⭐⭐⭐⭐⭐ Gail Morriss Short Story A Mother Lifts Her Son
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Mom: My son was 'innocent and helpless'
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They said they like to hear us play every year. There was plenty of joining in from the crowd. I started us into the verses but was careful to hang back on the choruses and the people joining in made that work fine. I even hung back on the verses once Diggy and Andy got going. Andy and Dig led Windy Old Weather. Dig led it off, starting with the conger eel verse. They did the mackerel verse, the mermaid verse, the fearnoughts verse and maybe one or two more.
There was a funny moment when Dig started to sing the skate verse but shied away from completing it out loud. I think it was because there was fairly good order for a moment or two. After two or three more verses, the background noise picked back up to its normal level so Dig sang the skate verse anyway. Bernie and Simon knew all the songs from years of sawmilling so there was only a bit of calling out keys. We did it, with its three key changes per section without any key calls at all. We headed on down to Flamborough to meet up with the dancers at Rose and Crown. We got there in time. The juniors were out now too. We all played for the dance again. The musicians stood on Rose and Crown corner, the senior team danced on the main street and the juniors danced on the side road that leads in from the green.
The sawmillers played for every dance location except the lighthouse this year and we were on time for them all. We played inside Rose and Crown too, after the dancing. We did two or three at one end of the side bar then had a move down to an empty table at the other end and did a few more. Next was the dancing outside Seabirds. Before the dancing at Victoria Club, we played a couple of tunes in the smoking shelter of the club. When we played for the dancing there, I missed nearly every tune change.
Martin caught my attention and got me back on track — only for a brief spell though because I did the same thing when we came to Nick Nack Paddywack. After the dancing, we stayed on the street playing for quite while. Cock of the North was another we did there. I forget what else. He was there moving around amongst us taking a lot of photos as we played. As always, The big finale was the dancing on Dog and Duck square. Richard Traves danced at least one of the times. The team danced twice for the final spot.
We did a load of socializing on the square afterwards. Richard said some kind words of appreciation. Wednesday night was a delight. For several years, Pikey and I have been saying we ought to take the Billy Harrison carols back to Millington village. On Wednesday, thanks to the organising efforts of Liz and Paul at Millington, it happened. It was in the Gait Inn. We arrived forty minutes before the start time to set up and found the pub already buzzing with conversation.
By the time we started, at 7. Lee and I were on fiddles, Mossy on viola and Pikey on cello. I welcomed everyone and gave a bit of background on Billy and his daughter Bridget who had made us so welcome back in the nineteen eighties. I explained that we were doing two sets, the first of social and dance tunes and the second, after the slides and talk, of the Harrison family carols.
We kicked of with The Christmas Ploughboy. Billy had talked of plough-ladding happening around the villages. The song is one I learnt from Robert Leng at Flamborough. Those are two tunes that Billy used to play together. The response from the crowd was enthusiastic. I explained to the company that that is a tune that is now played around the country thanks to the recordings of Billy reaching the ears of such musicians as Brass Monkey and Martin Carthy who took up the tune and made it more widely known.
The couple of bits I did manage worked though. I set that off with the two verse ditty, sung unaccompanied and then the quartet came in with Lee playing his strummed fiddle, accenting the galloping rhythm and, on the third time through, Mossy brought in his shuffle bowing, adding yet another texture to the sound. We had our break now, whilst the slide show was shared.
There was input from villagers remembering faces and recognising buildings still around or now replaced. They were a treat. At about quarter past nine, we took to the floor again for the carols. The pub was packed and with more background conversation by now. The landlord called for order for us. Matthew carol. The exchange of conversation over the photo display had relaxed people so there was a fair bit of joining in on While Shepherds with its familiar words.
It made for a big sound with the quartet in full flow. I had messages the following day saying how moving it was to be there for it. On For Unto Us, we did three instrumental verses; one after verse two, one after verse four and one at the end. That gave my voice a little rest. We did that third. Next came The Seven Joys of Mary. I learnt that out of an old book that Jessica Davies gave me after she found it at a car boot sale.
By now, my voice was getting quite tired so I was really pleased that the next carol, Chiming Bells, was very familiar to the villagers because they sing it with their carols choir. With their joining in and our lot singing parts too, it was another really strong one. That was nearly it. Mossy was ready to give vocal support as the noise level picked up with the clogging. I think Lee joined in the singing too. The new CD is out now. The album is also available as a download on Bandcamp.
Last night we did a first Straylarkers barn dance. The band was me, Mossy, Lee, Steve and Lynette. Steve provided his PA, supplemented with a small guitar amp that Lee brought along to keep the guitar sound separate from the mix. I called the dance and, soon into starting, it was clear that I should have given more time to explaining both the passing on in the circle and the way to do the valeta-like section. I stopped the dance to go over those things. There was a happy atmosphere with everyone ready to enjoy the busy mayhem and sort out the details of who was meant to be a man in the two-girl couples and suchlike. The restart saw the problems largely ironed out and, when odd dancers were left without a partner, they waited patiently for things to resolve themselves as the dance progressed.
The band made a good job of playing the tune at a steady waltz tempo. It made me think we should try playing it much steadier when we are using it as a listening piece. I called the second dance too. That was going to be the Kenwood Mixer but, so that the dancers would get to do the whole dance with their own partner this time, I opted for Cottagers instead. Mossy called the next two. It needed to be in 2As, 2Bs form to fit the dance so I also tried splitting my playing to:- first A melody, second A harmony, first B harmony, second B melody. That worked too. For a lot of the dances, we used a single tune throughout the dance. We got it right all the way through.
That was one where Lee was playing guitar, I was playing fiddle, Steve was playing melodeon and Lynette playing tambourine. Moss was calling throughout the dance and put his fiddle aside. Mossy called Old Joe Clark to its own tune. Steve, Corona and myself had to refresh our memory of it whilst Moss explained the dance and, by the time it started, we were able to play it with confidence. During the course of that dance, I occasionally sang verses and choruses off mic to add a bit of variety to the sound.
We did do one singing-call dance. That was Buffalo Girls, which I called. I made a mistake in signalling the tune change to Nellie the Elephant eight bars early. It put us out of sequence with the phrasing of the dance. Moss eventually put us right. Robin kept us supplied with mugs of tea throughout the dance. There were compliments a-plenty, in all directions, at the end of the evening. In the evening it was our final concert at the Rugby Club. They sang Heave Away the Trawl Warp. It was a pleasure to have them share it with the festival audience. I asked them to stay close by whilst I continued the talk. The first verse and chorus of the song were what Robert sang for me that day.
We sang together, with me leading, where necessary, and then dropping back once they were off into the fullness of the verse and dropping back even more when any of them led a verse or chorus. Them being there made for it being a memorable event. Our finisher was Acre of Land with both of us fiddling and singing and Lynette stepping. Martyn Wyndham-Reed was complimentary afterwards.
Others too. Another little moment of audience involvement came moments later when I sang The Winlaton Cock fight. There is a particular word in that song that I often wonder whether to explain when introducing the song. On this occasion I gave no introduction at all and was pleased to hear little laughs from listeners who understood the humour of the verse for themselves. Lynette did two dances there, in the Stakesby Arms.
On the Sunday, my daytime was spent with the Flamborough Sword Dancers. The first two dances were run-throughs, to remind three of the youngsters of the dance. We practised on the street outside the venue for the longsword workshop. That was where they were to showcase the dance. The workshops were ones that Mossy had been leading. Twice through the dance was all it took. Faces were smiling with the fun of recalling the moves and, when we went inside, the team gave a confident performance of their village dance.
It was a treat to be a musician for it. There were just the two of us playing so we could play it without confusing anyone. Through the rest of the day Flamborough shared danceout spots with Goathland Plough Stots so I got to play for both teams. On Sunday evening, Lynette and I had a concert spot at the Coliseum. Tony Wilson was MC and set up a comfortably welcoming atmosphere. Coupled with that, the sound man used all-round mikes so we could play back from them in a relaxing situation.
I told the audience about visiting old Jack, when Steve Gardham, Mike Waterson and I first tried collecting songs back in the early folk club days. It was a half hour spot and we did a dozen items altogether. Lynette danced to my singing and playing Still I Love Him for a finisher. Tony asked us for an encore and I sang Three Jolly Tugboatmen. Lynette stayed at the venue whilst I went off to shift the car. Mossy got me up to join him on one number. We did Eazum Teasum. I blanked on my seconds but we still made a good sound. On Monday, I was up to the ballad session. Sometimes I condense it a bit by singing two verses to once-around-the-tune instead of doing all the repeats. Lynette persuaded me to do it in full this time and it went well.
It includes a joke about meat and tatie pie that I once told to Mike. I said that I was touched to hear it in the song and I let it prompt me to sing Mr. That is a droll tale that Mike Waterson told to me, with the suggestion that I make it into a song. This was right at the end of the session and it went down a treat. It was a happy moment. The line-up made it a good night out.
Ron Plant told his Jar of Pickled Eggs story. Kevin Mitchell mentioned Derry in the introduction to one of his songs and that gave me a cue to sing the Derry Gaol song that I learnt from Tom McVicar thirty or forty years ago. It was a lovely informal atmosphere by then and that set the song up to be well received. I sat on the rail in front of the row of performers to sing it. I wanted to be in earshot of Lynette for a prompt in case I forgot any of it. Taffy told us a great story about a cat burglar and a mina bird and another about a magpie.
That gave me the idea to sing The Maid and the Magpie. Lynette joined in with some freestyle stepping. Tuesday was the day for me and Mossy to do our showcase of our fiddle duets and to talk about our approach to duetting. That took place in the Coliseum. It is a small theatre space, ideal for an acoustic performance as our showcase event was. It was an hour and a quarter programme. We started with Cuddle In, Cuddle In. I began by singing the two verse ditty I learnt from May and George Haley and then we struck up with the tune, first in unison, next with me taking the harmony, third time swapping to Moss taking the same harmony and fourth time with Moss returning to the melody and me dropping to chopped chords on the back string for the A music and then chopped chords on the middle strings for the B music.
It was an appreciative crowd. That one was played all in unison, as were the Tom Dickinson tunes that we played later. Everything else was with first and second fiddle parts — Waltz Vienna, Helmsley Sword Tune and so on. Black Jack was in the set as an example of a duet that uses straightforward three chord structure to provide a solid rhythmic second part. Farewell to Culture and The Brickmakers showed some of the more unexpected seconds we use and I talked about how I seek around for different ideas like the chromatic half scale steps that I utilised in making the seconds for Farewell to Culture.
I think we did eighteen duets altogether. Lynette and I had to make a fairly quick departure and nip across to the Captain Cook Museum for a half hour lunchtime spot. We had a good turn out for that too and Joanna at the museum made us welcome and coped with a last minute move indoors when a rain shower came along. Tuesday was a busy day for us with a third event, a concert at the Rifle Club, in the evening. Memorable up there was a short set that compere Ken did. He was filling in because of one performer having had to pull out but his short set, before we went on, was a little jewel.
His piece set us up well for our slot. They are both local, East Yorkshire versions. She asked me for The Merry Cuckold too. That came from Les Smith at Aldborough on the Holderness coast. We just swapped songs, tunes and dances back and forth and brought in contributions from around the room. I did Rap Tap Tap for one of mine. At one point, I suggested we do a back and forth of daft ditties.
The others picked up on it and chipped in their own bits of nonsense. I set it going with My Dear Belinda. At the Spa, we did the puppets. Lynette had the children shrieking with laughter at Donalds antics. Donald is my jig doll. He step-dances on a vibrating board. Lynette operates him with all her knowledge of dance so she leans him gently to one side to get him stepping on one foot then tips him the other way and so on.
She realised it was his arm-swinging that got the laughs so she figured out how to make Donald do more of that. I was operating Gerald, my fiddle puppet, and singing and fiddling myself. There were all sorts of livestock there and vintage motor cycles. All kinds of stuff. We were playing in an open sided marquee-type stage area with our audience seated outside the covered area. Well, whoever we were, there were Steve and Reg on melodeons, Andrew on an electric bass ukelele, Anne, Mossy and me on fiddles, Val on guitar and Martin on mandolin and guitar.
Lynette says it was a lovely country fair atmosphere. Reg and Anne took the lead and we all mucked in, playing on just about everything, whether familiar tunes or ones we had to pick up as we went along. We made good use of the sword dance medleys we know from Flamborough and Goathland. One new item was Dead Skunk, the Louden Wainwright song. Martin sang that. Steve had sent us a message in advance of the gig saying that one was in the set-list and that it would be in E.
I improvised. At one point, Anne glanced across with an approving smile at what I was doing. That was quite a boost because it came just as was wondering whether what I was playing fitted at all. I was asked for a song or two in the later set. We did that and Lynette told me it was received well. That was as much preparation as there was on those two and it was enough. Both Mossy and I chipped in with the odd sung verse to those as they came around. Moss did a bit of mouth organ here and there too. This year, as well as singing and fiddling for the Sailing Coble Festival, I was the harbourside commentator.
Saturday started dry. Dave from the church group had set up the PA but it fitted better for me to work acoustically at first. The cobles were all moored alongside New Road and there was a general bustle of activity with crews boarding and then preparing to set sail. I sat on the bin-piece up above where Imperialist was moored and played a waltz, keeping things fairly quiet. Then I opted for the Pugwash tune, the Trumpet Hornpipe. I did that as the first of the cobles dropped ropes and made a move.
I played a mixture of fiddle tunes and songs. It was easy and relaxed and took a fair old time to get them under way. Julie B was down from Scarborough. She was built at Ruswarp, up near Whitby. After a while, I moved onto the mics and started naming boats and giving a bit of info about them and interspersing the commentary with the odd tune and song. The rain held off for the first hour or so but, when it did come, it soon got to the point where we had to cover the sound equipment and give up on the amplification.
I had a wander up to the boat shed at the top end of Clough Hole where there were stalls under cover. I sang and played three or four things in there to keep things going. Heave Away the Trawl Warp was one of the songs I did there. Back along at the Harbour Museum, we waited and around I made a restart and did another bit of performance. Those and more. I sing it in F. There was a phrase in the chorus where I always used to sing a C when I arrived at the end of one line then begin the next line on a C too. I remembered to do it that way this weekend. After my restart set, Dave and his church musicians and singers did a long set. Later in the afternoon, as in previous years, my friend Bernie Reed took me out on his rowing pebble, Our Betsy, and he rowed and sang choruses whilst I sat aft with my fiddle and played and sang.
Bernie rowed us between vessels that were coming and going around us. Sunday was better weather. Both days, there were loads of familiar faces around from my days working on the Bridlington pleasure boats and that gave rise to some prompts for song choices. One regular passenger always liked Herrings Heads. He mentioned that and so I sang it. I did it with fiddle accompaniment for this event although I often sing it unaccompanied elsewhere. There were presentations of plaques to all the skippers first thing. I did a long stint from about The main church singer, Rachel, was off doing stuff at church in the morning so there was only me for quite a while.
I did give myself breaks though. In the afternoon, after the church group had done a good long session, I did a short, more concentrated performance and then went off being rowed across the harbour with Bernie again. This time, Andy Howarth joined us and filled out the choruses even more. It was good company at Barnsley Folk club last night. Numbers were just nine of us but the atmosphere was friendly and inclusive from the off. We started the evening with a shared instrumental play for quarter of an hour.
Dave Bottomley played mandolin. The man sat next to him played guitar, Sarah played fiddle — having made a gallant effort to come along despite having lost her voice with laryngitis. I played fiddle. Jack, the keyboard player set off the floor spots with a Queen number. Dave sang Bonny Ship the Diamond with Sarah accompanying him. Wilson and, at the end of the night, to Still I Love Him. I enjoyed singing Robin Hood and the Three Squires. I told the crowd that that was recorded by Percy Grainger from a man called Dean Robinson at a song competition he set up at Barton-on-Humber. I was pleased I did that too.
The guitar player man sang a song about going off to sea at a young age. Jack, who lived to be a hundred, started on boats at ten years old. Things got going right from the soundcheck. Reg was checked first. Reg played Jimmy Allen whilst Steve set sound levels. Ann was next along the band from our left. She took up the same tune and, already, there were several people up, dancing. Mossy was next along the line, on second fiddle, and he continued with the Jimmy Allen idea. Steve was setting up just one instrument at a time so each was dropping back out as their own check was finished. I was next, on third fiddle, then Martin Peirson on my right on banjo and guitar and then Rob Peirson on bass guitar.
There were still a few of the wedding guests, keen to dance, up on the small dance floor section of the marquee as Steve soundchecked himself. We then all struck up together for a massed Jimmy Allen whilst Steve adjusted levels within the band. The dance floor filled right up, without a word, as yet, from our caller, Ian. There was an enthusiastic round of applause from the whole room when the soundcheck ended. A lot of the tune selection for the dances was of song tunes.
Blaydon Races was the first dance. Next up was a dance called Snowball. It starts with just a right hand turn and a left hand turn by the top couple. The snowball effect is that it then builds. The top two couples do a four-handed star, then top three couples making a circle of six and so on. There was a savage feedback episode whilst Ian was explaining that one. He carried on with his explanation of the dance acoustically whilst Steve and Martin sorted it out. I forget. Circle Waltz was another. Ann was acting as go-between, passing on information from Reg to the rest of the band. She kept us in touch with what the tune choices were and in what keys they were to be played. At one point, Ian asked for a tune from the band between dances.
It was all very good-humoured and, again we got a good round of applause. The whole evening was good-humoured. It was raining quite heavily and several times, between dances, helpful wedding guests shuffled around the wet dancefloor with towels on their feet to mop up some of the wet and keep it safe. It was to good effect. Nobody fell. We played a ninety minute set. Maybe it was nearly two hours in the end because we started early and overran at the end.
There had been some jigs and reels along the way too. Saturday was a dance-out around the village at Goathland, in the manner of the Plough Monday weekend dance-out in January. The difference was that there were visiting teams along with the Goathland Plough Stots. We led the procession from the hut, playing John Peel as we marched. We marched up to the green and played for the stots to dance two figures in front of the shops. All weekend, the Plough Stots stuck to just three of their figures so all our dance playing was The Keel Row for figure 1, Cock of the North for figure 3 and Yankee Doodle for figure 5.
Steve, Mossy and I were the musicians, with Wendy joining at some of the spots. Steve was on melodeon, Moss moved between melodeon and fiddle and I was on fiddle. Wendy was on melodeon too. We still did a fair few though and, as well as playing for the dancing, we played quite a few tunes as we walked on around the village. Black Jack was one Moss and I played early on. To help myself, I make up words to get tunes into my head.
It has solved my problem. Walking with Moss between the first two stops, I started Black Jack off confidently with that rhyme to remind me. There was a good opportunity for playing at the lunchtime stop. We were outside in the beer garden at one of the pubs. Moss, Steve and myself got things going with a series of the local, Goathland tunes. I think we followed that with the Goathland Speed the Plough. Mary and Nick from the White Rose musicians took out instruments and started to take an interest. Musicians from the other teams who knew the tune joined in.
That gave the visitors the chance to join in confidently with one of our local tunes. I rounded off the Goathland selection with The Sylph then took a step back to let the visitors bring in tunes of their own choice. I joined in where I could and Steve and Mossy did the same. More dancing followed. At the end of the afternoon, we all made our way down to Beck Hole to dance there. He is a guy whose background is in orchestral playing and he is full of enthusiasm for what he is finding on the folk dance scene. Sunday morning began with a train journey on the steam train from Goathland to Pickering.
The Iron Men kick-started the day with a rollicking musical performance from the overhead passenger bridge at Goathland station. Their saxophone player takes off into ingeniously crafted seconds whilst the strong band of melodeons, fiddles and drum provide a rock-solid melody on the dance tunes. The fiddler who talked with me down at Beck Hole on Saturday explained to me later that, whilst the others hold the melody line, he harmonises with the saxophone line. I sang and played The Runaway Train. Musicians from all the teams joined in. Nick picked up on the idea and after playing on into other tunes — Nellie the Elephant was one — he kept bringing it back to The Runaway Train as a sort of chorus.
A good idea. We did manage some other train songs. We moved on from train songs. Moss played some really strong stuff when a more general tune session got going. The weather faired up when we got to Pickering and we did plenty of dance playing — inside and outside at two pubs, out on the main street and up on the top of the castle. We were called on to play it a second time for Nick of White Rose to record it on his phone as he seems keen to learn it. Moss suggested he should buy our CD and learn it off that. The sun shone for the Flamborough Juniors sword dance team.
This was after a week of cold rainy weather so the turn-out for Flamborough Lifeboat Day was good. It was on the village green at Flamborough. There was maypole dancing as well as longsword so my experience of maypole dance playing has gone from zero to two in the space of a fortnight after last week at North Newbald. This afternoon, Maypole dancing came first. The rescuer carries Jem home. At home in the room lies unconscious Jem, who will be okay. Scout saw the rescuer in the corner of the room, but had no idea who it was until she realized it is Boo Radley. Was one of the WORST days of my life, I got up and was about to start getting ready for the day and to go to physical therapy, then I walked into my moms and dads bathroom to find out that my dad had been laying on the couch and crying because our day was very sick, and keeping him alive would be keeping him in too much pain, I cried a lot I think everyone in my family cried a lot, so I went into the kitchen to get him so I could hold him and love on him before we had to take him the vet, and put him down, so a couple of hours went by my sister and my brother came home from school, I canceled my physical therapy, that I was fine with, so I could be with my dog before we had too take him, we took him we had him put down and that was the hardest.
I cannot recall any other time I experienced so much joy and satisfaction. It was on the warmth of a spring day in March, After finishing the spring semester at high school, the school gives students a one-week holiday to relax or to go somewhere. A beach trip in the spring is always a good idea for us who live near the sea, but this time I was on the bus with my classmates heading to the airport. The school had organized a Habitat Trip to the Philippines, where my classmates and I decided to go to build houses.
Once I heard this the tears fell from my eyes like water through a broken flood gate. I handed the phone back to my mother, ran to my room, and cried. How dare he do this to me? Man, I do miss that one. She just stopped visiting and sending letters and whenever my dad mentioned her to my mama she would cry. I called my husband he didn 't pick up I 'm all lonely and I don 't know what to do, so I called the neighbors to take care of my son.
I went to the school and there she was lying down on the floor not moving or waking up. I picked Bailey up set her in the rear seat and drove her to the emergency room. The doctor took her to the technician 's room, and he told me that when she wakes up, they will take a test in the MRI machine. Yolanda was on a mat asleep next to the children.