and accommodation for staff. In Shibden’s central hall (the “Housebody”) she set out to impress by removing the Tudor ceiling and adding a gallery, a new staircase, a Victorian mock-Tudor fireplace and wooden panelling, all to re-create the effect of a medieval manor hall.
Taken as a whole the changes were intended to make Shibden a grander, more imposing building which would better demonstrate the Lister family’s wealth and status. In doing so Anne Lister projected an image of comfortable social respectability, while simultaneously creating a secluded space where she could pursue her sexual liaisons away from scrutiny by the repressive, male-dominated society in which she moved.
She had a series of female lovers, and one of them – Ann Walker (1803-1854) – would eventually become her live-in partner at the Hall. The couple secretly exchanged rings and took holy communion together at a local parish church on 10 February 1834. Although their union had no legal status, they considered themselves to be married.
Oh women, women! I am always taken up with some girl or other.
Anne Lister’s Diary, 18th June 1824
Ann Walker was not the true love of Anne Lister’s life – that title would have gone to Marianna Belcombe, who broke Lister’s heart when she married a wealthy male landowner (“The time, the manner, of her marriage,” Lister wrote in 1823, “Oh, how it broke the magic of my faith forever.”) However, some years later, Ann Walker – the wealthy heiress of a neighbouring estate – offered her the chance of a new beginning in a stable relationship, with the added bonus of access to the large fortune she had inherited.
Anne Lister’s ambitious renovations and extensions to Shibden Hall would have been largely unachievable were it not for her wife’s inheritance. In that sense, the Shibden Hall that we see today is – albeit by default – almost as much Ann Walker’s doing as it is Anne Lister’s.
To be honest, while being an interesting and enjoyable place to visit, Shibden Hall itself is far from exceptional. England boasts dozens of other buildings on a similar scale and of a similar vintage. Taken as a whole the Hall lacks architectural coherence, and presents instead as a messy hotchpotch of architectural styles and borrowed motifs. What makes Shibden Hall truly fascinating, however, is the story of the extraordinary woman who lived there in the first half of the nineteenth century.
To learn more about Anne Lister I thoroughly recommend watching Gentleman Jack if you haven’t already done so. Series 2, much delayed by the combined impact of Covid and the pregnancy of a key member of the cast, is nearing completion (a week’s filming at Shibden is scheduled later this month), and when it is broadcast, re-runs of the highly acclaimed first series can be confidently predicted.
If this post has aroused your curiosity about Anne Lister, Calderdale Council – which now runs Shibden Hall as a museum and visitor attraction – has published an informative video about her on YouTube. Presented by Helena Walker, who successfully decoded Lister’s secret diaries in the 1980s, it provides many more tantalising insights into Lister’s life both before and after her move to Shibden Hall in 1826, as well as her death in 1840 following an insect bite she received near Tbilisi at the foot of the Caucasian mountains.
And finally, I’d like to share a link to the Gentleman Jack theme tune. Regular readers of this blog will know that I enjoy folk music, and this song, written and performed by Belinda O’Hooley and her wife Heidi Tidow, is just the sort of thing I like. The folk duo wrote it to honour and celebrate the life of Anne Lister. Some time later the writer of the television series heard them perform it at a gig and decided it would perfectly complement her drama. The rest, as they say, is history. The YouTube video includes the song’s lyrics, making it possible to appreciate just how well Belinda and Heidi captured Anne Lister’s story. Enjoy!
Last Saturday, 20th March, was World Sparrow Day. Needless to say, no sparrows turned up in our garden to celebrate the occasion. When we moved in 35 years ago house sparrows were common here, squabbling noisily and boisterously on the bird table. Now, if we get half a dozen sightings over a 12 months period we class it as a good year for sparrows. Here, and throughout the UK, house sparrow numbers have been in serious decline for decades.
Growing up in West London half a century ago sparrows were the most familiar birds in our garden. Our name for them was spugs, or alternatively spadgers. They were very common, part of the wallpaper of our suburban lives, and we took them for granted. No one would have believed then that one day they would be “in trouble.”
TheState of the UK’s Birds 2020 report published by the RSPB suggests that there were 5.3 million breeding pairs in the UK in 2018, making the house sparrow our third most common breeding bird behind the wren (11m) and the robin (7.3m), and marginally ahead of the woodpigeon (5.2m). It adds that “In the late 1960s there were 10 times more house sparrows than woodpigeons. We have lost around 10.7 million pairs of house sparrows in that time, a loss greater than for any other species, and gained 3.5 million pairs of woodpigeons.” No surprise, therefore, that the house sparrow is on the UK’s Red List for birds of conservation concern.
The latest figures offer a glimmer of hope: numbers are now thought to be stable or increasing in Scotland, Wales and Northern Ireland. However this is little consolation to those of us in England, where numbers continue to fall.
The cause of the rapid decline, particularly in urban and suburban environments, is unclear, although a lack of invertebrate prey for chicks – perhaps resulting from pollution or increased used of pesticides by gardeners – is believed to be a factor. Other proposed but as yet unproven reasons include reduced opportunities for nesting in the modern urban environment, and predation by domestic cats. Declines in rural house sparrow populations are thought to be linked to seasonal food shortages resulting from changes in agricultural practices, particularly the move to sowing cereal crops in the autumn.
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Although the decline of house sparrows in the UK has been dramatic, the declaration of the first World Sparrow Day wasn’t a British initiative. Instead it was the brainchild of Nature Forever (NFS), an Indian non-governmental, non-profit organization which aims to “involve citizens from all walks of life, diverse backgrounds and different parts of the country and the world” in conservation projects. Nature Forever’s championing of the house sparrow is a good indication of the bird’s global reach.
Ted Anderson, Emeritus Professor of Biology at McKendree College in Illinois has argued that the house sparrow is the most widely distributed wild bird on Earth. It is believed to have originated in the Middle East, but having developed a close association with humans, it extended its range across Eurasia in tandem with the spread of agriculture. More recently Europeans have deliberately introduced the house sparrow to other parts of the globe, either as a pest control initiative or to remind them of home, and accidentally taken them to other locations as stowaways on their ships.
It’s perhaps no surprise therefore that, in recent years, Mrs P and I have seen many more house sparrows on our visits to North America, Australia and New Zealand than we ever manage to spot in our own backyard. If numbers here continue to fall the time may well come when we have to go cap in hand to our former colonies and beg to have some of our sparrows back. Oh, the humiliation!
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In folklore and literature sparrows have an enduring reputation for sexual promiscuity. Geoffrey Chaucer reflects this in the Canterbury Tales when he writes “As hot, he was, and lecherous as a sparrow . . .” Two hundred years later, in 1604, William Shakespeare wrote in Measure for Measure that “Sparrows must not build in his house eaves, because they are lecherous . . .”
Amazingly, modern science shows that these seemingly outrageous accusations are not entirely inaccurate. DNA analysis has shown that 15% of the chicks produced by a settled pair of house sparrows are in fact the offspring of a third party, proving once again that truth is stranger than fiction.
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The house sparrow is not the only species of sparrow found on these shores. Although the so-called hedge sparrow, also known as a dunnock, isn’t really a sparrow at all (it belongs to the family birds called accentors), the tree sparrow really is a sparrow.
While house sparrows are regularly seen in both urban and rural settings, the tree sparrow is very much a bird of the countryside, particularly hedgerows and woodland edges. Their distribution tends to be localised, and they are much less plentiful than house sparrows: the latest population estimate is 245,000 breeding pairs. We have not and would not expect to see tree sparrows in our suburban garden, but there is a nature reserve within a few miles of Platypus Towers where we can often spot them.
It’s always a pleasure to see tree sparrows since they, like house sparrows, have suffered a calamitous decline in numbers (around 90%) since 1970, although in the last few years that fall has slowed and may have started to reverse. Again, changes in agricultural practice are the likely cause, and with no prospect of these being reversed the tree sparrow remains on the UK’s Red List for birds of conservation concern.
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And finally, to conclude my little celebration of World Sparrow Day, I commend to you Dolly Parton singing “Little Sparrow.” The songs begins with these words
Little sparrow, little sparrow
Precious, fragile little thing
Little sparrow, little sparrow
Flies so high and feels no pain
Of course, the song isn’t really about sparrows at all. For Dolly, the sparrow is a simply a metaphor for gentle innocence, and anyway the North American sparrows about which she sings (Emberizidae) aren’t in the same family as Old Word sparrows (Passeridae). But whatever, that second line has always haunted me. In four words it captures perfectly the magic of birds both great and small, and encapsulates my feelings for them. Birds are precious and fragile, and even relatively common birds like the sparrow need our help if they are to continue to fly high and feel no pain.
Next Sunday, 21 February, is World Whale Day. The origin of World Whale Day can be traced back to 1980, when it was declared in Maui, Hawaii as part of the annual Maui Whale Festival. During our visit to Hawaii in 2014 whales were in short supply (it was the wrong time of year), but over the years we’ve been lucky enough to see them in the waters off Iceland, Madagascar, New Zealand and Alaska.
However our best encounters were around Newfoundland, Canada, in 2017, and to celebrate World Whale Day I thought I’d revisit some of the blog posts I wrote at the time. We spent around four weeks on The Island, as the locals call it, and without doubt the whales were the highlight of the trip. I wrote a blog of our Newfoundland journey at the time, but the following focuses on our magical, memorable meetings with some of the many humpbacks that spend the summer months around its shores.
Having a whale of a time
4 July 2017
Today’s been a woolly hat day, courtesy of a bitter wind howling in from the high Arctic. It’s appropriate therefore that we should have seen our first iceberg this afternoon as we drove the coast road towards the bizarrely named township of Heart’s Content, which, as I’m sure you know, is just down the road from its sister settlements of Heart’s Desire and Heart’s Delight!
The cold has been made more bearable by the warm afterglow of yesterday evening’s brilliant whale-watching trip. Whale-watching is always a bit of a lottery, and sometimes you lose. But yesterday we hit the jackpot.
St John’s sits in a sheltered harbour, connected to the sea by a narrow inlet unimaginatively referred to as “the narrows.” Passing through the narrows we were thrilled to spot the towering, tell-tale spouts of whales announcing their presence to the world. Hey guys, they seemed to say, we’re over here, why don’t you pop along and say hello. We took them at their word and pretty soon we were amongst them, surrounded by a pod of five or six humpbacks.
Best of all was when they arched their backs to make a deep dive. This is the manoeuvre that causes the whale’s huge, fluked tail to lift clear of the water, a clown’s battered, white-gloved hand waving goodbye to his adoring fans before the animal plunges into the murky depths in search of lunch.
I struggle to explain why I find whale-watching such an emotional experience. Partly, maybe, it has something to do with the fairy tale notion of a gentle giant. But also, mixed in with this, is a sense of shame at mankind’s persecution of this majestic, harmless creature in the pursuit of a quick profit. Hunted to the brink of extinction humpbacks are, thankfully, now on the way back. They are awe inspiring animals, and it’s a joy to see them. Yesterday was a memorable day; yesterday was a great day.
In the thick of it: the whales of Witless Bay
27 July 2017
Our evening whale-watching trip out of the harbour at Bay Bulls starts with a visit to Gull Island. Unsurprisingly, it’s generously endowed with gulls and other seabirds, including the ever-popular puffin. But birdwatching isn’t the purpose of our journey today, and we quickly move on to Witless Bay, reputedly the best place in Newfoundland to get up close and personal with humpback whales. For once the hype is fully justified, and within a few minutes we find ourselves surrounded by a group of between 15 and 20 humpbacks, all gorging themselves on fish (capelin) that congregate here to breed.
The skipper kills the engine and we sit still in the water, mesmerised by the whales circling all around us. The humpbacks patrol the bay, breaking the surface as they swim sedately along, then diving suddenly in pursuit of their quarry, then surfacing again with a loud “blow” of exhaled air and water-droplets.
A couple of times we see them lunge-feeding, exploding from the deep with huge gaping mouths that have, in this single manoeuvre, made short work of thousands of tiny fish. Occasionally we spot one spy-hopping, raising his head above the water’s surface to watch what we’re up to. They approach within metres of the boat, so close was can see barnacles growing on their skin. Sometimes they simply lie at the surface like floating logs, as if winded by the sheer volume of fish they’ve just swallowed.
Today could have been a pretty miserable day, but it turns out to be one of the best we’ve had in Newfoundland. Yet this is a strange place, and Newfies march to the beat of a different drum. After the whale watching is over we retire to a nearby restaurant that specialises in fish. The waitress welcomes us warmly, says we can sit anywhere we like and have anything on the menu … except fish. Unsurprisingly perhaps in a part of Canada where Basil Fawlty sets standards that some locals find unattainable, it appears that the fish restaurant has completely run out of fish.
Relaxed, unafraid, at peace in their world: the whales of Witless Bay
31 July 2017
Our last day on The Island. We decide to end the adventure in style by taking another whale-watching trip to the Witless Bay Ecological Reserve, hardly daring to believe it can be as successful as the first.
This time we know the ropes, arriving at the dock and joining the line early. This means we can be amongst the first to board, which allows us to choose a prime position. We head for the top deck and station ourselves at the pointy (bow) end, which offers good views both left and right of the boat. The weather is warm and sunny, the sea swell rolling our boat gently as we ease our way out of the harbour and past the low cliffs lining its entrance.
Again we call at Gull Island on the way, enjoying the sight of the puffins and smiling at the excitement of our fellow travellers when they spot their first “sea parrot”. There are thousands of puffins sitting on the rocks watching the world go by, while a few others venture out on to the sea and swim past our boat.
We quickly leave the clownish birds behind us and head towards the spouts that tell us the humpbacks are still here. Soon we are amongst them, whales to the left, whales to the right, whales in front and whales behind, while seabirds wheel overhead, seeking out the same fish that have drawn the humpbacks to this spot.
There must be two dozen whales at least, and some of them come so close we can almost touch them, can smell their fishy breath. A few swim alongside us, keeping pace with the boat as if out for a stroll with a group of friends. Others cross casually in front of us at the surface of the water, relaxed, unafraid, at peace in their world.
But then, somewhere deep within them, instinct kicks in. With an arch of their backs they dive deep, seeking out capelin beyond counting, fish needed in huge quantities to accumulate the thick layers of fat that will sustain them in the waters off Dominica, until they return to these cold northern shores next year. And as they dive they wave their tails, bidding farewell to their spellbound acolytes.
It is a truly extraordinary hour, one of the best wildlife watching experiences of our lives. In several respects The Island hasn’t quite lived up to our expectations, but the whale watching has surpassed anything we had imagined. This, above all else, is the memory of Newfoundland that will stay with us.
Reflections on the fate of the whale, UK, August 2017
One of the unexpected delights of Newfoundland is its thriving folk music tradition. Much of this has a Celtic flavour, reflecting the strong connection between The Island and Ireland. Interestingly many of the locals have a slight Irish lilt to their accents, though in some cases it’s much more pronounced than this and you could believe you were in Dublin or Cork or Kilkenny or wherever.
We picked up a few CDs during the trip, but couldn’t play them until we got home. Our car, a Chevy Cruze, was great to drive with lots of high tech features, but despite this (or perhaps because of it) there was no CD player! The first CD I tried when we got home was by a well-known Newfoundland folk band, The Irish Descendants. The lyrics of one of the songs, the Last of the Great Whales, brought a lump to the throat, not least because of all brilliant humpback encounters we enjoyed during our trip. The song is written by Andy Barnes, from Milton Keynes in the UK, and goes as follows:
My soul has been torn from me and I am bleedingMy heart it has been rent and I am cryingAll the beauty around me fades and I am screamingI am the last of the great whales and I am dyingLast night I heard the cry of my last companionThe roar of the harpoon gun and then I was aloneI thought of the days gone by when we were thousandsBut I know that I soon must die the last leviathanThis morning the sun did rise Crimson in the skyThe ice was the colour of blood and the winds they did sighI rose for to take a breath it was my last oneFrom a gun came the roar of death and now I am doneOh now that we are all gone there's no more huntingThe big fellow is no more it's no use lamentingWhat race will be next in line? All for the slaughterThe elephant or the cod or your sons and daughtersMy soul has been torn from me and I am bleedingMy heart it has been rent and I am cryingAll the beauty around me fades and I am screamingI am the last of the great whales and I am dying
Poignant, n’est pas? I can’t trace on YouTube a recording of the Irish Descendants singing this song, but here’s a link to an excellent version performed by Celtic Crossroads. Though the whale has been saved for now, for me the lyrics capture with devastating clarity the nature and scale of the wrong that has been done to these gentle creatures throughout the ages. Let’s hope that Andy Barnes will be proved incorrect in his gloomy prophecy.
Yesterday – 5th January – was 12th Night, the last of the 12 Days of Christmas. It is traditionally marked by a range of festivities, many involving the consumption of food or drink in various forms and copious quantities. Wassailing is a practice belonging to this tradition, and dates back many hundreds of years.
According to Anglo-Saxon lore, at the beginning of each year the lord of the manor would greet his assembled subjects with the toast waes hael, meaning “be well” or “be in good health.” In response his followers would proclaim drinc hael, or “drink well.” Toasts duly completed, all parties would then get down to some serious boozing.
Clearly it’s just a small step, linguistically speaking, from the first of these Anglo-Saxon proclamations of good cheer to the word wassail that we use today. But just to confuse things a little there are two types of wassailing. House Wassailing involves groups of merrymakers going from one house to another, wassail bowl in hand, singing traditional songs and offering the occupants a swig of their brew in return for a material reward, often financial. In contrast, Orchard Wassailing is a distinctly pagan ceremony concerning itself with the blessing of fruit trees.
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The great and the good usually played along with house wassailing, recognising that a bit of seasonal generosity dispensed with a tolerant smile would enhance their image. However things sometimes got out of hand, with rowdy gangs of youths gaining entry to the homes of wealthy neighbours and demanding free food and drink as the price of moving on to torment someone else instead. We have a word for that sort of thing today: it’s called extortion, and the law takes a dim view of it.
Mostly, however, wassailing was conducted in good humour on both sides. Many fine wassailing songs have survived in the folk tradition, including the Gower Wassail from the Gower Peninsula in South Wales. The lyrics – shown below – illustrate how the relationship between the parties was meant to play out:
A-wassail, a-wassail throughout all the town
Our cup it is white and our ale it is brown
Our wassail is made of the good ale and cake
Some nutmeg and ginger, the best you can bake
Our wassail is made of the elderberry bough
And so my good neighbours we'll drink unto thou
Besides all on earth, you have apples in store
Pray let us come in for it's cold by the door
There's a master and a mistress sitting down by the fire
While we poor wassail boys stand out in the mire
Come you pretty maid with your silver headed pin
Pray open the door and let us come in
It's we poor wassail boys so weary and cold
Please drop some small silver into our bowl
And if we survive for another new year
Perhaps we may call and see who does live here
We know by the moon that we are not too soon
And we know by the sky that we are not too high
And we know by the stars that we are not too far
And we know by the ground that we are within sound
We hope that your apple trees prosper and bear
So that we may have cider when we call next year
And where you have one barrel we hope you'll have ten
So that we may have cider when we call again
There are countless recorded versions of the Gower Wassail. I’m particularly fond of this one, by the ephemeral Derbyshire folk band Cupola Ward. Listen to them perform Gower Wassail by clicking on the YouTube link below:
House Wassailing is a thing of the past, and rarely if ever happens these days. However, it has morphed into another form in which groups of people go from door-to-door singing Christmas carols. And in the words of one of those carols – We Wish You a Merry Christmas – there is a hint of the extortion into which wassailing sometimes descended, when the singers demand “now give us some figgy pudding,” and then threaten “we won’t go until we’ve got some!”
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Although House Wassailing survives only in Christmas carolling, Orchard Wassailing is alive and well in those parts of England that have a tradition of making cider, and in some parts of the USA and Canada too. If you search YouTube you can find various short films capturing modern celebrations of Orchard Wassailing. This one is informative as well as entertaining.
In the Orchard Wassailing tradition, participants drink and sing to the health of an orchard’s apple trees with the intention of encouraging a bumper autumn harvest. Although this can take many forms, some of the standard elements are as follows.
The wassailers select one tree in the orchard, usually the biggest or the oldest, to be the focus of the ceremony. They also choose, from amongst their number, a queen to carry out certain ceremonial duties. The participants process through the orchard and around the chosen tree. Songs are sung, blessings are proclaimed, and the wassail queen hangs from one of the tree’s branches a slice of toast soaked in cider. The intention is to attract good spirits, or possibly robins as these are regarded as lucky birds.
Having duly invited benevolent spirits to appear, malevolent forces are driven away by shouting and the banging together of pots and pans. Then the tree is given a drink of mulled cider.
Inevitably, after the tree has had its fill there is still some alcohol left, at which point the wassailers selflessly help out by knocking it back themselves. They also sing a few jolly songs, encouraging the tree to be a prolific producer of apples in the year ahead. The orchard owner may also get involved, rewarding the revellers with some form of warm, spiced alcoholic beverage from a communal wassail bowl or cup.
By the end of the proceedings everyone’s feeling suitably merry, and it’s only the tree that won’t wake up with a headache in the morning!
Although house and orchard wassailing differ in their origins and underlying purpose, it’s interesting to see how they overlap. Look again at the the Gower Wassail lyrics above, and note that although this song is clearly designed to be sung at a wealthy man’s door with the intention of financial gain (“Please drop some small silver into our bowl“), the singers also express enthusiasm for a bountiful apple harvest in the the autumn (“We hope that your apple trees prosper and bear / So that we may have some cider when we call next year.”)
In the modern parlance I suppose you would say that – in pursuit of merriment and material advancement – singers of the Gower Wassail were covering all the bases. And who can blame them, life’s way too short to be shy in coming forward.
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Folk traditions and folk music aren’t static, so it should come as no surprise that in the hands of gifted exponents the wassail tradition continues to evolve. Mrs P and I have recently started listening to the music of Vicki Swann and Jonny Dyer, and a couple of weeks ago treated ourselves to a live gig on Zoom. One of the songs they performed that evening was the Essex Wassail, which they wrote as recently as 2012 “based on all the Wassails that we could find.” You can find the lyrics here, and to hear Vicki and Jonny performing their wassail song simply follow the YouTube link below. Enjoy!