At The Hop

On By Mick CanningIn farming, hops, kent, tradition21 Comments

I was talking about hop pockets and pokes last week – and pigs, of course, which was how it all started, but forget the pigs for now. Let’s stick with the pokes and pockets. At the weekend we went for a walk through a part of Kent we hadn’t walked for a few years and part of the walk took us through this field:

This was a hop garden many years ago. Conveniently close to the oast houses so that as soon as the hops were picked they could be taken in and dried before there was any chance of them spoiling. Taken in bagged up in pokes, and once dried shipped out to the brewers in pockets. A word of explanation for those not familiar with these terms: hops are not grown in fields, they are grown in gardens. Not like your or my back garden, but like a field. But a field full of poles. Hop poles. With huge cable-like wires strung between them to support the hop bines as they grow.

When they are ready for harvesting, the bines are pulled down and the hops picked and put in pokes – large sacks (but you knew that, of course. You remembered it from last week). Then once dried they are shovelled into pockets – another size of sack.

And what are the hops for? Making beer, my friend. Lovely beer.

I don’t have a picture of the hop garden from back then, but late one cold, misty, autumn night about thirty years ago, I walked through it and the eeriness was instantly imprinted on me and once I was home I felt compelled to make an oil pastel painting of it (below).

Anyway, as I said I don’t have a photo of the hop garden in question, but this one from Pixabay illustrates very nicely the hop poles and wires with the growing hop bines growing up and across them:

Image by -Rita-👩‍🍳 und 📷 mit ❤ from Pixabay

The poles were supported by wires kept under tension, anchored into the ground around the edge of the garden. Quite a few of these are still in situ around the very edge of the field and just into the woodland and hedgerows bordering it.

In 1872, there were 72,000 acres of land in England growing hops, the majority of these being in Kent, employing over 100,000 seasonal workers at picking time. By 2003, the acreage in Kent was down to just over 1,000 and for the first time ever the county had been overtaken by Herefordshire, which now grew more, although the decline does at least appear to have halted for now. In 2011 there were a total of just over 2,500 acres under cultivation in England but it is such a small number there were fears the industry could die out. Although hops are still used in beer brewing, much of the requirement is imported, especially with a popular shift towards less bitter-tasting beers. But in much the same way that Kent has also lost a huge percentage of its apple orchards, a once rich and diverse farming landscape has become more and more homogenised, with endless huge fields of arable crops and sheep and cattle replacing the hop bines and apple trees.

I spent one autumn apple picking around thirty years ago and the farm I was working on had a large acreage of hop gardens (both apples and hops all sadly gone, now). It was an incredibly busy and bustling time, with our diverse group apple picking – a mixture of locals and Europeans come over for the work – and a traditional mix of workers in the hop gardens; as well as locals, there were a lot of gypsies and possibly still a few people down from London’s East End, which was a traditional way for those workers to make some extra money in the nineteenth and early twentieth centuries. It was busy, noisy, very hard work, and a lot of fun.

And, not surprisingly, there are a number of traditional songs about hop picking. So here is the wonderful Shirley Collins and the Albion Dance Band to perform ‘Hopping down in Kent’ especially for you.

Surprise!

On By Mick CanningIn family history, Fiction, research, Work in progress, writing38 Comments

For me, that is. A real surprise. And maybe for you, for all I know.

After faffing around with the manuscripts of a couple of works in progress for a few months, I suddenly decided to go through the manuscript of A Good Place, the novel I had supposedly abandoned a while back. I had low expectations – none, really – and came to it with fresh eyes. I took out one thread that was over-complicating the plot and one character who wouldn’t be needed if that thread didn’t exist. I then decided to just slightly change the emphasis on the different threads that remained. And after that, it suddenly became the story I wanted to write. But the real difference was the voice. I sort of knew the voice I wanted to use, but it wouldn’t play ball. My voice. And now, suddenly, I had a work that was complete other than for a bit of gap-filling and the voice seemed to be working.

Another few weeks or months of work still required, but I finally feel I’m almost there.

That’s not to say it will then be finished, just a completed draft.

And then there is my project to research my family history and write it up in book form for the family. I finally finished the draft of the book and emailed it off to a couple of cousins who are also researching our history, for them to look through and comment on. Obviously there’ll be plenty of work to do to format and print the book, but other than any corrections coming from my cousins, it feels complete.

For most of last year I was struggling to think of myself as a writer. Inspiration had upped and left me and I wasn’t even sure I wanted to write any more. I won’t go into any details, although I’ve posted about it so often in the past you must all be fed up with hearing about it. But I have so many works in progress of all sorts that it sort of numbs me when I decide I need to finish something. And as soon as I hit a snag I put the wretched thing aside and pick up something else. Which is obviously no way to get anything done. But now I feel I’ve all but finished one and am in the final straight with another, which leaves far fewer to work on.

It really does feel as though I can see a light at the end of the tunnel.

Now, should I start a new project or two…?

A Pig In A Pocket

On By Mick CanningIn etymology, language, nursery rhymes, words26 Comments

Most people know the meaning of the saying to buy a pig in a poke, of course. It means to buy something without first checking you’re getting what you think you’re paying for. And where does the saying originate? Again, most people can tell you it comes from a few hundred years ago – actually the Middle Ages – when a buyer at a market might be offered a piglet in a sack and if they were foolish enough to buy it without first checking the contents, were likely to find later that the sack contained only a cat, although why it didn’t make a fuss and let people know it was a cat, and a cat that really didn’t want to be in this dratted sack, no one is saying.

(And was it actually a live cat or a dead one? Over to schrodinger for that one…)

If the buyer was wise enough to check, and opened the bag to see what was within, they would then be letting the cat out of the bag.

So, what is a ‘poke’, then? Let’s take the long route to this one, the scenic route… Go back a couple of hundred years when pockets weren’t something let into our clothes, but were more like cloth bags tied around the waist. A kind of medieval bumbag, if you will. Or just a bag on a piece of string tied around the waist if you won’t. This is why in the nursery rhyme we learn that:

‘Lucy Lockett lost her pocket,

Kitty Fisher found it;

Nothing in it, nothing in it,

But the binding round it.‘

which sounds very odd if you think only of what we understand as pockets nowadays and must confuse huge numbers of children when they hear it.

But the point is that the pocket was a bag, which in French is ‘poche‘ and from which comes the old English word for a large bag, a sack, which is ‘poke‘, with pocket being a diminutive of that: poke-et.

So, let’s back up there. A poke is a large bag, a sack. As mentioned above, I’ve seen dictionaries citing ‘poche‘ as the origin of the word, but a favourite source of mine, a Victorian dictionary of Sussex dialect, when discussing the saying cites the original Anglo Saxon word Pocca, meaning a pouch.

They’re probably both right.

But just to add a little more weight to all this, when hops are picked (at least in Kent and Sussex) they are first measured by the tallyman into a poke (yes, a large sack), then taken to an oast house where they are dried, after which they are shovelled into a hop pocket (a different sized sack) before being taken off for sale to the brewer.

To make lots of lovely beer!

We Went For A Walk

On By Mick CanningIn kent, poetry, Spring, UK, walking17 Comments

At last, the weather has got milder and it wasn’t raining so we thought ‘let’s go!’ Nothing outrageous, just seven or eight miles around Kent, in no hurry, looking for signs of Spring. So, have a browse through a few visual notes with me…

It looks very cloudy, but the clouds were thin and we got quite a lot of sunshine.

With birdsong thrown in for free! For some reason, WordPress won’t let me load this video directly, but is happy to load it from Twitter. *shrugs*

The celandines are out.

And a few early primroses.

We passed a magnificent oak

And some rather nice fungi on the end of this log

And, a poem. You may have read this before, as I’ve posted it before, but I’ve put up again because I rather think it just encapsulates how I feel when I go out walking.

If I could just wave a wand,

I would wander the world.

With my notebook in hand,

And a bag on my back.

.

I would sleep under hedges,

In hotels and haylofts.

Drink beers under trees,

And eat cheese on the moor.

.

I’d watch clouds over hilltops,

And boats on the ocean.

Shapes and shadows at sunset,

A moon with a view.

,

And I’d write trivial poems

Of snowfall and sunlight,

Birds singing at dawn

And the sounds of a stream.

,

There’s the lure of a skyline,

And skylarks above me,

Wine and woodsmoke my welcome,

At the end of the day.

,

To travel, to journey,

There’s magic in wandering

Over moorland and downland,

Through woods and through fields.

,

The world’s full of wonders

All waiting for wanderers.

Let me follow these paths

For as long as I can.

Red Herrings

On By Mick CanningIn crime, culture, detective stories, etymology, language, Red herrings27 Comments

I had a couple of conversations the other day on detective novels, in which red herrings were mentioned, and it reminded me of something I had been reading a few days before, as well as one verse of an old nursery rhyme, the words recorded in the 1800’s, which goes thus:

The man in the wilderness asked of me
How many strawberries grew in the sea.
I answered him, as I thought good,
As many as red herrings grew in the wood.

Pixabay image

It is supposedly one of the lesser-known nursery rhymes, but I came across it in one of the books my children had when they were small. Possibly, the Tale of Squirrel Nutkin. Again, there is an old song occurring along the English east coast called the Red Herring, of which these are the first two verses:

1
What shall we do with the red herring’s head?
Oh, we’ll make that into feather beds, and all such things,
We’ve red herrings and heads and feather beds, and all such things.

Chorus
Of all the fish that swim in the sea, red herring it is the fish for me,
And all such things.

2
What shall we do with the red herring’s eyes?
Oh, we’ll make ’em into puddings and pies, and all such things,
We’ve red herrings and eyes and puddings and pies,
Red herrings and heads and feather beds, and all such things.

There seem to be many versions of this, one of which was collected by Cecil Sharp, well-known as one of the first people to travel around England in the early 1900’s collecting and writing down folk songs, afraid they would become lost as, in a rapidly modernising world, fewer and fewer people now sang them.

Unusually (because I never trust it as a source) I looked at Wikipedia which merely defined a red herring as a distraction, or something misleading. It suggests the term came from a strong smelling smoked kipper which could be dragged across a track to put hounds off of a scent.

And what it reminded me of was that a dictionary of the Sussex Dialect, published in 1875 does not have a particular entry for red herring, yet under ‘White-Herring’ is found the definition: A fresh herring, as distinguished from a dried one, which is called a red-herring. Delving a little deeper, we find references to dried, smoked, herrings – named red herrings – in use to mask the scent of trails both literally and figuratively, in a story published by William Cobbett in 1807 and also a couple of references from the 1780’s. There is apparently a bit of disagreement over where the phrase was used first in that context, but that doesn’t seem relevant here, it’s just interesting to find out that red herrings actually exist, and how they came to assume the role they have in literature and everyday conversation.

Two Books On Ladakh

On By Mick CanningIn India, Ladakh, Non fiction, Review, travel10 Comments

Just a short post, today. I’ve posted about Ladakh in the Northern India Himalaya several times before, and was reading a couple of these posts back this morning when it struck me I’d written, but never posted, reviews of a couple of books that did much to inspire me to travel there. These are really brief reviews, put up mainly to encourage anyone who might have any interest in Ladakh to read them and then perhaps visit this most remarkable and beautiful place for themselves.

Ancient Futures by Helena Norberg-Hodge. This book is what amounts to a long essay on the culture, history, peoples and development of Ladakh. Helena Norberg-Hodge was one of the first people to travel to Ladakh when it opened up in the 1970’s, where she learned to speak the language and got to know the people as few outsiders have ever done before or since. Returning regularly each year for six months at a time, she watched as Ladakh began to ‘develop’ a Westernised society at the expense of its own centuries-old sophisticated rural culture. And watched in what amounts to horror. This book charts the so-called progress made by Western ideas there, and how much is being done to halt the worst excesses by careful encouragement of traditional means of farming and living by the Ladakhis themselves. Both depressing and inspiring, this is by any measure an outstanding book.

There is also an absolutely beautiful video, available on YouTube, which was based on this book and which I would strongly encourage anyone who has any interest in this area and its history, ecology, and development to watch.

A Journey in Ladakh by Andrew Harvey. In 1981 Andrew Harvey travelled to Ladakh in order to study the Tibetan Buddhist society there. He found a fascinating community of gentle people beginning to collide with Western values but retaining a deep, sincere belief in their Buddhist culture. Part spiritual journey, part guide to Ladakh, this book has been a favourite of mine for over thirty years and the dog-eared, tatty copy on my bookshelf was a major reason for my travelling there myself.

And if you’d like to read my previous posts on Ladakh, you can find the main ones here and here.

The Hooden Horse

On By Mick CanningIn animal guising, culture, customs, Folk traditions, history, Hooden Horse, Hoodening, kent15 Comments

In the town I used to live in, there was once a pub called the Hooden Horse, sadly now renamed to something much less interesting. I was reminded of this at an exhibition at Maidstone museum on Hooden Horses. Hooden Horses? Well, briefly…

Hoodening is a rural folk tradition unique to East Kent, England. Going back a few hundred years, in the week or so running up to Christmas, groups of farm labourers would dress up as various characters and go from door to door requesting money, cake and beer. One of the characters would be the Hooden Horse, which was an artificial horse’s head made of wood, with a jaw operated by string, on a wooden pole, held by one of the performers with his body covered in cloth – usually sacking. A sort of play was then performed in rhyme, a mixture of plot and satire, usually featuring a few local characters who would be well known to the watchers and might be the butt of jokes and scorn, as well as stock characters such as Molly, a waggoner, and the Mayor. And of course the horse (him)self, invariably called Dobbin. There would also be music performed on whatever might be available – accordions, fiddles, drums or whistles.

The relationship to Morris dancing and Mummers is hard to avoid and, like these traditions, has been revived in modern times by enthusiastic traditionalists.

A photo from the early twentieth century

A modern Hooden Horse

Another early twentieth century photo.

There are many other traditions in Britain involving what is known as ‘animal guising’, where men or women take the guise of an animal, the Padstow ‘obby ‘oss being perhaps the best known of these. The performance on May Day in Padstow, Cornwall, invariably draws large crowds.

On the left, a Hooden horse, and on the right a Mari Lwyd, the ‘skull horse’ of Welsh tradition. Although unconnected (as far as I know) the Welsh had a similar tradition, also taking place around Christmas and New Year. Skull horses are to be found in other parts of England, however, including Yorkshire.

Stag guising is another old tradition – possibly older than horse guising. It was certainly in existence during medieval times and survives today in the form of the Abbots Bromley Horn dancers, Staffordshire, who perform carrying reindeer antlers on poles on the Monday following ‘Wakes Sunday’ in September. Wakes Week became a tradition in industrial Northern England when factories and mills closed down for a week for maintenance giving the workers a holiday. This began in the early nineteenth century, but before this the ritual presumably took place at a different time of year.

The exhibition is on until 17th July 2023 and there is a link to their site here.

Shorelarking at Rye

On By Mick CanningIn larking, sussex, walking27 Comments

We went down to Rye harbour in Sussex, a few weeks ago, on a beautifully sunny but bitingly cold day. The actual harbour entrance is in the middle distance of the above photo with Dungeness Power Station just visible on the horizon in the distance.

This red-roofed hut sits on the shingle on the approach to the harbour and has become the iconic image that everyone photographs. I resisted the temptation this time, but took this one a few years ago. No one seems certain when it was built, but it was certainly in use from the early 1900’s onwards and was used to store fishing equipment.

The salt marshes behind the harbour constitute a nature reserve and are an important place especially for migrating birds. We walked around the marshes for an hour or so and did see quite a few birds, especially when we spent some while in a hide with the binoculars we’d brought. No close-up photos, because we were too far from the birds and I only had my pocket camera that day, but especially noticeable was was a group of some forty to fifty cormorants.

One of the tasks of the Environment Agency here is to continually move shingle in trucks westwards along the coast to shore up (pun intended) the sea defences. Due to the prevailing winds, longshore drift continually moves shingle eastwards along the coast and without this intervention it would choke the harbour mouth and undermine the sea wall at Pett (to the west). They load up the trucks with shingle from the shore, the trucks drive west and tip it out on the shore. The sea washes it eastwards along the coast again. The trucks load up with shingle from the shore…It almost feels a pointless exercise, but I suppose there’s no real alternative.

But longshore drift means that the shorelark on the South coast of England has a chance of finding rocks and stones (and all sorts of other things) that originated further to the west, and we spent some while searching among the stones here to see what we might turn up.

Shorelarking? It’s like mudlarking, but on the seashore. ‘Larking’ in this sense means looking for…well, anything. Coins, interesting rocks, anything lost or old or, preferably, both. Not that we found much, not that we ever find much, but we don’t do it as seriously as some folk. And as nice as it would be to turn up the sort of finds some people find in the mud of the Thames, we’re not that dedicated. But in the past I have found bits of flint tool while fieldlarking, and usually come home from a walk with an interesting stone or two.

We did find a couple of interesting things that day – they don’t look much, do they? But the grey stone in the centre is possibly a Mesolithic hammer stone, used for shaping flint tools while the nail had a tiny piece of wood still attached, but this crumbled away as soon as I picked it up. How old is it? I’ve no idea. Nails like that were in use from the 1800’s through into the 1900’s but it’s impossible to pin it down further. My immediate thought was it could be part of the beach groyne, but when I looked they seem to be constructed entirely with rivets. Maybe it is from an old shipwreck. The rock at the bottom is simply a lump of sandstone from further west along the coast, a piece of what was called Hastings Sandstone when I studied geology, but now known as the Ashdown beds. Nothing special, again.

Just an interesting few finds on the beach on a cold sunny day before we headed off for a warm drink.

Unhalfbricking

On By Mick CanningIn Fairport Convention, Folk Rock, music, Unhalfbricking16 Comments

I’ve never written an album review on here before, although I have reviewed a couple of concerts I’ve been to, so this is a first.

And if you have absolutely no interest in folk or folk-rock feel free to give this post a miss.

So, probably just one of you left. Let’s go.

Actually, now I’ve written the thing, it’s not really a review at all. It’s a bit of musical history, if anything. That wasn’t exactly what I’d planned.

Oh well…

Unhalfbricking is not my favourite Fairport Convention album, but it is an extremely important one. Which is not to say I don’t like it, because I do. It was released in 1969 and is their third album.

It is the following album, though, Liege and lief, which is rightly regarded as their most important, and an album that has had a huge influence on the direction folk and folk rock music has taken since its release, but Liege and lief came about as a result both of a tragedy and a new direction partly forced on the band by musical events way over the other side of the Atlantic. After the release of Unhalfbricking, most of the band were involved in a serious road accident (singer Sandy Denny was in a separate vehicle) which led to the hospitalisation of some members and, sadly, the death of both drummer Martin Lamble and the girlfriend of guitarist Richard Thompson.

After discussing whether they would continue as a group or just disband, the decision was made to continue and they hired a new drummer, the amazingly talented Dave Mattacks, and persuaded fiddle player Dave Swarbrick, who had guested on Unhalfbricking, to join the band on a permanent basis. And the decision was also made to change musical direction. Much of the material on their previous albums had been either American in origin – there were Three Bob Dylan covers on Unhalfbricking alone, for example – or country-tinged.

There is one track in particular on Unhalfbricking that helped to lead the band into their new direction, the traditional song A Sailor’s Life, which breaks new musical ground in this recording. What makes the track most memorable is that it is the first time a drumkit had ever been used on a traditional English folk song. It was also the first time Dave Swarbrick had used electric amplification, coming from a background with traditional folk groups. And then the whole track was apparently improvised on the first take, the first time the band had played it together, and listening to it, it is remarkable how you can hear them growing in confidence throughout the performance. And it is a long track, which I suspect has more than a little to do with the musicians getting the feel of working together and seeing what could be done with the material. Experimenting as they go along. Nothing like it had been released before.

Over in America, The Band, who had supported Bob Dylan on tour, had recorded Music from Big Pink in what has been called a reconnection with rural Americana, and listening to this there was a realisation both that by covering American standards Fairport would never be more than just one more wannabe Byrds cover band, but also that they wanted to take a similar direction with traditional British music. Bass player Ashley Hutchings had become deeply interested in the genre and Swarbrick came from a folk heritage. Thus A Sailor’s Life became a bit of a template for what was to come.

Finally, here’s a link to the song on YouTube.

Toxic Twitter

On By Mick CanningIn comment, opinion, social media, toxicity, Twitter35 Comments

Twitter can be an absolutely toxic place. Obviously there are plenty of other social media platforms and I’m sure they can be equally toxic. It’s Twitter I’m currently on, though.

Image by Arek Socha from Pixabay

It seems to be a continuation of ‘If you don’t agree with me then I will hate you.’ No, it seems more like ‘If you don’t parrot my views exactly, then I will destroy you with vitriol!’ There are apparently countless people whose time seems to be spent searching for posts or comments they can disagree with, and then piling in on them with as much vile rhetoric as they can. And, by coincidence, as I was writing this post, I replied to a vaguely related post elsewhere: ‘I think this is part of the issue around all social media, concerning the perceptions of the person behind the keyboard. We’ve all seen ghastly stuff people will post on twitter or other platforms that they would probably never say in real life, just because it feels as if they can rant into an empty space with no come-back. I post some personal stuff, although not very personal, but before posting anything (or, indeed, tweeting) I find it helps to stop and think ‘would I say this if I was standing on a stage addressing a thousand people in an audience?’ Because that, in essence, is what you’re doing.’ This was written in response to a post about sharing personal information, but it applies equally to posting one’s opinions online.

One inevitable result of this has been to leave me less sympathetic to their cause or point of view, even if it is one I support myself. And I would imagine it has a similar effect on quite a few other people. It also leaves me less inclined to engage with anyone on Twitter, since more and more I anticipate an angry response to something innocuous I’ve put up. I’ve noticed that over the last few months I’ve hardly posted anything on there, and equally rarely commented on others’ tweets. It also made me question my presence on here, although there was never any real chance of my leaving.

And at the moment, I can’t really see that changing. I’m in one of my occasional ‘shall I just leave Twitter altogether?’ moods, although I don’t suppose I will. There are a few (not many, to be honest) people on there I really want to keep up with, and it has been a good source of information about new (to me) books and music.

But I do feel I’m keeping it at arm’s length more and more these days.