Music

Letters to The Hobbledehoy, October 2025

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Kathy writes:

For Oliver Kornetzke ~ EVERYONE IS Equally Important, Beautiful And Sinful. We are Also ALL Equally And Uniquely LOVED BY GOD. THANK GOD for our President, Melania and Barron. Whoever thinks that they are better than someone else ~ Luke 18 NLT ~ Parable of the Pharisee and Tax Collector … We’re equal sinners, but in our own ways.

Hi Kathy!
Thanks for visiting The Hobbledehoy. The post by Oliver Kornetzke remains one of The Hobbledehoy’s most viewed. I do agree with you that we are all sinners. I’m not so sure about your “equal sinners” idea, however. Also, it’s curious that you thank God for Trump’s son, Barron, without mentioning Trump’s older sons, Beavis and Buthead. I’m informed by The Google that Trump also has two daughters, both blonde. So you probably should thank God for these siblings as well.

Howard writes:

Just read your comments about Rex Allen. [Cowboy singer Rex Allen and the Carousel of Progress]
First, I live in Tucson and did not know how Rex Allen died. Truly sad Wish I knew he was around. I would have reached out to him when he was alive. Second is “Carousel of Progress’” I remember it very well. First, as the General Electric. exhibit at the 1964 New York World’s Fair. “It’s a Great Big Wonderful Tomorrow” was magic as it played as the transition between the “ scenes” of GE’s technological progress. The show moved to Disneyland and, I think, Disney World. GE eventually dropped the sponsorship, but Disney continued to run it. They had to update the show as “tomorrow’s technology” became yesterday’s technology. If you didn’t know, the “carousel” in the show was the audience moving around the different scenes. In the 1970’s I had the opportunity to work with Marty Sklar, the first head of Disney Imagineering on EPCOT’s Land Pavilion. I realized then that so much of the honest, kind, warm culture expressed in so many of Disney’s “show” were a reflection of Marty’s world view. He was a gem.

Hi Howard!
Thank you for your letter. Like you, I love Rex Allen’s work, as you may have guessed from my article. Though I’ve traveled all around the world, I’m one of the few Americans who has never once been to Disney! I just turned 68 years old. Do you think it’s too late for me?

Steven writes:

I love your blog! Are you from Scotland or Wales, by chance? I’m from Pennsylvania originally, but have lived in Spain, Costa Rica, and Puerto Rico and am now in God-Forsaken Florida!

Hi Steven!

I live in Rhode Island – the smallest state in the USA. Yes, my people originated from Scotland, Ireland and Wales on my Dad’s side, Ireland and Germany on my mom’s side. My Welsh great-aunt Theresa once told me our ancestry goes back to the Pirate Morgan! I’m a huge fan of several Welsh folk performers currently making music: Katell Keineg, Gwenifer Raymond, and Cerys Hafana, especially.

As for “God-forsaken” Florida – I have no real desire to visit there. I do like their orange juice, however.

You are a well-traveled soul, Steven. Good for you! Check out this article written by travel authority Rick Steves, Britain’s Pub Hub. We’ve been in Rick’s company many times and enthusiastically recommend his tours. Here’s Rick’s advice for seniors traveling in Europe

Felipe writes:

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Hi Felipe!

Your product sounds wonderful! Tell me – can I also use your product for the purpose of home insulation? I have several old windows that allow drafts into the house, and New England winters can be brutal! Please let us know asap, as Hobbeldehoy subscribers will surely also benefit from this information!

The Kingston Coffeehouse: Katie Cruel

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Originally broadcast September 9, 2025, on WRIU 90.3 FM.


By Michael Stevenson, host The Kingston Coffeehouse

PLAYLIST
“Katie Cruel” (traditional) – Karen Dalton
“Bashed Out” (K. Stables) – This Is the Kit , 2015 Bashed Out
“God Loves a Drunk” (R Thompson) – Norma Waterson, 1996 

“I’m Waiting For You to Smile” – Katell Keineg, 1994 O Seasons O Castles 
“Love Will Tear Us Apart” (Ian Curtis) June Tabor & Oysterband, 2011 Ragged Kingdom
“People’s Faces” – Kae Tempest, 2019 The Book of Traps and Lessons
“Train Song” – Vashti Bunyan, r. 1966, Some Things Just Stick in Your Mind
“Anachie Gordon” (traditional) The Unthanks, 2010 Here’s the Tender Coming
“Henry Lee” (traditional) Nick Cave & PJ Harvey, 2011 Murder Ballads
“The First Time Ever I Saw Your Face” (Ewan MacColl) – Offa Rex, 2017 The Queen of Hearts
“She Moved through the Fair” (traditional) – Anne Briggs, 1963 Edinburgh Folk Festival Vol. 1
“Banjo Player of Aleph One” – Gwenifer Raymond 2025 Last Night I Heard the Dog Star Bark
“Wheely Down” (R. Thompson) – Ivor Cutler, 1993 The World is a Wonderful Place
“Roundabout” – Ryley Walker, 2017 Golden Sings That Have Been Sung
“Brighter than the Blues” – Joan Shelly, 2016 Over and Even
“Three Ravens” (traditional) – Jake Xerxes Fussell, 2019 Out of Sight
“Lullaby” (from the film Wicker Man) – Magnet (Paul Giovanni) 1972
“Rivers Run Red” (Ella Oona Russell) – The New Eves, 2025 The New Eve is Rising
“Witches Reel” (traditional) – Starheid Gossip, 2015 Step Sisters
“Entertaining of a Shy Girl” – Donovan 1968 Hurdy Gurdy Man
“The Hedgehog Song”(Heron/Williamson) – Incredible String Band, 1966 The 5000 Spirits or Layers of an Onion
“Lay it Down” (G. Thomas) – Bonny Prince Billy with The Trembling Bells, 2014 New Trip On Old Wine
“Conch Shell” Katell Keineg, 1994 O Seasons O Castle
“Into My Arms” – Nick Cave & the Bad Seeds, 1997 Boatman’s Call
“Place to Be” – Nick Drake, Pink Moon
“How Wild the Wind Blows” – Molly Lee, 2018 The Tides Magnificence
“The Sweetest Decline” – Beth Orton Central Reservation
“The Wagoner’s Lad” (Traditional) – Bert Jansch, 1966 Jack Orion
“Nottamun Town” (traditional)- Fairport Convention, 1969 What We Did on Our Holidays
“Masters of War” – Bob Dylan, 1963 The Freewheelin’ Bob Dylan
“Needle of Death” – Bert Jansch, 1965 Bert Jansch
“Golden Brown” – The Stranglers 1982
“Meet On the Ledge” (R.Thompson) – Fairport Convention, 1969 What We Did on Our Holidays
“Anji” – Davy Graham
“Green Are Your Eyes” (b.Jansch) – Marianne Faithul, 1966 North Country Maid
“The Water” – Johnny Flynn & Laura Marling, 2010 Been Listening
“The Parting Glass” (traditional) – James Elkington 2017 Wintres Woma
“Katie Cruel” (traditional) – Agnes Obel
“Blues Run the Game” – Jackson C. Frank, 1965 Jackson C. Frank
“Home Sweet Home” (Bishop /Payne)- The King’s Singers 1993 Folk Songs of the British Isles
“A Heart Needs a Home” – Linda & Richard Thompson, 1975 Hokey Pokey
“Goodnight World” – Lisa O’Neil, 2023 All This Is Chance

“Fellini was adorable to hang out with”: Terence Stamp remembers it all

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Terence Stamp
Terence Stamp

The great British actor Terence Stamp shares his thoughts on Fellini, Brando, George Lucas, the swinging 60s, and his own brilliant life and career.

By Sam Wigley [ Originally published 30 April 2013 ]

Born in East London to a merchant seaman, Terence Stamp was Oscar-nominated for his screen debut in Peter Ustinov’s film of Herman Melville’s Billy Budd (1962), before becoming one of the defining actors of swinging 60s Britain. Roles in Ken Loach’s Poor Cow (1967) and John Schlesinger’s Far from the Madding Crowd (1967) earned him critical acclaim, even as his offscreen relationships, with Julie Christie among others, kept him in the media spotlight.

He lived in Italy in the late 60s, working with Federico Fellini on his ‘Toby Dammit’ section of the Edgar Allan Poe portmanteau film Histoires extraordinaires/Spirits of the Dead (1967) and Pier Paolo Pasolini on Theorem (1968), in which the actor plays a mysterious visitor who seduces each and every member of a bourgeois Italian household.

 
Terence
Terence and Julie Christie
Far from the Madding Crowd (1967)

When leading roles dried up after this, Stamp disappeared from the public eye to live in India, returning to mainstream filmmaking when he was offered the part of General Zod, playing opposite Marlon Brando, in Superman (1978).

Adjusting to a career as a character actor rather than a top-billed star, Stamp has continued to seek out creatively interesting projects, starring as a retired gangster living in Spain in Stephen Frears’s The Hit (1984), a transsexual in the Australian road movie The Adventures of Priscilla Queen of the Desert (1994), and – most recently – an ageing husband coming to terms with his wife’s illness in Paul Andrew Williams’s Song for Marion (2012).

We spoke to him about the tumult of his early celebrity life, the directors he admires (and the ones he doesn’t), and his knack for a comeback.

Read more

The Musician Bringing the Bagpipes Into the Avant-Garde

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Brìghde Chaimbeul frees her instrument from the confines of kitsch.

The 27-year-old Scottish musician Brìghde Chaimbeul is considered one of the most skillful and interesting bagpipe players in the world. Chaimbeul grew up a native Gaelic speaker on Skye, an island in Scotland’s Inner Hebrides, in a family of artists. Since pivoting, as a teen-ager, from the Great Highland pipes to focus on the smallpipes, she’s won national folk competitions and released three solo albums (the latest, “Sunwise,” in June), but also made pilgrimages to places such as Bulgaria, where other pipe traditions have flourished; collaborated with the indie singer-songwriter Caroline Polachek; and played for a Dior runway show. “In doing so, she has redrawn the bounds of her instrument,” Elena Saavedra Buckley writes.

The Scottish smallpipe, which has roots that go at least as far back as the 15th century, was nearly lost to history. “These bagpipes had mostly been hidden away in the backs of cupboards,” the Lowland and Border Pipers’ Society journal explained in 1989, “or they had found their way, as curiosities of a former age, into museums, where they would lie dead and silent in display cases.” But, over the years, Scottish musicians advocated for smallpipes as a cultural corrective: something that could revive a lost, jubilant character of communal Scottish music, and that could help disrupt not only the regimented Highland piping culture but the kitschy idea of Scotland forged by English imperialism. Chaimbeul, lauded as a “musical genius” by her peers, is part of this lineage of bagpipe players who are luring tradition into the present. “It all stems from her tacit understanding of the tradition. It’s a kind of focus on the depth in our music, in which the layers of virtuosity are stripped away,” one of her collaborators said.

Read the full story by Elena Saavedra Buckley: The Musician Bringing the Bagpipes Into the Avant-Garde | The New Yorker