Ravishing sounds of the Oud in Mint Café

Jacqui Agate writes:

As hordes of people took refuge from the snow to enjoy an authentic Arabian night in Mint Café, the first thing they were greeted with was a colourful array of Lebanese food.  The venue was absolutely full to the brim, with the attendees spread across two rooms. 

With walls adorned with pictures and an assortment of retro items available for purchase, the venue itself provided plenty to look at. The atmosphere was lively as we waited in anticipation of authentic music and beautiful Arabic poetry. Needless to say the entertainment did not disappoint.

Mint owner Marcos with oud-player Yasser Audhali

The master Yasser Audhali entered to a ripple of excitement and, after introducing himself, began to play the Oud. The room was filled with enchanting melodies accompanied by passionate vocals and two drummers, one of which was the owner of Mint, Marcos. Hand-made and decorated with intricate Egyptian designs the Oud is a treat to look at as well as to listen to. The group was clearly captured by the authentic melodies, with much foot-tapping, head-bobbing and eye-closing adding to the spirited, yet intimate, atmosphere within the room.

An added delight was Marcos explanation of the history of the Oud. The legend goes that it was invented by Lamech, the sixth grandson of Adam. Grieving for the death of his son he hung the body upon a tree. The shape of the Oud was inspired by the shape of his son’s bleached skeleton.

The oud (عود)and the lute both descend from a common ancestor 

Moreover, the beautiful music was punctuated by some of the Arabic love poems written by the Syrian poet Nizar Qabbani, read by Richard Wilcocks in English.  The first, When I Love You, was an incredibly romantic poem crammed with curious, thought-provoking similes and metaphors such as ‘hours breathe like puppies’ and ‘caravans ride from your breasts carrying Indian herbs.’ The second was Little Things. This sensual poem sees Qabbani take on the voice of a woman,  with the point being to stand up for the rights of women by communicating such things as a female might want to, but not be able to, express.  Finally, we heard the emotive poem Beirut Mistress of the World addressed to a city devastated by the Lebanese civil war:

We now realise that your roots are deep inside us,
We now realise what offence we've perpetrated;
Rise from under the rubble
Like an almond flower in April!

Packed full of rhetorical language and organic imagery this poem was another real treat. The evening ended with a short Q and A session which allowed everyone to gain further insight into the deeper meanings of the poems and the music. All in all, it was an inspiring night with an authentic feel, which truly left my mind stimulated and my spirit relaxed.

Caroline Owens - 'If You Fall, Run On'

Sally Bavage writes:

Caroline Owens

Hosted by Salvo’s in the salumeria and accompanied by a most appropriate supper – for a book launch - of pasta scrolls in sauce, Caroline Owens was able to share with us some anecdotes about her book, titled as above. Written at first as a tribute to her own mother, it also became a personal journey informed by Caroline’s expertise both as a child psychotherapist and a child of the Troubles in Northern Ireland. It also celebrates all the other mothers who tried their best to bring up their children to hold fast to their values when chaos sometimes surrounded them. Then, as now. Growing up in 60s Northern Ireland and coping with 21^st century childhood involve challenge and change, difficulties and doubts.  

Caroline was only eight years old when the thirty years of the Troubles began.  She remembers her mother’s maxim of getting out of a tight spot quickly: “If you fall, run on.” She remembers vividly the day her mother challenged the balaclava-wearing armed gunmen who stopped the car in which they were off to school.  They wanted the car to burn in a blockade.  Her mother reached into the car and, picking up her umbrella, pointed it at them in defiance.  “I bet if you took your balaclavas off your mothers would stop you.  Now step aside; my children are going to school.”  And they did. Step aside. Go to school. Normality within the surreality.

Surreal too, she said, to see a memoir you have written in the window of Waterstones, after you have come to terms with the dissent that writing about real people and real events can cause within families. Power strikes after the power stations had been bombed led to evenings sitting by candlelight, the flickering of the turf and coal fire, the eldest children allowed to stay up late going quietly about small hobbies. The tick of the clock, the clatter of knitting needles, the rustle of paper as an origami paper bird was constructed and revised, over and over again.  Lessons in industry and perseverance that served as a metaphor for her life.

Caroline Owens with John Dammone (MD Salvo's)

Hard times in an area where, if you were Catholic, your hopes for employment were slim. Caroline came to Leeds in the late 70s, jobhunting at the age of eighteen, and was attracted by the wonderful Italian music flowing out of Salvo’s to sit outside and listen.  Drawn in by Salvo senior (Salvatore Dammone), and asked if she could work in a restaurant, the only answer had to be “Yes”, though of course in reality all the cafés and restaurants where she had lived had been bombed and closed.  No matter, the warm family atmosphere supported her and gave her a chance to try, to succeed and to move on in her own story.

“Don’t write a book because you want to be famous, write a book because you have a story to tell and a passion for writing.”  Caroline did, she has and we were fortunate to enjoy the genuine warmth and the honesty of her heartwarming and thought-provoking insights.

Buy the book now through the website - www.carolineowens.co.uk

Love changes everything... or does it?

Doug Sandle writes:
House Events have become a well established tradition for the Headingley LitFest – open up your front room and throw in a few poets, writers, musicians and performers and you have a friendly intimate atmosphere for an enjoyable hour or so on a Sunday afternoon. Wordsong, aka Maggie Nash, Lynn Thornton and guests once again provided a well crafted presentation and professionally-enacted medley of poetry, readings and songs around this year’s Litfest theme, Lives and Loves.   


Presented in 5 sections  (Waiting for Love –Looking for Love?, Difficulties of Love, Make Up or, Break Up and finally  Sustaining a Relationship) we were provided  an engaging  narrative around both the dreams and realities of  falling in love with all its foibles, ironies, humour, delight and inevitably at times disappointments and difficulties. Aptly punctuating the sections Maggie and Lynn, accompanied expertly by John Holt on the piano, sung us well known songs that fitted nicely with the theme and the ‘drawing room’ atmosphere, including My Funny Valentine, Makin Whoopee and appropriately to end the proceedings, Let There be Love.

There were readings from many established and well known poets and writers such as Adrian Henri, John Betjeman, Joyce Grenfell, Elizabeth Barrett Browning and Philip Larkin as well as contemporary poets such as Wendy Cope and Carol Ann Duffy. Local writers were also featured such as James Nash and in person Linda Marshall and Bill Fitzsimons, both members of Lucht Focail (People of the Word), who read us their own work, which was particularly appreciated and very well received. 

The audience  were also treated  by  two delightful little dramatic cameos, one from Elizabeth Gaskell’s Cranford and one from a Ian Fleming James Bond short story, Quantum of Solace, the latter surely producing an Oscar winning performance by Maggie as James Bond!  Mention should also be made of the contributions of David Robertson and Bob Holt to what was an event to warm the heart on a particularly cold Sunday afternoon.

Remember that next Sunday 17  March there will be another free Litfest House Event featuring Leeds playwright, writer and raconteur Ray Brown who will informally chat about and read from his award winning story Maria’s House and an assortment of ‘flash fiction’, some of which is set in Headingley. For details of location and to book a place ring 0775 252 1257 

Chartist poetry and song in HEART Café

Sheila Chapman writes:

The Voice of the People 9 March, Heart Café

We were all Chartists on Saturday night. We listened to a talk about their movement, their beliefs and their values, we listened to their poetry/lyrics, we discussed their ideals amongst ourselves during the break, we sang their 'hymns' and we endorsed their six-point charter demanding suffrage for the working man with three rousing cheers.

Jeff Beaumont, Ian Parks, Richard Wilcocks, John Hutton

Ian Parks, drawing on research for his new anthology of Chartist poetry The Voice of the People, evoked not only the history and intellectual core of the Chartists but also their humanity and their love of poetry. The Chartists were the voice of the people but their poetry cannot be found in anthologies of English verse - it was poetry by the people for the people and it is largely ignored. 

For the Chartists, poetry was not an inaccessible 'highbrow' activity but an essential part of their movement. The movement grew out of unrest about the conditions of the working classes, the restriction of suffrage to the middle and upper classes and various oppressive measures such as the Poor Law of 1834. 

They spread their message in a number of ways: through mass meetings e.g. the Kennington Common meeting of 1848 (the first crowd photograph ever was taken of this meeting); through smaller local meetings; through discussion groups and through newspapers - now more widely available because of reduced taxation. Poetry was an important of the message. It was published in their newspapers, it was written in response to important events and it formed the lyrics for their songs. Song was a binding force in the movement and it was underpinned by poetry.

Ian's talk was accompanied by sung poems. These songs (vocalist Richard Wilcocks, with Jeff Beaumont, mandolin, and John Hutton, guitar) were set to the tunes actually used by the Chartists and where these were unavailable alternative appropriate tunes had been sourced. The songs roused us today as they would have roused the Chartists of the mid nineteenth century. As one member of the audience said, they made sense of the Chartist poems. One such song was called The Steam King by Edward P Mead sung to the tune of We Plough the Fields and Scatter. It contains memorable lines such as:

There is a King, and a ruthless King;

Not a King of the poet's dream:

But a tyrant fell, white slaves know well,

And that ruthless King is Steam.

...

Like the ancient Moloch grim, his sire

In Himmon's vale that stood,

His bowels are of living fire,

And children are his food.

We listened to these songs as Ian unfolded the history of the Chartists. There were two tendencies within the movement. William Lovett espoused the 'moral force' tendency arguing that working men would get the vote through self improvement, temperance and hard work while Feargus O'Connor was more revolutionary and supported the 'physical force' tendency calling for direct action and armed insurrection. The activities of the Chartists reflected these two tendencies ranging from: peaceful mass demonstrations and petitions to parliament, to the Newport rising in November 1839, in which 22 Chartists were shot dead by soldiers. The poetry also reflected these tendencies some of it being 'quietist' and some more revolutionary.

The poetry appeared in Chartist newspapers and notably in The Northern Star newspaper edited out of Leeds and owned by Feargus O'Connor. Every edition of this eight page newspaper carried a page of poetry.

The Chartist movement culminated in its final petition, with six million signatures (although a number of these were later found to be fake), presented to Parliament on 10th April 1848 after the huge meeting on Kennington Common.

The demands of the Chartists were

1. A vote for every man over the age of 21;

2. A secret ballot;

3. No property qualification for members of Parliament;

4. Payment for MPs (so poor men could serve);

5. Constituencies of equal size;

6. Annual elections for Parliament.

None of these demands were granted during the lifetimes of most Chartists, and Chartism gradually faded away, or was absorbed into other movements, but all of us now take the first five of their demands for granted. 

We ended the night singing (to the tune of Auld Lang Syne) the chorus of All Hail Fraternal Democrats written in 1846 by John Arnott, who was General Secretary of the National Charter Association, and a noted singer:

That mitres, thrones, misrule and wrong, 

Shall from this earth be hurled, 

And peace, goodwill, and brotherhood, 

Extend throughout the world. 

All in all this was a moving, educational and uplifting evening! Thankyou to Ian, Richard, Jeff and John.

Dwellers on the Threshold: Dr Sean Campbell at HEART

Síle Moriarty writes:

Dwellers on the Threshold: Second-Generation Irish Musicians in England

On the ninth of March I met a lady who had attended this talk. She is married to an Irishman and she told me how the insights given by Dr. Sean Campbell had helped her understand her husband’s experience of life in this country more closely ‘because he would never talk about it himself’. Such was the impact of this humorous and knowledgeable speaker,  who started the evening with a roll call of second generation Irish musicians in popular music – Lonnie Donegan, Lennon and McCartney, Dusty Springfield (aka Mary O’Brien), John Lydon, Elvis Costello, Boy George, Oasis, the Smiths were some of the names mentioned. These people, the sons and daughters of Irish migrants, did not just perform popular music - they also had a huge influence on its shape and direction.

But Dr. Campbell, himself second generation Irish, wanted to look below the surface of pop success and explore how the complexities of being ‘second generation’ were expressed through music and in doing so he gave us a fresh insight into the challenges and opportunities faced by the second generation (of whatever nationality).

He chose three bands of the 1980’s (Dexys Midnight Runners, The Pogues and The Smiths) and through interviews with individuals in the bands - Keith Rowland (Dexys),Shane MacGowan and Cait O'Riordan (the Pogues) and Johnny Marr (The Smiths) - and wider research he showed us how these second generation Irish musicians used the duality of their cultural heritage as a creative driving force.

He chose 1980’s bands because, for him, this was the time when the children of the Irish immigrants of the 50’s and 60’s came of age. It was also a time when relationships between the UK and Ireland were strained because of the ‘troubles’ and it was the era of the ‘thick Paddy’ jokes.

These jokes rankled with many Irish people and Keith Rowland (Dexys Midnight Runners) hit back at them in Dance Stance where the chorus references great Irish writers: Oscar Wilde, Brendan Beehan, Sean O’Casey, George Bernard Shaw, Samuel Beckett, Gene O’Neil, Edna O’Brien, Laurence Stern. Rowland said ‘Irish jokes make me sick’, I wanted ‘to show the other side of being Irish’ and to ‘correct the misunderstanding’. He wanted to address the British fans and said that it gave him great pleasure when he heard a young English student singing the chorus of Dance Stance to herself while walking through campus.

In another song, The Waltz, Rowland is more direct with the final line ‘Here is a protest’ being repeated. This song was originally called Elizabeth Wimpole and Katherine Ní Houlihan to point up the English v Irish nature of its subject matter but was renamed The Waltz because Rowlands was afraid of the reception the original would get – although whether this was from the English or Irish community was not clear.

In a sense Rowlands tried to mediate between cultures whereas The Pogues, in contrast, tried to evoke the experience of being London Irish. ‘The Pogues were the first people who helped define what you could be as a second generation Irish person in this country’ (Martin Mc Donagh). Their songs were very different from the songs of sentimental longing favoured by the first generation. They evoke the excitement of being here a sort of ‘love for the oppressor’ (Philip Chevron, guitarist with the Pogues) although Shane McGownan would deny this – he has moved from accepting the label London-Irish to calling himself Irish. However this love of London and rejection of sentimentality is demonstrated in Transmetropolitan which starts with a gentle traditional-music style introduction and then breaks into a fast aggressive, tour of London. The Pogues’ imagination was focussed on London, not Ireland and their musical style reconciled punk with traditional Irish music.

The Smiths launched in Manchester at the same time as the Pogues in London. Their experience of being second generation is encapsulated in the following quotes: ‘I’m one of us on both sides’ Morrisey, ‘I’m Mancunian-Irish’ Johnny Marr. Marr spoke to Dr. Campbell of the schizophrenic experience of having parents who were excited to be in England (the land of opportunity) but who ran a home immersed in Irishness where you sleep and swim in Irish life. Marr is repulsed by ‘...bullshit Irish romanticism’ – ‘The Smiths wanted to evoke the feeling but not the sound of the Irish in 1960s Manchester.

This ambivalence of melancholy and vibrancy is reflected in The Smiths songs e.g. Back to the Old House – I want to be here but I long to be there and Please Please Please Let Me Get What I Want – originally called The Irish Waltz with the word Erin printed in the run-off groove. Morrisey’s lyrics – ‘When you walk without ease/on these streets where you were raised’ also express this ambivalence and lack of belonging.

Dr. Campbell showed that ambivalence ‘not quite the definite article ... more the floating article’ (Marr?) can be a well-spring of creativity. As McDonagh says ‘... the ambiguities are more interesting than choosing a strict path and following it’

During the lively Q&A session that followed - the discussion ranged from the extremes of nationalism to the policy of the Church in the 1960s/70s to educate second generation Irish children as ‘English Catholics’ - it was clear that Dr. Campbell had touched the sensibilities of his full-house audience many of whom were, like myself, ‘dwellers on the threshold’ in terms of being second (or even third or fourth) generation Irish. 

Dr Sean Campbell is Reader in Media and culture at Anglia Ruskin in Cambridge and author of 'Irish Blood, English Heart': Second-Generation Irish Musicians in England (Cork University Press, 2011).

Interview with Roger McGough

Read Chris Bond's Yorkshire Post interview with our guest, Roger McGough, here - http://bit.ly/Z69Vno