Francis O’Neill (Irish: Proinsias Ó Néill), an Irish-born American police officer and collector of Irish traditional music, is honoured in his native West Cork on March 11, 2000, where Garda Commissioner Patrick Byrne unveils a life-size monument of O’Neill playing a flute adjacent to the O’Neill family homestead in Trawlebane, County Cork. The monument, made by sculptor Jeanne Rynhart, and a commemorative wall are erected through the efforts of the Captain Francis O’Neill Memorial Company.
O’Neill is born in Trawlebane, near Bantry, County Cork, on August 28, 1848. At an early age he hears the music of local musicians, among them Peter Hagarty, Cormac Murphy and Timothy Dowling. At the age of 16, he becomes a cabin boy on an English merchant ship and remains a seaman until 1869. On a voyage to New York City, he meets Anna Rogers, a young emigrant whom he later marries in Bloomington, Illinois. They move to Chicago, and he becomes a Chicago policeman in 1873. He rises through the ranks quickly, eventually succeeding Joseph Kipley as the Chief of Police from 1901 to 1905. He has the rare distinction, in a time when political “pull” counts for more than competence, of being re-appointed three times to the position by two different mayors.
O’Neill is a flautist, fiddler and piper and is part of the vibrant Irish community in Chicago at the time. During his time as chief, he recruits many traditional Irish musicians into the police force, including Patrick O’Mahony, James O’Neill, Bernard Delaney, John McFadden and James Early. He also collects tunes from some of the major performers of the time including Patsy Touhey, who regularly sends him wax cylinders and visits him in Chicago. He also collects tunes from a wide variety of printed sources.
O’Neill retires from the police force in 1905. After that, he devotes much of his energy to publishing the music he has collected. His musical works include:
O’Neill’s Music of Ireland (1903), containing 1,850 pieces of music.
The Dance Music of Ireland (1907), sometimes called, “O’Neill’s 1001,” because of the number of tunes included.
400 tunes arranged for piano and violin (1915).
Waifs and Strays of Gaelic Melody (1922), 365 pieces.
Irish Folk Music: A Fascinating Hobby (1910). Appendix A contains O’Farrells Treatise and Instructions on the Irish Pipes, published 1797-1800; appendix B is Hints to Amateur Pipers by Patrick J. Touhy.
Irish Minstrels and Musicians (1913), biographies of musicians, including those from whom he collected tunes in Chicago.
In 2008, Northwestern University Press issues Chief O’Neill’s Sketchy Recollections of an Eventful Life in Chicago, a non-musical memoir edited by Ellen Skerrett and Mary Lesch, a descendant of O’Neill, with a foreword by Nicholas Carolan of the Irish Traditional Music Archive. Carolan himself writes a musical biography of O’Neill, A Harvest Saved: Francis O’Neill and Irish Music in Chicago, which is published in Ireland by Ossian in 1997. An historical biography of O’Neill, The Beat Cop: Chicago’s Chief O’Neill and the Creation of Irish Music, by Michael O’Malley, is published by the University of Chicago Press in 2022.
Chief O’Neill’s life is memorialized in the musical play Music Mad: How Chief O’Neill Saved the Soul of Ireland, which premieres in Chicago in 2012. Written by Adam B. Whiteman with the approval and acceptance of Francis O’Neill’s great-granddaughter, Mary Lesch, the show contains both dramatized content and material from O’Neill’s own writings.
Peter Hagarty and Francis O’Neill are memorialized in the song, Píobaire Bán, written by Tim O’Riordan. It is recorded by Patrick O’Sullivan on the CD One More Time and on O’Riordan’s own CD Taibhse.
In August 2013, the inaugural Chief O’Neill Traditional Music Festival takes place in Bantry, County Cork, just a few miles from Trawlebane. The 2013 event marks the centenary of the publication of O’Neill’s Irish Minstrels and Musicians. The event has taken place annually since.
Chief O’Neill’s Pub and Restaurant in Chicago’s Avondale neighborhood bears his name and displays related memorabilia.
O’Neill’s biographer, Nicholas Carolan, refers to him as “the greatest individual influence on the evolution of Irish traditional dance music in the twentieth century.”
Allen is born on July 6, 1936, in a nursing home at 37 Lower Leeson Street, Dublin, the youngest of three sons of (Gerard John) Cullen Tynan Allen, journalist, manager of The Irish Times, and raconteur, and his wife Jean Ballantyne (née Archer), an English-born nurse. His paternal grandmother, Nora Tynan O’Mahony, is the first women’s features editor of the Freeman’s Journal, and the poet Katharine Tynan is his great-aunt. Allen loses half a finger on his left hand in a childhood accident which becomes a favourite theme (and occasional prop) in his shows.
After initially attending Beaumont convent school, Allen goes to Firhousenational school, County Dublin, near the family residence outside Templeogue. For a period during World War II, he lives with his mother and brothers at Keenagh, County Longford, where they had moved for fear that Dublin might be targeted by air raids. On returning to Dublin, he goes to Terenure College, run by the Carmelite fathers. His reminiscences in later life often centre on memories of frequent and sadistic corporal punishment, and warnings from priests that adolescent male sexuality is a device of Satan leading straight to hell. His resentment is formative in his lifelong and outspoken atheism.
Allen, who is close to his father, is severely affected emotionally by his death in 1948, after which his relations with the school deteriorate further. The discovery that his father’s drinking and gambling had left the family heavily indebted means that, notwithstanding assistance from journalistic friends, his elder brothers are obliged to leave school and work as journalists to support the family. Restless and even more discontented at school than previously, he often plays truant to visit museums and art galleries. Expelled from Terenure College, he briefly attends the Catholic University School before leaving school at the age of 16. After working as a clerk for the Irish Independent, in 1954 he becomes a journalist on the Drogheda Argus, reporting weddings and gymkhanas. He later attributes this career path to the contemporary tradition of following a family profession.
Moving to London but failing to secure a job on a Fleet Street newspaper, Allen follows his brother John by becoming a “redcoat” attendant at Butlin’s holiday camps in Filey (Yorkshire), Skegness, Margate, and Brighton, performing various functions and telling jokes and stories during intervals between stage acts. In the winters he sells educational toys in Sheffield. Acquiring an agent, he becomes a professional comedian, adopting the stage name Dave Allen. He initially works the declining club and variety circuit, later claiming that he had toured with the last old-style nude tableaux show. In 1959, he makes his first television appearance on the BBC talent show New Faces and realises that television is the medium of the future. He tours with pop singer Helen Shapiro in 1963 and 1964, joined in the latter year by an emerging support band, the Beatles. At this period, he models himself on American stand-up comedians such as Jerry Lewis, focusing his act on discrete gags leading up to a punchline.
While performing in support of the singer Helen Traubel in Australian nightclubs, Allen often reminisces to her off stage about his early life. Traubel suggests that he incorporate such material into his act. Such is the genesis of his mature style of rambling absurdist monologues, which he describes as influenced by the Irish storytelling tradition in general, and his father’s stories in particular. After appearing in Melbourne and Sydney, he becomes the host of a ninety-minute chat show, Tonight with Dave Allen, on Sydney-based Channel 9. Eighty-four episodes are recorded of what becomes one of Australian television’s most successful programmes ever, its popularity boosted by the rumour that he is having an affair with singer Eartha Kitt, his hilarious interviews with eccentrics, and the frequent deployment of dangerous animals onstage.
Allen marries the English actress Judith Stott in Australia on March 9, 1964, a divorcée with one son. They have two children, including the comedian Ed Allen (Edward James Allen). After separating in 1980, the couple divorces in 1983. Returning to England in December 1964 to be with his wife, he establishes a reputation there through well-received performances as a compère at the televised Sunday Night at the London Palladium (1967) and The Blackpool Show (1966). After a slot as resident comedian on The Val Doonican Show (1965–67), he obtains his first stand-alone show, Tonight with Dave Allen, in 1967 on ITV, a mixture of sketches with the monologues for which he becomes best known. He usually performs seated on a barstool, smoking a cigarette, and sipping from a presumed glass of whiskey (actually ginger ale), while musing on the oddities of life, often expressing his suspicion of authority figures. His signature farewell phrase is “Goodnight, and may your God go with you.”
On BBC television Allen headlines two programmes: The Dave Allen Show (1968–69), and Dave Allen at Large (1971–79). He writes much of his own material, compulsively scouring newspapers for items that he can work into his act. He resists suggestions that he should move to an early evening slot, as this would entail restrictions on his material. In the 1970s and 1980s he tours widely with a one-man stage show, “An evening with Dave Allen,” containing more “adult” material than would be allowed on television at the time. His stage performances are less well-received in the United States than elsewhere.
Allen’s treatment of sex and religion involves him in frequent controversies. Priests and the confessional are frequent targets. In 1975, he provokes widespread protests from Catholics over a sketch in which the pope, played by Allen himself, and his cardinals perform a striptease on the steps of St. Peter’s Basilica. In 1977, his shows are banned from RTÉ. In 1984, the British anti-indecency campaigner Mary Whitehouse formally complains about his televised act, with particular reference to a simulated post-coital conversation. As with many stage comedians, his angry and outspoken stage persona contrasts with a reserved offstage life. He keeps his stage persona distinct from his private life and does not allow his children to attend his shows.
Allen gives occasional straight performances, notably in Edna O’Brien‘s plays A Pagan Place (1972) and Flesh and Blood (1985); in the dual roles of Captain Hook and Mr. Darling in a production of Peter Pan (1973); and in Alan Bennett‘s television play One Fine Day (1979). He has a supporting role in the Australian comedy film Squeeze a Flower (1970). He also presents several documentaries, notably Dave Allen in the Melting Pot (1969); surveying life in New York City, he discusses racism and drug addiction and conducts one of the first television interviews with openly gay men. Other documentaries for ITV include Dave Allen in Search of the Great English Eccentric (1974), and Dave Allen (1978), which deals with American eccentrics. Long fascinated with ghost stories, he publishes an anthology of horror stories, A Little Night Reading (1974).
In the 1980s, Allen is regarded by many fans of the new, politically engaged “alternative comedians” as old-fashioned. His leisurely style contrasts with their quick-fire delivery, and some of his references to the Irish and other ethnic groups are seen as demeaning. He makes a partial television comeback with a six-part BBC One series, Dave Allen (1990), using considerably more outspoken material than he had previously deployed on television.
In 1993, Allen appears in a six-part series for the new ITV London franchise, Carlton Television. Thereafter he moves into semi-retirement, partly because of health problems, while continuing to make guest television appearances. At the British Comedy Awards he is named best comedy performer (1993) and is granted a lifetime achievement award (1996). He occasionally releases videos of older material “to keep myself in the style to which I had become accustomed – a bit of an Irish retirement, actually.” He maintains tight editorial control over his recordings, having been annoyed when his first television shows were chopped and changed when re-broadcast by American networks. They are released on DVD after his death. He presents a six-part BBC series based on his old material, The Unique Dave Allen (1998). After giving his last performance on BBC Radio 4 in 1999, he retires and devotes himself to his hobby as an amateur painter.
After a seventeen-year relationship, Allen marries secondly Karin Stark, a theatrical producer, on December 9, 2003. Their one son is born three weeks after Allen dies peacefully in his sleep as a result of sudden arrhythmic death syndrome on March 10, 2005, in Kensington, London.
A selection of his routines, edited by Graham McCann, is published as The Essential Dave Allen (2005). His obituarists see him as prefiguring the aggressive mocking of authority by the alternative comedians who had once criticised him, and as paving the way for such irreverent and anti-deferential satire of political and religious authority as Not the Nine O’Clock News and Father Ted. The widespread use of the monologue by Irish dramatists such as Conor McPherson in the first decade of the twenty-first century also owes something to his influence.
(From: “Allen, Dave” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, June 2011)
Cronin is born on August 29, 1922, in Dublin, the only son among three children of Con Cronin, a member of the IRA, and his wife Kate. After his father’s death, his mother works as a cook in a boarding school while the children are brought up by relatives in Ballinskelligs in the County KerryGaeltacht. Educated locally, he is deeply influenced by his Gaeltacht childhood; his later writings often refer to the hypocrisy of a state that romanticises the Gaeltacht while neglecting its social problems.
During World War II, Cronin’s sisters emigrate to England to train as nurses while he works as a labourer for Kerry County Council. In December 1941, he joins the Irish Army and is selected in 1943 for an officers’ training course, on which he forms a lifelong friendship with the future theatre directorAlan Simpson. He is commissioned and remains in the army until 1948.
Shortly thereafter Cronin emigrates to New York City, where he finds work as a journalist writing for The Advocate, an Irish American newspaper. He is strongly influenced by interviewing 1916 veterans for The Advocate and by contact with left-wing Irish American associates of Michael Quill, who played leading roles in the foundation of the Transport Workers Union of America. He becomes active in the semi-secret separatist organisation Clan na Gael, and in autumn 1955 returns to Ireland with the aim of helping the IRA to prepare for another military campaign.
Cronin begins work as a sub-editor with the Evening Press and also contributes summaries of world affairs to The Irish Times.
Cronin establishes contact with the IRA, and his military experience leads to his rapid assignment to GHQ staff. He is initially placed in charge of training and instruction, composing a manual on guerrilla warfare and twelve lectures on battlefield training. He teaches new military techniques and new recruits, such as the future IRA Chief of Staff Ruairí Ó Brádaigh, find him deeply impressive.
Cronin becomes a leading advocate of an early IRA campaign against Northern Ireland and becomes the chief strategist for Operation Harvest, a campaign which sees the carrying out of a range of military operations from direct attacks on security installations to disruptive actions against infrastructure. He is arrested on January 8, 1957, near the border in County Cavan. He is imprisoned several times over the course of the campaign (1956–1962).
Most of the IRA and Sinn Féin leadership are interned by the Dublin government on July 6, 1957. Cronin, one of the few to escape, becomes IRA Chief of Staff. He also acts for a time as editor of the movement’s newspaper, United Irishman. He tries to secure weapons from various sources, leading an unsuccessful raid on a British Army base at Blandford Camp in Dorset on February 16, 1958, and through contacts with Spanish republican exiles in Paris. The Irish American community remains the IRA’s main source of external support.
Cronin is arrested on September 30, 1958, and interned, causing considerable disarray, as he had been running much of the campaign single-handed. When the internees are released in March 1959, he resumes his position as Chief of Staff after a factional dispute causes the resignations of Tomás Óg Mac Curtain and the former Chief of Staff Tony Magan. He continues to argue that a sustained guerrilla campaign might yet succeed, but in June 1960 is again arrested and imprisoned for six months.
In November 1960, the Irish Freedom Committee (IFC), a Clan na Gael splinter group, accuses Cronin of being a communist and a “Free State agent,” supposedly implicated in the 1944 execution of Charlie Kerins. The IRA supports Cronin, but he nevertheless decides to resign successively as Chief of Staff, as a member of the Army Council, and as an IRA volunteer, on the grounds that his presence endangers the American support necessary for the continuance of the campaign. He then secures a job as a journalist on the Irish Independent. He withdraws his resignation in November 1961 after the Irish government reinstates military tribunals to try suspected IRA men. He is subsequently sentenced to six months’ imprisonment by a military tribunal and is in prison when the border campaign ends on February 26, 1962. Released on amnesty on April 19, 1962, he finally resigns from the IRA the next day.
By February 1966, Cronin has returned to the United States, where he resides for the remainder of his life, with regular visits to Ireland. He works as a journalist on the Newark Evening News and the Dow Jones News Service and is the U.S. correspondent of The Irish Times from 1967 to 1991, becoming that paper’s first Washington, D.C. correspondent.
In the 1970s Cronin takes a degree at New York University, then teaches and studies for a doctorate at The New School for Social Research in New York under Hans Morgenthau. His dissertation forms the basis for his magnum opus, Irish nationalism: its roots and ideology (1980). Although limited by its colonial model and socialist-republican intellectual framework, this historically oriented account draws on his extensive research and personal contacts to some effect.
Cronin is the author of a dozen books and pamphlets, including a biography of republican Frank Ryan, Washington’s Irish Policy 1916-1986: independence, partition, neutrality (1987), an authoritative account of Irish-US relations, Our Own Red Blood: The Story of the 1916 Rising (1966), and a number of works on guerrilla strategy, including an early Sinn Féin pamphlet Resistance under the pseudonym of J. McGarrity.
After the death of his first wife in 1974, Cronin marries Reva Rubinstein, a toxicologist. In 1980 they move to Washington, D.C. He has no children by either marriage, though his second wife brings him a stepson. After several years of illness, he dies in Baltimore, Maryland, on March 9, 2011. He is survived by his second wife, Reva Rubenstein Cronin.
Duffy is born on April 12, 1816, in Dublin Street, Monaghan, County Monaghan. Both of his parents die while he is still a child and his uncle, Fr. James Duffy, who is the Catholic parish priest of Castleblayney, becomes his guardian for a number of years. He is educated at St. Malachy’s College in Belfast and is admitted to the Irish Bar in 1845. He becomes a leading figure in Irish literary circles.
In August 1850, Duffy forms the Tenant Right League to bring about reforms in the Irish land system and protect tenants’ rights, and in 1852 is elected to the House of Commons for New Ross. By 1855, the cause of Irish tenants seems more hopeless than ever. Broken in health and spirit, Duffy publishes a farewell address to his constituency, declaring that he has resolved to retire from parliament, as it is no longer possible to accomplish the task for which he has solicited their votes.
In 1871, Duffy leads the opposition to Premier Sir James McCulloch‘s plan to introduce a land tax, on the grounds that it unfairly penalised small farmers. When McCulloch’s government is defeated on this issue, he becomes Premier and Chief Secretary. The majority of the colony is Protestant, and he is accused of favouring Catholics in government appointments. In June 1872, his government is defeated in the Assembly on a confidence motion allegedly motivated by sectarianism.
When Graham Berry becomes Premier in 1877, he makes Duffy Speaker of the Legislative Assembly, a post he holds without much enthusiasm until 1880, when he quits politics and retires to the south of France. Duffy remains interested in both the politics of his adoptive country and of Ireland. He is knighted in 1873 and is made KCMG in 1877.
Duffy spends his last years in Nice and dies at the age of 86 on February 9, 1903, at his home there, 12 Boulevard Victor Hugo. He is buried at Glasnevin Cemetery, Glasnevin, Dublin on March 8. 1903. The length of his career, the breadth of his experience, and his voluminous labours as a chronicler make him an important figure in the history of Ireland and the Irish diaspora in the nineteenth century. He also deserves attention as the most prominent and articulate Ulster catholic nationalist of his time. There are Duffy papers in the Royal Irish Academy and National Library of Ireland.
The Army Mutiny is an Irish Army crisis that begins on March 7, 1924, provoked by a proposed reduction in army numbers in the immediate post-Civil War period. A second grievance concerns the handling of the Northern Boundary problem. As the prelude to a coup d’état, the decisions made by influential politicians and soldiers at the time have continuing significance for the Government of Ireland.
In December 1922, following Collins’s death, Liam Tobin forms the Irish Republican Army Organisation (IRAO), taking in Dublin Guard and other Irish Army officers who share his view that “higher command…was not sufficiently patriotic.” President of the Executive Council of the Irish Free StateW. T. Cosgrave, head of the government, attempts to appease the IRAO. He meets with them several times before the 1923 Irish general election and persuades the opposing IRB faction of generals under Richard Mulcahy to keep quiet.
With the election over, Mulcahy now ignores the IRAO as he starts the process of demobilising 37,000 men. In November, sixty IRA officers mutiny and are dismissed without pay. The IRAO now pressures the Government into establishing a committee to supervise future demobilisation. The committee, consisting of Eoin MacNeill, Ernest Blythe, and IRAO sympathiser Joseph McGrath, effectively undermines the authority of the Army Council.
On March 7, 1924, a representative of the IRAO hands a demand to end demobilisation to W. T. Cosgrave. The ultimatum is signed by senior Army officers, Major-General Liam Tobin and Colonel Charles Dalton. Tobin knows his own position is to be scrapped in the demobilisation. Frank Thornton and Tom Cullen are also involved. That morning 35 men of the 36th Infantry Battalion refuse to parade, and the preceding week officers had absconded with arms from the McCan Barracks in Templemore, Gormanston Camp in County Meath, Baldonnel Aerodrome in Baldonnel, Dublin, and Roscommon. The immediate response is an order for the arrest of the two men on a charge of mutiny. This causes alarm throughout Dublin when announced.
On March 8, General Mulcahy makes an announcement to the Army:
“Two Army officers have attempted to involve the Army in a challenge to the authority of the Government. This is an outrageous departure from the spirit of the Army. It will not be tolerated…officers and men…will stand over their posts and do their duty today in this new threat of danger in the same wonderful, determined spirit that has always been the spirit of the Army.”
Leader of the Opposition, Thomas Johnson, issues a statement of support for the Government. In contrast, Minister for Industry and Commerce, Joseph McGrath, whose home Mulcahy orders to be searched, resigns because of dissatisfaction with the government’s attitude to the IRAO officers and support for their perception that the Irish Army treats former British officers better than former IRA officers. Fearing an incendiary speech by McGrath, Cosgrave first offers the IRAO an inquiry and an amnesty before then taking sick leave thus making Minister for Justice, Kevin O’Higgins, de facto head of the Government.
(Pictured: Major General Liam Tobin, a leading figure in the Army Mutiny)
Mac Liammóir is born Alfred Willmore on October 25, 1899. He is born to a Protestant family living in the Kensal Green district of London.
As Alfred Willmore, he is one of the leading child actors on the English stage, in the company of Noël Coward. He appears for several seasons in Peter Pan. He studies painting at London’s Slade School of Fine Art, continuing to paint throughout his lifetime. In the 1920s he travels all over Europe. He is captivated by Irish culture and learns the Irish language which he speaks and writes fluently. He changes his name to an Irish version, presenting himself in Ireland as a descendant of Irish Catholics from Cork. Later in his life, he writes three autobiographies in Irish and translates them into English.
While acting in Ireland with the touring company of his brother-in-law Anew MacMaster, Mac Liammóir meets the man who becomes his partner and lover, Hilton Edwards. Their first meeting takes place in the Athenaeum, Enniscorthy, County Wexford. Deciding to remain in Dublin, where they live at Harcourt Terrace, the pair assists with the inaugural production of Galway‘s Irish language theatre, An Taibhdhearc. The play is Mac Liammóir’s version of the mythical story Diarmuid agus Gráinne, in which Mac Liammóir plays the lead role as Diarmuid.
Mac Liammóir and Edwards then throw themselves into their own venture, co-founding the Gate Theatre in Dublin in 1928. The Gate becomes a showcase for modern plays and design. Mac Liammóir’s set and costume designs are key elements of the Gate’s success. His many notable acting roles include Robert Emmet/The Speaker in Denis Johnston‘s The Old Lady Says “No!” and the title role in Hamlet.
In 1948, Mac Liammóir appears in the NBC television production of Great Catherine with Gertrude Lawrence. In 1951, during a break in the making of Othello, he produces Orson Welles‘s ghost-story Return to Glennascaul which is directed by Hilton Edwards. He plays Iago in Welles’s film version of Othello (1951). The following year, he goes on to play ‘Poor Tom’ in another Welles project, the TV film of King Lear (1953) for CBS.
Mac Liammóir claims when talking to Irish playwright Mary Manning, to have had a homosexual relationship with General Eoin O’Duffy, former Garda Síochána Commissioner and head of the paramilitary Blueshirts in Ireland, during the 1930s. The claim is revealed publicly by RTÉ in a documentary, The Odd Couple, broadcast in 1999. However, Mac Liammóir’s claims have not been substantiated.
Mac Liammóir’s life and artistic development are the subject of a major study by Tom Madden, The Making of an Artist. Edwards and Mac Liammóir are the subject of a biography, titled The Boys by Christopher Fitz-Simon.
Micheál Mac Liammóir dies at his and Edwards’s Dublin home, 4 Harcourt Terrace, at the age of 78 on March 6, 1978. Edwards and Mac Liammóir are buried alongside each other at St. Fintan’s Cemetery, Sutton, Dublin.
Hales is born on a family farm owned by his father, Robert Hales, an activist in the Irish Land War and a reputed member of the Irish Republican Brotherhood (IRB) and his wife, Margaret (née Fitzgerald). He is the sixth of nine children (five sons and four daughters). He is educated at Ballinadee national school and Warner’s Lane school, Bandon. After leaving school he works at Harte’s timber yard, Bandon.
Hales joins and is involved with the Irish Volunteers movement from its inception in November 1913. Elected a delegate at the Volunteer national convention in the Abbey Theatre in 1915, he is among the majority who vote for the election of the national executive.
Hales is a part of a group of volunteers who are mobilised and plan to rise up in Cork during the 1916 Easter Rising. He sends a number of dispatches to Cork requesting further instructions. However, they receive last minute orders to stand down and there is no uprising in Cork to match that in Dublin. The Volunteers give up their arms and are later arrested.
By May 1916, Hales and his brothers, Seán, Bob, and William, are fighting with the IRA in west Cork during the Irish War of Independence. Terence MacSwiney is arrested in Hales’ home on May 3, 1916, and Hales himself escapes and goes on the run. He states that he was listed as “wanted” in the Hue and Cry police gazette.
In 1918, Hales takes part in a raid on a British gunboat and holds 25 armed Royal Irish Constabulary (RIC) members prisoner at Snugmore Castle. He takes part in a decoy in assisting his elder brother, Seán, to escape after his arrest in connection with the German Plot. He is elected Battalion Commandant of the 1st (Bandon) Battalion (1917–19), and Brigade Commandant of Cork 3rd Brigade, IRA, in January 1919.
In December 1919, Hales takes part in an ambush against the RIC at Kilbrittain and Bandon and is involved in the manufacture of gunpowder for IRA munitions. By this point he is the commander of the Third Cork Brigade of the IRA. In July 1920, he along with Harte is arrested by soldiers from the Essex Regiment.
The pair are taken to a nearby military barracks, where they are severely beaten while being interrogated by officers of the regiment. Hales has his fingernails pulled out, an event that later inspires a scene in the film The Wind That Shakes the Barley. However, neither Hales nor Harte give up any information and are eventually sent to a military hospital to recuperate. Hales is tried and is eventually sentenced to two years’ penal servitude, which he serves in Pentonville and Dartmoor prisons in England. He is commander of the Irish prisoners at Pentonville, but is released following a general amnesty after the Anglo-Irish Treaty in December 1921. According to Tom Barry, Harte suffers brain damage and goes insane before dying in Broadmoor Hospital.
A fifth Hales brother, Donal, settles in Genoa from 1913, and is appointed Irish Consular and Commercial Agent for Italy in February 1919. In this capacity he plays a leading propaganda role. Several letters from Michael Collins to Donal Hales still exist which are used by Hales to promote international awareness of the Irish conflict in Italian publications. Donal oversees a failed attempt to import a substantial number of Austrian weapons and ammunition captured from World War I, from Genoa in the spring of 1921, through the person of Gabriele D’Annunzio.
During the Irish Civil War, Tom and Seán Hales fight on opposite sides, with Hales fighting against the Anglo-Irish Treaty with the Anti-Treaty IRA while Seán joins the newly formed National Army of the Irish Free State. While the bothers end up on opposite sides of the war, they never openly criticise one another for their rival political stances.
Hales is elected to the anti-Treaty IRA executive in March 1922, but resigns in June over a proposal to prevent the Free State’s first general election in June 1922. He resumes his old rank during the Irish Civil War as commander of Cork 3 Brigade.
During the Irish Civil War in July 1922, Hales takes part in the raid and capture of Skibbereen Barracks and Ballineen by anti-Treaty forces. He is also involved in a skirmish with Free State troops at Newcestown. He is arrested in November 1922 and imprisoned first in Cork and then at the Curragh. He is released in December 1923, having taken part in a hunger strike for fourteen days. He mentions in his application for a military pension that he was a member of the Supreme Council of the IRB at this time.
In December 1922, Hales’s brother Seán is assassinated by the anti-Treaty IRA in Dublin, in reprisal for the Free State government’s execution of IRA prisoners. Hales later applies to the Irish government for a service pension under the Military Service Pensions Act, 1934 and is awarded nine years’ service in 1935 at Grade B for his service with the Irish Volunteers and the IRA between April 1, 1917, and September 30, 1923.
Hales makes his living as farmer. A member of the Mallow area board of the beet growers’ association from 1934 to 1942, he is also connected with other farming organisations. He marries Ann Lehane from Tirelton, Macroom, on April 30, 1927. They have five children, Seán, Robert, Thomas, Eileen, and Margaret.
Hales dies on April 29, 1966, at St. Finbarr’s Hospital, Cork, and is buried at St. Patrick’s Cemetery, Bandon.
The Organisation’s aims are to “encourage and assist any movement that will tend to bring about the National Independence of Ireland.” Among the first members of the Executive Committee are Victor Herbert (President), Thomas Hughes Kelly (Treasurer) and John D. Moore (Secretary). An office is set up in Sweden and relations are established with Imperial Germany. The Friends of Irish Freedom support the 1916 Easter Rising and, in the months following, raise $350,000 through the Irish Relief Fund to assist dependents of many who fought in the Rising.
In 1917, the Executive Committee of the Friends of Irish Freedom circulates a petition calling for the independence of Ireland throughout the United States and secures several hundred thousand signatures. PresidentWoodrow Wilson in turn directs Secret Service agents to examine the membership and funding of the organisation. In May 1918, the Friends of Irish Freedom organises the fourth Irish Race Convention during which Diarmuid Lynch becomes National Secretary holding the post until his return to Ireland in 1932.
By 1920, there is a Regular membership of 100,000 and 484 Associate Branches with an Associate membership of 175,000. During the Irish War of Independence, the Friends of Irish Freedom raise over $5,000,000 in Dáil loans for the newly declared Irish Republic through the promotion of Bond Certificates. Legal advisor to the organisation for the Bond Drive is Franklin Delano Roosevelt. In October 1920, a rift develops between the Irish American leaders and Éamon de Valera which results in a split between the Friends of Irish Freedom in the United States and the Irish Republican Brotherhood in Ireland. Prior to his departure from the United States, de Valera founds a rival organisation — the American Association for the Recognition of the Irish Republic — to take over the activities of the Friends.
The public dispute between the Friends of Irish Freedom and Sinn Féin representatives damages the effectiveness and credibility of the Irish American organisation. While the Executive largely remains loyal to Daniel F. Cohalan, many rank-and-file members do not renew their subscriptions. By mid-1921 membership has fallen to 20,000 and is further reduced after the outbreak of Irish Civil War in 1922. By 1928, the Friends of Irish Freedom has virtually ceased to exist as a viable Irish American organisation.
The Friends of Irish Freedom is wound up in 1932 following extensive litigation concerning the funds raised for the Irish Republic which were claimed by de Valera. Most of the funds are returned to the original donors.
(Pictured: Éamon de Valera and Friends of Irish Freedom members Daniel Cohalan, John Goff and James Devoy)
Brown is born on June 22, 1777, in Foxford, County Mayo. Comparatively little is known of his early life, and it has been suggested that he was illegitimate and took his mother’s surname and that his father’s surname was actually Gannon. He emigrates with his father to Baltimore, Maryland, in 1793, eventually settling in Philadelphia, Pennsylvania. A short time after their arrival, the friend who had invited them and offered them food and hospitality dies of yellow fever. Several days later, his father also succumbs to the same disease.
One morning, while Brown is wandering along the banks of the Delaware River, he meets the captain of a ship then moored in port. The captain inquires if he wants employment and Brown agrees. The captain engages him as a cabin boy, thereby setting him on the naval promotion ladder, where he works his way to the captaincy of a merchant ship. After ten years at sea, where he develops his skills as a sailor and reaches the rank of captain, Brown is press-ganged into a Royal Navy warship. British impressment of American sailors is one of the primary issues leading to the War of 1812.
During the Napoleonic Wars, Brown escapes the ship he is serving on, a galley, and scuttles the vessel. However, the French do not believe he had assisted them and imprison him in Lorient. On being transferred to Metz, he escapes, disguised in a French officer’s uniform. However, he is recaptured and is imprisoned in the fortress of Verdun. In 1809, he escapes from there in the company of a British Army officer named Clutchwell, and eventually reaches German territory.
Returning to England, Brown renounces his maritime career and on July 29, 1809, he marries Elizabeth Chitty, daughter of an English shipping magnate, in Kent. As he is a Catholic and she a Protestant, they agree to raise their sons as Catholics and their daughters as Protestants. Despite lengthy periods of enforced separation, they have nine children. He leaves the same year for the Río de la Plata on board Belmond and sets himself up as a merchant in Montevideo, Uruguay.
Late in 1811 Brown settles in Buenos Aires just as a criollo rebellion against Spanish colonial rule in Argentina is gaining strength. By April 1812, he is developing a coastal shipping business in fruit and hides. As the Spanish naval blockade of 1812–14 begins to choke trade, he is first commissioned by the patriot government as a privateer licensed to raid Spanish merchantmen, and then, on March 1, 1814, invited to take charge of a small rebel naval squadron to contest Spanish control of the Río de la Plata estuary. Leading a fleet of nineteen ships, he fixes with great speed on a set of wartime naval routines and signaling methods, and organises a system of discipline, founding the navy on principles that pay exceptional attention to the welfare of ordinary seamen.
In early March 1814, Brown shows personal courage and incisive skill in outwitting and defeating a more powerful Spanish force near Martín García Island, thereby dividing the Spanish blockade. A Spanish attempt in May 1814 to break his blockade of Montevideo is decisively crushed by him and his makeshift navy, and the Spanish strongholds on the Atlantic coast collapse, ending open war. In 1815 and 1816, however, he carries out skirmishing raids on military and commercial targets belonging to Spanish South American possessions, until detained by a British colonial governor in Barbados in July 1816 for alleged infringements of international rules of trade.
Illness, and a tortuous but ultimately successful appeal process, take up most of 1817–18, but when Brown returns to Argentina in October 1818, political enemies set in motion a prosecution for alleged disobedience of orders. Cashiered in August 1819, then restored in rank but forced to retire, he attempts suicide the following month. Convalescence and resumption of his trading concern occupies him for several years.
A repentant government renews Brown’s command of the navy in December 1825, when war breaks out with Brazil. Though vastly outnumbered by the Brazilian fleet, he shows audacity and great finesse in a number of successful engagements in the Plate estuary in 1826, roving up the Brazilian coast on occasion to create great confusion. In February 1827, he triumphs in a series of actions known as the Battle of Juncal. After another year of commercial privateering against the Brazilian merchant fleet, he is one of two delegates selected to sign peace terms with Brazil in October 1828.
Retiring from active service that month, Brown tries to remain neutral as civil war erupts in Argentina, but reluctantly accepts the post of governor of Buenos Aires under General Juan Lavalle from December 1828 to May 1829, when he resigns in disgust at government excesses. During 1829–37 he holds aloof from the despotic government of Juan Manuel de Rosas. After French and British encroachments on the region in the later 1830s, he offers to take charge of the navy again to protect national independence and is available to defend Argentine interests when war breaks out with a French-backed Uruguay in early 1841. Though exasperated by a long and “stupid war,” he blockades the Uruguayan navy effectively until French and British fleets intervene in July 1845 with overwhelming force to capture his squadron and bring the war to an end.
Idolised by the Argentinian population for his high-principled and humane advocacy of independent democracy, Brown passes his last years trading and farming a country estate. In late 1847, he journeys to Ireland, hoping to find relations in Mayo, and is shocked by the hunger and destitution of the Great Famine.
Brown dies on March 3, 1857, at his home in Buenos Aires and is buried with full military honours. The Argentine government issues a comuniqué: “With a life of permanent service to the national wars that our homeland has fought since its independence, William Brown symbolized the naval glory of the Argentine Republic.” During his burial, General Bartolomé Mitre famously says: “Brown in his lifetime, standing on the quarterdeck of his ship, was worth a fleet to us.” His grave is currently located in the La Recoleta Cemetery in Buenos Aires.
Born Alice Izabella, she is one of ten children born to grocer Moses Crowe and Therese Eglinton. From an early age, she shows an interest in the theatre, and regularly attends productions in both the Gaiety and Abbey theatres. Having completed her education, she joins a convent but soon after abandons the idea of becoming a nun. In October 1921, she enters the Abbey School of Acting. She has a career with the Abbey Theatre from 1921 to 1970.
Upon her entry to the Abbey School of Acting, Crowe makes her debut in 1921 in the play The Revolutionist, taking the lead role of Nora Mangan. She plays her last role of Miss Hatty in Grogan and the Ferret, after which she retires. During nearly five decades, she stars in many plays, some of which include The Marriage of Columbine (1921) and Juno and the Paycock (1924). Between 1931 and 1953, she appears in the Abbey Theatre productions of plays by Irish playwrightTeresa Deevy including A Disciple (1931), Katie Roche (1936, 1937, 1949, 1953), Temporal Powers (1932, 1937) and The Reapers (1930).
Also in 1964, Crowe appears in the Aldwych Theatre‘s production of Juno and the Paycock in London. She works in the Abbey for the vast majority of her career, except for when she is on a six-month tour for Peg O’ My Heart, touring Northern Ireland and England.
In 1924, when the play Grasshopper is being produced, Crowe meets her husband, Peter Judge, also known as F. J. McCormick. They are married in 1925 and the marriage produces a daughter and a son.
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