By Larry Kirwan - Black 47

They're everywhere now. Increasing and expanding by the year, they've outgrown their natural roots on the East Coast and the Rust Belt of the Mid-West. Now they flourish in Kansas City, Savannah, New Orleans, you name it; and every month I get a call from an AOH secretary a Noraid member or just some savvy all-American wondering about his or her chances of pulling off an Irish Festival.

And why not! Get yourself a fenced-in space, a stage, a workable PA, a headlining band, beer company support, a volunteer staff, some fine weather and YOU could be on your way to being the next Milwaukee Irish Fest.

Where did it all start! Well, that's a bit like the Ray's Pizza conundrum, isn't it! But my gut instinct is that it all began back in the New York Irish community of the so's. Okay, South Side Chicago, Boston and East Durham, you've got documented proof that your festivals were celebrating their centenaries when wide-pantsed Galway men and their petticoated dates from Leitrim, Mayo and Tyrone were chastely cheek-to-cheeking to Micky Carton's Orchestra at theJaeger House on Lexington Avenue.

My theory, though, is that when these young immigrant Irish trooped out to The Rockaways on those pre-air-conditioned summer weekends and danced and drank in the haunts of Irish Town, that the seeds were sown for the modern Irish Festival.

With time, those dancers married, had children and didn't get out as much any more. Besides, the urban decay of the 60's hit the Rockaways hard. Most of Irish Town was demolished and the streets were no longer as safe; but the couples still wanted to meet, reminisce and show off their kids. So, they unfolded their beach chairs, bought a keg, and finagled a couple of hungover musicians into playing for the hair of the dog and, bob's your uncle, they had a rip-roarin' block party on their hands.

The Rockaway Festival that grew out of these innocent Sunday afternoons was one of my favorite days - although, one year, I was almost brained by a beer cooler thrown by an appreciative fan. Alas, the festival is no more - our national savior, Mr. Giuliani, put his Puritan kibosh on it by barring the street sale of alcohol. After all, who, in their right mind, would want to attend a dry Irish Festival!

But I digress. A number of veterans of the Rockaway bash had relocated to Southern Florida. Rory O'Dwyer (son of the great Irish-American Civil Rights activists, Paul O'Dwyer) and Sheila Hynes, amongst others, longed for an authentic hooley around St. Patrick's Day. They hired a park, a PA, and engaged Adrian Flannelly (the voice of Irish Radio) to snare some top class musicians. A couple of decades later, their two festivals in Ft. Lauderdale and West Palm Beach are amongst the most successful in the country. And, given their location, they almost always have good weather. Then again, on the odd bad day, there's nothing quite like a tropical storm rustling the palm trees as you step it out to the Funky Ceili.

The first festival I performed at was the long running Catholic Charities event out in Coney Island. In fact, I actually thought I had died and gone to heaven.

Chris Byrne and I were in the midst of a very earnest, eyes-closed version of "The Patriot Game", at the end of which, to the wail of the pipes, I would denounce every Taoiseach, Tanaiste and elected ratcatcher for betraying the Cause. To my amazement, I glimpsed the sight of a nun in full habit sweeping past me. Figuring it was some kind of flash-back, I returned to my blind denunciations but suddenly, there she was again, this time fiddling with a boom-box from w~ch emanated the heavenly sound of synthesized strings. After the set, I found out that we had overstayed our allotted time, the good sister had a second gig to get to and later for you, Black 47! I'm glad to see Sister Mary Beata continues to play the festival circuit, long after many other more fashionable entertainers have thrown in the towel.

Speaking of divine intervention, ask Frank Bradley about weather. Frank is one of nature's gentlemen and the visionary behind the great South Side Chicago Festival held every Memorial Day Weekend. Sounds balmy, right! On our first appearance there in 1992, it began snowing as we took to the stage. We were contracted for a 90 minute set and, fearful of not being paid, we blazed on through a gathering blizzard to about 50 hardy souls who danced to our frantic pleas for James Connolly to rise up, init ate a proletarian revolution and liberate us from the frozen stage. When we came off like 6 emasculated snowmen, Frank stood there, check in hand (plus bonus) silently marveling at the lunacy of certain New York musicians. We've never missed a year since, but the Festival now takes the precaution of erecting an enormous tent. You just can't trust that Lakeside weather. But you can depend on the warmth and rowdy loyalty of the South Side Irish.

For my money, having a headlining act is a must for a successful festival. Ask that lovable Cavan rogue, Steve Duggan, whose Bel·mont Festival had chugged along to respectable successes over the years. Last August, however, Stevie nailed down The Saw Doctors for his Saturday night extravaganza and hit the jackpot with a record breaking attendance. And with Pepsi sponsoring this year's extravaganza, the sky's the limit for our Stevie.

Of course, when you've built up a reputation like the Milwaukee Irish Fest, you don't really need a headliner. It wasn't always that way. Back at their inaugural in 1981, their goals were modest, hoping in some small way to emulate the successful local Fest Italiano. Now, over 100,000 pass through their turnstile annually. Founded by Chuck and Ed`Ward and loyal, hardworking committee, Milwaukee Fest has become the Mother of all Irish Festivals. They are blessed with a wonderful, publicly funded site which puts on many other large scale events throughout the summer. Thus, from the start, they had the best in PA sound systems and other facilities. Still, Jane Anderson, a founder and currently executive director, credits all success to their volunteer staff. When asked to dispense advice, she counseled would-be promoters to start small and always go for quality - quantity will come with time. One of the projects funded by the festival is the Irish Music Ardiryes, dedicated to John I. Ward, Chuck 8r Ed's late father, which now contains over 40,000 pieces of Irish recordings and sheet music.

Festivals, of course, renect the current dynamics of Irish American life. There is the eternal battle between those more attuned to the homeland who cringe at Leprechauns, green beer, freckle faced competitions, and those who see no harm in such shenanigans. (Sheila Hynes makes the interesting point that a successful festival sets off a commercial chain reaction which can lead to gift shops, pubs and even new Irish communities in the surrounding area.) Then there are the various political and civil rights activists who consider it their right to set up a table on the big day versus those who think that festivals should be apolitical or that Irish politics ended circa 1916. This has led to friction at many festivals. But now, with peace in the ascendancy in the North of Ireland, this issue shows every sign of becoming a memory. Besides, a vast majority of people feel that festivals are about celebrating Irishness in its myriad forms and the tent is big enough for all.

I'm forever impressed by the level of altruism at most Festivals. Practically all of the money raised goes to an array of charities and quite often to the construetion or maintenance of Irish Community Centers. Take for instance the Dublin, Ohio Festival - one of best run and, perhaps, the second largest in the country. This year will mark its 15th anniversary. Kay McGovern and the Dublin Irish Celebration Committee work with Sandra Puskarcik and the City of Dublin, in apparent harmony, to run this everevolving event. CVhen asked the secret of their success, Kay cited the usual suspects: good location, great PA systems, over 1200 dedicated volunteers and draconian stage management - she personally has knocked on the hotel doors of tardy musicians and will not allow any act - no matter how big - to go beyond its allotted time. And where do the profits go! A very equitable split between Irish organizations such as Project Children, cultural and sporting activities in schools, theaters, social groups, etc with the balance going back into the City of Dublin to ensure that the festival is self-sufficient. Kay's parting advice to prospective promoters - organize, have some money to spare and be prepared for every possible disaster that might happen, because it eventually will.

But in the end, Irish Festivals are about community. Whether this means a return to the old neighborhood of Rockaway, a celebration of being South Side in Chicago, or a uniting of the dans in Milwaukee and Dublin, the festival is a way of getting together and celebrating heritage. In a society that's becoming ever more homogenized, it's an affirmation of all the things that make us different.

So, you want to start your own Irish Festival! Just get a fenced off space, a stage, a PA, a good band, a Mussolini-like stage manager, and everything Irish you can think of - except the weather. I'Il see you there this summer.