Má Vlast is a set of pieces written by the composer Smetana in the late 1800s about his homeland, Czechoslovakia. One of the pieces in the set, The Moldau (Vltava in Czech) is one of my favourite symphonies of all time ever. It could be something in my partially Czech blood, it could be the fact that I’m soppy about Romantic-period orchestral music, whatever it is, I love this piece of music and know it intimately.

This was a facebook comment that got out of hand. If this isn’t the kind of pointless string of words that belongs in a blog, I don’t know what is. The first part follows the Rime of the Ancient Mariner reasonably closely. The rest correlates with the worst excesses of Roald Dahl at his most metrically depraved.

It is an ancient housemate,

And he washeth one of three.

‘By thy long grey beard and glittering eye

When searching FolkTuneFinder, you may find search results that you don’t agree with or can’t understand. You may think tune has nothing to do with your query, or the highlighted notes bear no relevance to what you typed. Here’s why.

The thing about folk tunes is that they’ve survived in the aural tradition, in many cases for quite a long time. A good tune spreads because people like it, and different parts of a tune may appeal to different people. We all hear and experience tunes slightly differently, and we can interpret and remember them differently too.

I started FolkTuneFinder as a student project back in 2008. I’d done websites for a few years before, but this was the first serious one with any kind of heavy lifting or interesting behaviour. Over the years I added features that allowed people to interact, such as the commenting and FolkTuneFinder blogs, which has been surprisingly popular.

I have always had a very small problem with spam: I received perhaps a small handful of blog posts a month, which was fine to deal with. It wasn’t a problem, and the most time-effective way of dealing with it was to delete the posts when they arose. There has always been a battle with spare time, and various interesting things have happened to me since 2008 meaning that I haven’t quite had as much time as I’d like.

Today is Day of the Dead. The Hurly-Burly-Bright-And-Early Band was out in force this evening celebrating. Or rather, mourning the passing of the Summer. Exactly six months to the day (give or take) since May Day.

My pipe is at a worrying angle.

There’s no hiding musicianship. Lock it up, put it in a box, or — crucially — ply it with significant quantities of drink … still it will shine through. There’s something immutable about musicianship that means that a bottle of Pimms and and half a bottle of whiskey later, it still keeps on playing.

It was in circumstances such as these that The Gribbin came together for the first — and last — time. In the heady days of 2006, The Pimms Sessions were recorded in a murky studio in scenic Oxford and (and subsequently presented to the unsuspecting, and arguably undeserving world).

Back in the day I used to do a lot of sound and lighting for student theatre. I did a lot in Oxford, and went up to Edinburgh a number of times to do the Edinburgh Fringe. I did not go to Oxford University, but I did hang around with a lot of people who did. Once or twice I contributed to a theatre column in a student paper. It’s a bit thespy because it’s okay to experiment with language when you’re young. Reprinted here because why not.

Back in the day I used to do a lot of sound and lighting for student theatre. I did a lot in Oxford, and went up to Edinburgh a number of times to do the Edinburgh Fringe. I did not go to Oxford University, but I did hang around with a lot of people who did. Once or twice I contributed to a theatre column in a student paper. It’s a bit thespy because it’s okay to experiment with language when you’re young. Reprinted here because why not.

Back in the day I used to do a lot of sound and lighting for student theatre. I did a lot in Oxford, and went up to Edinburgh a number of times to do the Edinburgh Fringe. I did not go to Oxford University, but I did hang around with a lot of people who did. Once or twice I contributed to a theatre column in a student paper. It’s a bit thespy because it’s okay to experiment with language when you’re young. Reprinted here because why not.

During my time as a student (and during my time as a human) I’ve done a fair bit of lighting design and teching for student theatre. Here is a list of shows I have worked on.

2010

**Bent **(Lighting Designer; O’Reilly, Oxford)

**Paradise Lost **(Lighting Designer; O’Reilly, Oxford)

**The Blue Room **(Lighting Designer; O’Reilly, Oxford)

2009

**Captain Improv **ICE

**Much Ado About Nothing **(Lighting Designer; O’Reilly, Oxford)

**The Tempest **(Lighting Designer; Moser, Oxford)

**The Truth **(Lighting Designer & Op; OFS, Oxford)