[00:00:08] Speaker A: This is Hannah DePriest welcoming you to the final exclusive Salon Era podcast episode of the 202425 season.
This time, we're bringing you highlights from the late release concert season Closer the Mermaid. This imaginative new program features a wide range of music from the Golden Age of Sail, from popular ballad and country dance tunes to parlor songs by familiar composers like Henry Purcell and Franz Haydn.
You'll hear special guest artist Shawn Dagger singing and playing Irish bouzouki alongside director and oboist Deborah Nagy, soprano Elena Mullins Bailey, violinist Allison Monroe, cellist Rebecca Landell, and percussionist Anthony Tadeo. Throughout today's podcast episode, you'll hear selections recorded live at The Mermaid in April 2025. But let's kick things off with a little background from Deborah Nagy.
[00:00:57] Speaker B: Deborah, it's great to talk to you. This is the final podcast episode, exclusive of our season, where we're talking about our concert series with Les Elyse. And today we're talking about the Mermaid, which we just recently wrapped. And to set us up, can you tell us a little bit about what was your inspiration for the Mermaid program?
[00:01:15] Speaker C: First of all, Hannah, it's great to talk to you. And the Mermaid has been a program that has been kind of developing and gestating for well over a year and a half. It's been a really, I would say, fun rabbit hole to go down, but it's felt a little bit more like a whirlpool at times, where I have really done a lot of reading all around maritime culture of all kinds, and the Mermaid is just one part of it. But the actual inspiration for the program itself, I hate to say, was very practical, which was that I was reflecting on the wonderful kind of musical direction that, you know, our Scottish programs like the Highland Lassie, you know, featuring English ballad tunes, have really enabled. And I happened to come across the ballad tune of the Mermaid, and it just, it was like a light went off. And I. And I thought I wanted to make that the focus of a program and build around it. And from there I realized actually that there were obviously a lot of. Of cultural currency around the mermaid as a symbol, as a object of fantasy, and as a kind of subject in music. And so the Mermaid is a recurring theme through this program. There's the Mermaid ballotoon that I mentioned. There's a Haydn song that we'll hear later in this episode. There's even a country dance called the Mermaid, which suitably is a hornpipe, which was a dance form that's associated with music aboard ship. So the Mermaid just excited my imagination and became a kind of a through line for this program that builds on my my interest and my research in ballad tunes and 18th century English and Scottish repertoire.
[00:03:03] Speaker B: Wonderful. Well, let's kick things off with the mermaid country dance that you reference.
Well, in addition to speaking with Debra today, I am totally delighted to introduce Dr. Vaughn Scribner, who is an associate professor of British American history at the University of Central Arkansas and the author of Merpeople A Human History.
Vaughn, thank you so much for joining us today on Salon Era.
[00:04:50] Speaker D: Yeah, thanks, Hannah and Deborah, I'm really excited to chat with you guys about all things mermaids.
It's been a fun journey so far.
[00:04:58] Speaker B: The book that you wrote is obviously something that it's like the perfect book for Deborah because she's been thinking about very little other than mermaids for a long time now.
And I was just wondering, though you have so many interests in your research, it seems what originally piqued your interest in mermaid history and lore?
[00:05:20] Speaker D: It's a great question. I. I've been reading or writing my research statement recently and I say in it, you know, when I was writing my dissertation on Colonial American taverns, I never expected to eventually being, you know, write a book about merpeople. And I always couch with, I wrote this book about mermaids. I don't believe in mermaids, but. And then I'll talk about it because, you know, they're these fantastical creatures.
As you mentioned, my main area of Expertise is like 18th century British and British American history. My first book was about Colonial American taverns and the coming of the revolution. Well, a lot of those sources I use there, you know, you can't go to the archives and go to the tavern section. You have to read people's accounts because taverns were these central spaces, but they're also weaving through people's lives. So I read a ton of travel diaries, journals, newspaper articles. I'm just going through all this ephemera and piling stuff together. Well, one of those travel diaries was by an English naturalist called John Jocelyn. He's a 17th century English naturalist. And I'm reading his travel diary. He's over in New England.
And in his travel diary he claims that he's on a boat and his friends go ashore and he says, I'm just going to hang out on this boat. And a merman tried to climb over the side of his boat and he cut its arm off and it fell into the water and it bled purple Bl. And I'll never forget reading that first Time. And I'm sitting there in my home office, and I was like, what is this? And I kind of put it aside because I thought, well, maybe I'll just. Like, back when it was still called Twitter, maybe I'll get a tweet out of this or some random thing. Well, the very next day, I'm reading Benjamin Franklin's Pennsylvania Gazette, and he has a newspaper article about a merman in France or Spain. I'm sorry. And I thought, what is happening? And so this is kind of where I dive in, if you will. I start really looking into what's going on with these mermaids. And I. I start off bringing it into my own research, where I'm arguing that, look, in the 18th century, you have these Enlightenment gentlemen from throughout Western Europe hunting for merpeople all over the world because they're trying to merge the wondrous and the. And the. And the rational kind of. And they really do think that these creatures exist because they have all these. This proof of it. And that ended up becoming more. I wrote an article, I did a couple blog posts, and then I did an interview with Sky News, and then I ended up doing this cover story for History Today magazine. And then that's when reaction books reached out to me, or like, hey, we'd like you to write a book about this. One of the really fun things about this book, though, is it pushed me geographically and temporarily out of my main area, and I learned so much, and I met so many cool people around the world and doing the research for this. So.
[00:08:02] Speaker B: So kind of like. Yeah, one of those things where you just kind of keep your antennas up when you're in the. In the library and you struck gold?
[00:08:11] Speaker D: Yeah, I really did. That's how it happens. Yeah.
[00:08:14] Speaker C: Did it surprise you that there's an obsession of sorts in the 18th century and among these kind of Enlightenment groups or circles of thinkers, that they're kind of super curious about mermaids in some sense. But. But then, obviously, here we are in the 21st century, and this mermaid research is. Is garnering a lot of attention. There's something so wild and exciting about how the mermaid continues to excite the. And be a part of the kind of cultural imagination.
[00:08:47] Speaker D: Yeah, Deborah, and that's a great point. The book argues, too, that we project ourselves on these merpeople over and over again, and we get what we want out of them. So in the 18th century, when you have this time of scientific advancement and discovery and pushing back boundaries, it made sense to a lot of people that there would be Mer people, I mean, they found the platypus. Okay, that's maybe weirder than a mermaid in some way. And so who's to say there aren't these strange half human creatures throughout the globe? And that's something. Another big surprise is as I started doing more and more research on this, there is just this mania right now for merpeople. There are documentaries, there are books, there are TV shows, there are mermaiders. And so we keep coming back to these creatures because they are half human and they allow us to work through a lot of things.
[00:09:38] Speaker B: How did the thinkers of the Enlightenment think about or explain the mermaid?
[00:09:44] Speaker D: Well, Linnaeus, Carl Linnaeus, the father of modern classification and everything is chasing mer people around the world. He's writing letters to the Royal Society saying we need to catch these creatures eventually. One of his graduate students in America thinks he's founded the siren Lacertanus.
But they have a hard time because the, the mermaid eludes categorization a lot. They don't like that. They want to order the world around them. They want to control the natural world. So they. But they still try. They collect mer people, they collect their bones, allegedly. There are all these drawings made from life. During the 18th century, men mostly claim to have caught mermaids and kept them alive. They also start applying ideas of race onto these mermaids. They, in some ways, they, they liken certain mermaids to African peoples. They liken other mermaids to East India native peoples.
So they're using these merpeople as a way to kind of suss out and figure out their scientific method and where humans fit in the world. Know, scholars still can't come up with a good definition of the Enlightenment, but I think that a big part of it was humans just trying to find their place in the world where we fit where we're going. And mermaids offer a good opportunity to do that. And another thing that happens in the 18th century is they start to draw mermaids as more realistic.
Whereas, you know, classical mermaids are kind of more what we think of with like the Starbucks logo or the Little Mermaid in Disney. They don't look like that anymore.
And then by the end of the 18th century, early 19th, you have actually Fiji mermaids, these technical specimens coming in from Japan that both shatters belief in mermaids and ignites interest in other ways. In mermaids, I don't know what they were seeing. But the weird thing is you have very reputable, smart men swearing up and down that they saw these creatures. And then they have witnesses too.
And they're not always describing manatees. They're seeing these in waters where manatees don't live. So I don't know.
I think that a lot of it too is there's a certain social and cultural capital in having seen one of these creatures or interacted with them, and so that there's something there as well.
[00:12:00] Speaker B: With that, let's listen now to Franz Haydn's the Mermaid Song, which is an English canzonetta with text by Ann Hunter, arranged for Ladyliss by Deborah Nagy, featuring soprano Elena Mullins Bailey.
[00:13:29] Speaker E: Dancing.
[00:13:56] Speaker D: How can.
[00:13:57] Speaker E: I release only where the Lord.
[00:14:16] Speaker C: With.
[00:14:17] Speaker E: Me and with you where the rocks of coral grow of coral grow Follow me follow follow me Follow with me Follow follow follow me Follow, follow follow me me Stormy winds are far away Stormy winds are following.
[00:15:44] Speaker F: Away.
[00:15:48] Speaker E: Come with me and we will where rocks of.
[00:15:57] Speaker F: Coral go of.
[00:16:02] Speaker E: Follow, follow me follow my follow, follow me Father to Be Under.
[00:16:33] Speaker A: Are you enjoying the music featured on today's episode? Well, I have great news. We are releasing the full concert on Le Delis Online VHX platform, so from May 23 to June 8 you can stream the entire beautifully filmed concert, the Mermaid in High definition on Demand for just 20 bucks.
Visit Lesdalice VHX TV to reserve your access.
That URL is Les D E L I C E S dot V A checks TV and thanks again for listening to this episode of Salon Era, which features excerpts from a live performance by les Delys from April 2025.
In a moment we'll return to our conversation with Artistic Director Deborah Nake and Dr. Von Scribner, but in the meantime, I hope you'll consider making a tax deductible gift in support of Solanira. With your help, we can continue to collaborate with engaging artists from across the country and around the world. You can support Salonira by subscribing to this podcast and by
[email protected] your donations. Make every episode possible. Thanks again for supporting Ladalise and Solanira by listening and subscribing to this podcast.
[00:17:49] Speaker B: Vaughn, we're back with you and with Deborah Nagy. Deborah, feel free to jump in whenever you want.
Vaughn, you kind of alluded to the fact that conceptions of the mermaid and what people were imagining or seeing, quote, unquote, kind of shifts over time. But in the 18th century, when someone said that they had seen a mermaid, what did they mean? Like, what makes a mermaid a mermaid? Like, what are its defining characteristics?
[00:18:18] Speaker D: A great question. So it's a woman from the top, the top half of a woman, and the Bottom half of a. A fish, a fishtail. But it can. But they're variables. So sometimes they have two fishtails on the bottom. The women sometimes are described as having like blue or green flowing hair. Sometimes they have accoutrement. They'll have like a mirror or a comb that starts to kind of fall out. By the 18th century, though, that's more kind of your classical medieval church depictions of mermaids. By the 18th century, though, they're often describing them in very basic terms is a human on the upper half and a fish on the lower half. The medieval Christian church really creates our idea of a mermaid today. Mermaids also, traditionally they'll have like a siren song by the 18th century. Sometimes they'll just make. They make all sorts of noises. Sometimes they're, you know, yelling at people or kind of making strange gulping noises.
They're often sighted at sea, but sometimes they're on inland rivers as well. In a basic sense, it's a human on the upper half, a fish on the lower half. There are variables thrown in there.
[00:19:21] Speaker B: Okay, so we've talked a little bit about like these accounts that sailors would come back with. What, what do you think that the mermaid was sort of representing or signifying or symbolizing in the culture?
[00:19:32] Speaker D: This is a great question. So this isn't in my book, but I. And it's available on my website if anyone wants to read it. I wrote an article about 18th century sailors and their mermaid culture and symbolism. Because I argue in that that the sailors in the 18th century are the ones who really appropriate this, this symbol of the mermaid on land and at sea. So at sea, they oftentimes name their ship the mermaid or the siren.
They would have the mermaid statue on the prowl. They sing songs about mermaids and tell tales about them at sea. But you also see it on their very physicality. Sailors were some of the only men in Western Europe to have tattoos. And the mermaid was one of the most popular tattoos they'd have. I actually, in a kind of macabre fashion, people even save some of their skin after they die. But they'd also describe in the newspapers, when they find a dead sailor, they describe their body and they talk about their mermaid tattoos. So at sea they have this kind of mermaid symbolism. But then when they get to shore, their main haunted shore was the tavern. Oftentimes there would be taverns called the mermaid tavern, which would have a sign depicting the mermaid. And that would usually be kind of a sign that this is a sailor friendly space. They would give tokens out In a lot of these taverns where you'd buy kind of like a token to purchase things in the tavern, and they'd have mermaids on them oftentimes. And then in the tavern itself, they tell these same stories and sing these things songs as a way to identify with each other and connect with each other. And then, of course, they're showing the mermaids on their. On their body as well. So this mermaid tavern with this shared culture and shared symbolism brought them together.
[00:21:11] Speaker B: Well, it does strike me that these men who were sailors were taking on a really different lifestyle than everyone else kind of around them and in society. And they were seeing things.
Maybe mermaids, maybe not.
But everything that they were seeing was fantastic, really, in a way. And it strikes me as interesting as they're kind of creating their own subculture.
[00:21:38] Speaker D: Yes, totally.
[00:21:40] Speaker C: I get that these sailors have a common link and a sense of fraternity, as you said, around the visual symbol of the mermaid. And I also have the impression from some of my reading and even from the songs and stories that as tantalizing as a mermaid was, she was also kind of a harbinger of death. She embodied or portended danger. Yeah.
[00:22:06] Speaker D: And. Well. And, you know, sailors had a lot of superstitions because they lived very dangerous, hard lives. And so often their fate was beyond their control. They're hitting these horrible storms, they're out by themselves. And so, yeah, seeing a mermaid could. Could also be a. A very dangerous, harrowing thing.
[00:22:25] Speaker C: There's a lot of tension.
[00:22:27] Speaker D: There's a lot of tension. Yeah. And it's also just kind of revealing the contradictions that we are as humans.
[00:22:32] Speaker C: And I think it's kind of cool just to bring this back to the music, a moment that there's actually a real contrast between the Haydn song that we just heard, which is kind of. I hate to say it, but more like the Little Mermaid, where there is an element, not so much of the siren song being dangerous, but of luring the listener. The text is, you know, she sings, come, follow, follow me, blah, blah, blah. But she talks about, you know, curly treasures. And it's a very effervescent Disney ification of the mermaid as a symbol. But the mermaid ballad tune that we're about to hear really resonates with the idea that mermaids are dangerous. And basically, the way that this ballad tune works is that it starts out actually with a physical description of her in this. Actually, she has both a comb and a looking glass, a comb and a glass in her hand in the valet tune. Also kind of a depiction of stormy seas. Because the chorus is that the ocean's waves do roll. And this the sailors are skipping at the top. This is the text from the chorus. And the landlubbers are taking refuge down below. And then all of the verses are actually the different people on the ship, Whether that is the captain or the boatswain or the cook or the cabin boy, basically talking about who they're going to be leaving behind.
Having seen this mermaid, it is dangerous. And so there's. There's. What's, I think, interesting about it is all of these different points of view and different voices and as well as the joyfulness of song and yet the embracing of a certain kind of reality. If mermaids are real.
[00:24:16] Speaker B: Well, let's listen now to the mermaid ballad.
[00:24:22] Speaker F: It's Friday morning As we sad not being far from the land was there we espied a fair mermaid With a comb and a glass in her hand her hand, her hand With a comb and a glass in her hand and the ocean waves to roll and the stormy winds to blow and we or sailors are still skipping at the top While the land lovers lie down below, below, below While the land lovers lie down below.
She was coming through her long dark hair and her skin shone bright like the moon her cheeks were like roses her eyes like the stars and her voice rang forth with tuna tune a tune and her voice rang forth with now the bo. Not the hell he stood he was steering his course right well the tears were streaming down from his eyes he say, oh, how the seas do swell, do swell, do swell Saying oh, how the seas move swell the ocean waves fall and the stormy winds do blow and we four sailors are skipping at the top While the land of earth lie down low down While the line the lie down Then up spake the maid of our gallant ship and an able mate was he he said I have a wife back in fair from the town. And this night, O widow she shall be, shall be, shall be. And this night, O willow, she shall be.
And up spake the captain of our gallant ship and the valiant captain was he he suds for one double long boat we all shall be drowned and will sink to the bottom of the sea the sea, the sea. And we'll sing through the bottom of the sea the ocean waves good and the stormy winds do blow and before sailors are skimping at the top While the land lovers lie down below, below, below While the land lovers lie down there up spake the cook of our gallant ship and a gruffle so was he he said, I care Much more for me pots and me pants Than I do for the bottom of the sea the sea, the sea that I do for the bottom of the sea Then up spake the boy of Argellan ship and a well spoken lad was he said I have a mother back in fair Bristol town and this night she shall wait for me, for me, for me and this night she shall wait for me for the moon shone bright and the star gave light and my mother is looking for me she may look, she may weep with her waltry eyes that I lie at the bottom of the sea to see the sea that I like at the bottom of the sea and the ocean waves do roll and the stormy winds do blow and we for sailors are skipping at the top While the land lovers lie down below, below, below While the land lovers l.
[00:28:38] Speaker B: Well, Deborah and Vaughn, before we listened to that song, we were talking about that the mermaid is kind of a double edged sword, double edged symbol. Where on the one hand she is beautiful and alluring and represents this kind of adventure and this like special fantasy, but she's also this symbol of danger. And maybe she brings with her storms and death and destruction.
So if mermaids were a symbol of a threat of danger, pirates would have been a much, much, much more real and present danger on the seas.
So, Deborah, can you talk a little bit about the pirates that you wanted to kind of incorporate into this mermaid program?
[00:29:24] Speaker C: Yeah, absolutely. We have kind of at the center of the program, I basically kind of imagined our crew in the foxhole or the forecastle, that kind of cruise living quarters on a, say, a Saturday night, you know, trying to entertain one another and keep each other company. And of course they tell and sing the song of the mermaid. But what kind of evenings entertainment wouldn't be complete without a pirate tale or story?
And so I went back to some traditional ballad tunes and broadside ballads, some of which I tried to source from the Pepys collection, so late 17th and 18th century maritime ballad tunes. And one of these is a pirate ballad, Captain Ward and the Rainbow. And basically there's a pirate, Captain Ward, and he's been very successful in all his pirating. And he has a conflict with the King of England. And then there's a sea battle that ensues, which is sort of fun, where there's full 50 good brass cannons going at it. But Captain Ward, our pirate, says you can show up with as many munitions as you want. If you are clad in brass outside, I have got steel within. Ooh. And the last line of this is the pirate Telling the king's men to go home and tell your king from me, if he reigns king upon dry land, I will reign king at sea.
[00:30:53] Speaker B: Wow. Yeah, There are all these funny kind of like inversions and plays with hierarchy and. Yeah, the sea is kind of a dangerous place, but maybe also a liberating one.
[00:31:03] Speaker C: In a nutshell, yes.
[00:31:06] Speaker B: Let's listen now to Captain Ward.
[00:31:18] Speaker F: Come all ye gallant seamen bold that live by tuck of drum, I'll tell you of a rover now on the seas has come. This pirate's name was Captain Ward. As you the truth shall hear, there's not been such a rover this many a long year.
Ward wrote a letter to the king on the 5th of January to see if he would take him in and all his company.
No, no. Then said the king, sure no such thing can be, for he has been a rover and a robber on the sea.
Then says Captain Ward, me boys will put to sea again.
See what wretches we can find. On the coast of France and Spain.
We spied a lofty ship sailing from the west. She was the loaded with satins, silks and cambrics.
We bore up to them straight away, they thinking no such thing.
We rob them of their merchandise and bade them tell their king.
When the king he heard of this, his heart was grateful. Sore to think that he could not get by. Is he in done?
The king then built a worthy ship, A ship of no fame she was called me boys. The Rainbow was her name was as well provided for as any ship could be full 1300 men on board to bear her.
She sailed west, but nothing could spy sail. They came upon the spot where Captain Bourne did lie. Who is the owner of the ship? Those rainbow boys did cry. Oh, here I am. Cried Captain Ward. Let no man be denied what brought you here, you coward. You ugly wanton thief.
What makes you lie at saner and leave our king in grief?
You are so bold a robber. We'll soon subdue your pride. And when that got in her rainbow, she shot out of her sight full 15 good and brass cannons will charge on every side.
And then they fired their green guns and gave order broadside on fire on. Cried Captain Ward. You scare me not a thing. If you are glad with brass without. Well, I've got stupid in.
They fought from 8 o' clock the morn till 8 o' clock that night. But soon the coward Rainbow boys began to take their flight.
Go home, go home. Cried Captain Ward. Tell your king from me in the Queen's king upon dry land I'm King upon the Sea.
[00:35:57] Speaker B: Vaughn and Deborah, this is. We're kind of wrapping up now, but, Vaughn, I really wanted to ask you this, which is. I mean, you talked about how you started off on this research adventure with mermaids kind of as like a side quest that became a major project in your research life. I'm sure that there are lots of amazing things that you learned, but looking back on it all, like the articles, the book that you wrote, all the images you saw, like, what is, like, one thing that truly surprised you in all of your research, one thing that you just weren't expecting to find out that you were really shocked by?
[00:36:36] Speaker D: This is part of what really hooked me into this.
So for the longest time, people had been attributing a mermaid sighting to John Smith, and multiple historians had said that John Smith saw a mermaid. So when I started doing my research for this, I'm like, okay, if I'm going to write this article initially about mermaids, I need to actually verify these sightings. So I went through everything John Smith had ever written, and nowhere did I find any account of him seeing a mermaid. Now, these other historians had cited John Smith and they quoted him.
This led me down a real rabbit hole. And eventually, after multiple hitches, and I thought I figured out a sailor named Richard Whitbourne had claimed to see a mermaid, and then the next person. Someone misattributed this sighting to John Smith in, like, 1618 or something like that.
And from that point on, historians have been misattributing this mermaid sighting to John Smith. Dozens of historians over hundreds of years. So I was able to debunk this deep misconception. And now I get to use this as a teaching experience with my students where I'm like, you need to go to the source.
Don't just cite another historian if you don't know what the source is. And so that was really fun and a nice little with, you know, famous people like John Smith thrown in there. Mermaids, Alexandre Dumas, the writer makes an appearance. Eventually.
That's like a nerdy answer. But I'm just. I am a nerd. So there you go.
[00:38:07] Speaker B: Yeah, we're all nerds here. I love that. It's a moral tale. It's a lesson.
[00:38:13] Speaker D: Yes. Like, go to the source. They say historians, like, you're like a detective. And that's really what I felt like at that point where I'm. It was fun.
[00:38:22] Speaker B: Deborah, when you were building this program, is that kind of similar to how you felt? Did you feel a bit like a detective and sort of this creative process of putting together this program I did.
[00:38:34] Speaker C: I felt also that there was just so many avenues, so many potential avenues that could be taken and I wanted to explore as many as I could could. I really wanted to create a program that, you know, wasn't just about mermaids but was actually representative of the 18th century maritime experience.
The productive life and the recreational moment and the inherent danger and loneliness and being homeward bound. All of it somehow into a 65, 70 minute program.
[00:39:09] Speaker B: Well, let's end our program with a. With a sea shanty all about coming home.
Deborah, do you want to introduce this one?
[00:39:18] Speaker C: Yeah. We're gonna finish up as we did pretty close to the end of the concert when our crew is, you know, finished up and they've been through their most challenging night aboard ship. And you have the clear skies and calm seas of morning. And we get these homeward bound shanties like Leave her, Johnny Lever, Johnny, her of course is the ship.
It's time for us to leave her.
[00:39:45] Speaker B: Well, let's listen and we'll hear our shanty man, Shawn Dagger singing.
[00:39:58] Speaker F: I thought I heard the old man say Leave her, Johnny, leave her Tomorrow you will get your pay and it's time for us to leave her Leave her, Johnny, leave her oh, leave her, Johnny, leave her for the voyage is done and the winds don't blow and it's time for us to leave her I hate to sail on this rotten tongue Leave her, Johnny, leave her no ground alive and rotten grub and it's time for us to leave her Leave her, Johnny, leave her oh, leave her, Johnny, leave her for the voyage is done and the winds don't blow and it's time for us to leave her we'd be better off in a nice clean jail Beaver, Johnny Beaver was smuggled in girls and smuggled in ale and it's time for us to leave her Leave her, Johnny, leave her oh, leave her, Johnny, leave her for the voyage is done and the winds don't blow and it's time for us to leave.
[00:41:17] Speaker D: Her.
[00:41:44] Speaker F: All the cooks are drunk and the mate is too the crew is forcing men to few and it's time for us to lever Lever, Johnny Lever oh, lever, Johnny Lever for the voyage is done and the winds don't blow and it's time for us to lever Beware those packet ships I say Weaver, Johnny Lever But I'll steal your stores and your clothes away and it's time for us to leave her Lever, Johnny, leave her oh, leave her, Johnny, leave her for the voyage is done and the winds don't blow and it's time for us to leave her we swear by our own poor want of more Leave her Johnny, leave her the voyage is done so we'll go on shore and it's time for us to leave her Leave her Johnny, leave her oh, leave her Johnny, leave her for the voyage is done and the winds don't blow and it's time for us to leave her Leave her Johnny, leave her or leave her John.
[00:43:22] Speaker A: Thanks so much for listening to this episode of Salon Era. This episode was created by Executive Producer Deborah Nagy, Associate Producer Shelby Yaman, and me, Hannah DePriest, scriptwriter and special Projects Manager. For this episode, I spoke with Laid Elyse for Founder and Artistic Director Deborah Nagy and musicologist Von Scribner.
Support for Salon Era is provided by the National Endowment for the Arts, Cuyahoga Arts and Culture, the Ohio Arts Council, and audience members like you. Special thanks to our program sponsors for the Mermaid. This program was sponsored in memory of Kim Sherwin. Shawn Dagger was sponsored by Daniel and Ruth Schaskes. Thanks also to our Solaniera season sponsors Deborah Malamud, Tom and Marilyn McLaughlin, and Greg Gnosin and Brandon Rood.
This episode featured musical performances by Les Delys. Huge thanks to our audio engineer, Andrew Tripp for his recording work at our live concerts. Please subscribe and leave a review on whatever platform you're listening on. It really helps the show from all of us. Thanks for listening and have a great day.
