Henry is born Emily Grace Mitchell at Kirktown St. Fergus, near Peterhead, Aberdeenshire, Scotland, on February 10, 1868. She is the ninth of ten children of the Rev. John Mitchell and Jane Mitchell (née Gardner). Lord Byron is a cousin of her maternal grandmother. She is educated at home, spending time at the family’s home in Piccadilly, where she experiences London society. After the death of her father, and the reduced circumstances she finds herself in, she leaves home in 1895 to pursue a career as an artist. The first record of her work being exhibited is with the Aberdeen Artists Society in 1896 and 1898. These paintings have not been traced since. In 1899, she leaves Scotland for the continent, visiting Holland and Belgium, studying at the Blanc‐Guerrins Academy in Brussels. She goes on to attend the Delacluze Academy in Paris. While in Paris, she meets Paul Henry, an Irish artist. The couple marries in September 1903 in London.
The Henrys live at a few different residences outside London until 1910. A small number of her works are known from this time, such as The Girl in White, which is in the collections of the Hugh Lane Gallery. This piece shows the influence of fellow artist James Abbott McNeill Whistler, whom she meets in Paris through her husband. The couple travels to Achill Island for the first time in 1910, intending to stay two-weeks, but going on to live there until 1919. During this time, she paints numerous night scenes, including Achill Cottages (Hugh Lane Gallery). One of her well-known works is Top of the Hill, on display in the Limerick City Gallery of Art, which shows a group of island women. The period spent on the island places a strain on the Henrys marriage, as she is not as happy living there.
The couple returns to Dublin in 1919 and are founding members of the Society of Dublin Painters in 1920 alongside Letitia Marion Hamilton, Mary Swanzy, and Jack Butler Yeats. The Society offers an outlet for younger Irish artists to exhibit. Five of Henry’s works are featured at the Irish Exhibition in Paris in 1922, and at a similar exhibition in Brussels in 1930.
Around 1920, Henry has a romantic association with Stephen Gwynn who is an important political, cultural and literary figure from the lost world of late-nineteenth and early-twentieth century Ireland. During this period, she travels with Gwynn in France and Italy and later paints a number of portraits of him. Invariably, during this time, the Henrys’ marriage continues to have problems, with the couple breaking up in 1924. Her affair with Gwynn, who she depicts in two known oil paintings including The Orange Man (Limerick City Gallery of Art) and Portrait of a Man, which depicts a much more distinguished Gwynn in later life, contribute to the breakup. The couple legally separates in 1930.
Henry develops her own style through the 1920s and 1930s, spending time in France and Italy. From 1924 to 1925, she studies with André Lhote, a cubist painter who also works with Mainie Jellett, Evie Hone, and Mary Swanzy. She goes on to display little of his influence in her work. She paints in Venice and in the environs of the Italian lakes, painting with the fauvist style, with free brushwork and vibrant colours. She also experiments with expressionism, which can be seen in Spring in Winter. Upon the outbreak of World War II, she returns to Ireland. She does not have a permanent residence during this period, instead stayed with friends or living in hotels. She also experiences periods of melancholy during these later years, though she continues to exhibit. Her work is regularly displayed at the Royal Hibernian Academy (RHA), and she has solo shows at the Waddington and Dawson galleries. She is made an honorary member of the RHA in 1949.
Henry dies in Dublin on August 11, 1953, and is buried at Mount Jerome Cemetery. During her career, and for a number of years after her death, she is largely overshadowed by her husband, sometimes being referred to as “Mrs. Paul Henry.” She is even omitted from Paul Henry’s two-volume autobiography. Her body of work is re-examined in the 1970s, which leads to wider public recognition and her inclusion in a number of exhibitions such as The Paintings of Paul and Grace Henry at the Hugh Lane Gallery in 1991. She is deemed to be a much bolder painter than her husband, incorporating more elements of the modernist movement, as evident in The Long Grey Road of Disting (1915). Her popularity has been growing since her rediscovery.
(Pictured: “Road to Destiny,” oil on board by Grace Henry)
Scriven is born on September 10, 1819, of prosperous parents in Banbridge, County Down. He graduates with a degree from Trinity College Dublin in 1842. His fiancée accidentally drowns in 1843, the night before they are to be married. In 1844, at the age of 25, he leaves his native country and migrates to Canada, settling in Woodstock, Ontario. He leaves his country feeling a spiritual calling to serve the Lord in his Plymouth Brethren faith. He remains in Canada only briefly after becoming ill but returns for good in 1847.
For two or three years Scriven conducts a private school at Brantford. In 1855, while staying with James Sackville in Bewdley, Ontario, north of Port Hope, he receives news from Ireland of his mother being terribly ill. He writes a poem to comfort his mother called “Pray Without Ceasing.” It is later set to music and renamed by Charles Crozat Converse, becoming the hymn “What a Friend We Have in Jesus.” Scriven does not have any intentions nor dream that his poem would be published in the newspaper and later become a favorite hymn among the millions of Christians around the world.
About 1857, Scriven moves near to Port Hope, Ontario. Here he again falls in love and is due to be married, but in August 1860 his fiancée becomes ill with pneumonia and dies. He then devotes the rest of his life to tutoring, preaching and helping others.
In 1869, Scriven publishes a collection of 115 hymns entitled Hymns and other verses which does not include “What a Friend We Have in Jesus.”
Scriven drowns at age 66 on August 10, 1886. At the time of his death, he is very ill with fever and has been brought to a friend’s home to recover. It is a very hot night, and he goes outside possibly to cool down or to get a drink of cold water from the spring. His friend reports, “We left him about midnight. I withdrew to an adjoining room to watch and pray. You may imagine my surprise and dismay when upon visiting his room I found it empty. All search failed to find a trace of the missing man, until a little after noon his body was discovered in the nearby river, lifeless and cold in death.” To this day, no one knows for certain if his death is an accident or a suicide. He is buried next to his second fiancée in her family cemetery, Pengelley Family Cemetery, at Pengelly Landing, Peterborough County, Ontario, Canada.
A tall obelisk is built upon his grave with the words from the song and the following inscription:
“This monument was erected to the memory of Joseph M. Scriven, B.A., by lovers of his hymn, which is engraved hereon, and is his best memorial. Born at Seapatrick, Co. Down, Ireland, 10 Sept. 1819, emigrated to Canada 1844. Entered into rest at Bewdley, Rice Lake, 10 August 1886, and buried here. Blessed are the pure in heart for they shall see God.“
A plaque can be found on the Port Hope-Peterborough Highway with the following inscription:
“Four miles north, in the family Pengelley Cemetery, lies the philanthropist and author of this great masterpiece, written at Port Hope, 1857. The composer of the music, Charles C. Converse, was a well-educated versatile and successful Christian, whose talents ranged from law to professional music. Under the pen name of Karl Reden, he wrote numerous scholarly articles on many subjects. Though he was an excellent musician and composer with many of his works performed by the leading American orchestras and choirs of his day, his life is best remembered for this simple music so well suited to Scriven’s text.“
Lukas Media LLC releases the full-length documentaryFriends in Jesus, The stories and Hymns of Cecil Frances Alexander and Joseph Scriven in 2011. The 45-minute documentary movie details the life of Scriven and his influence on popular hymns.
In effect a special extension of the Defence of the Realm Acts, the aim of the Act is to increase convictions of nationalist rebels while averting the need to declare martial law. Under Section 3(6) of the Act, military authorities are empowered to jail any Irish person without charge or trial. Secret courts-martial are established, and lawyers (appointed by Crown agents) can be present only if the death penalty is involved. Inquests of military or police actions are banned.
By the middle of 1920, Ireland is in the throes of a full-fledged rebellion that is barely recognized by the British Government in Ireland headquartered in Dublin Castle. The Irish Republican Army (IRA), the military arm of the Dáil Éireann revolutionary government, is engaged in a guerilla campaign to destroy elements of British power, particularly burning down courthouses and attacking members of the Royal Irish Constabulary (RIC), Britain’s police force in the countryside.
The British response to the increase in violence and the assassination of police officers is twofold. To suppress the IRA “murderers,” Major GeneralHugh Tudor, commander of the RIC and self-styled “Chief of Police,” begins supplementing that body with the employment of World War I veterans known as the “Black and Tans” because of the colour of their surplus World War I uniforms, and an additional temporary force of Auxiliaries. With little discipline and utter indifference to the plight or moral indignation of the Irish population, these groups raid and burn villages, creameries, and farm buildings to intimidate supporters of the IRA.
The second measure is the enactment of the Restoration of Order in Ireland Act (ROIA). The Act is envisioned as a remedy to the problem perceived by Chief Secretary for Ireland Sir Hamar Greenwood that “throughout the greater part of Ireland criminal justice can no longer be administered by the ordinary constitutional process of trial by judge and jury.”
The genesis of the Act may be seen in a Cabinet discussion on May 31, 1920, in which the members focus on the violence in Ireland. Rather than addressing violence as the product of rebellion, Greenwood insists that, “The great task is to crush out murder and arson.” He asserts that the violence is perpetrated by handsomely paid thugs. Commenting on a pending Irish bill, Secretary of State for WarWinston Churchill states, “You should include in the Bill a special tribunal for trying murderers. It is monstrous that we have some 200 murders, and no one hung.” The prime minister agrees that convicted murderers should be hanged but questions whether convictions can be obtained from Catholics. The concern of all is that the civil courts are incapable of strictly administering justice to the revolutionaries because the juries largely consisted of Irish Catholics. The ensuing discussion of possibly imposing court-martial jurisdiction is inconclusive.
After the May 31 meeting, Greenwood investigates the feasibility of imposing martial law in Ireland and raises martial law as the specific subject of a July 23, 1920, conference committee meeting of the Cabinet led by Prime MinisterDavid Lloyd George to which the key members of the Dublin Castle administration are invited. William E. Wylie, the law advisor at Dublin Castle, notes that the RIC is disintegrating through resignations brought on by terrorist attacks, and that with “regard to the Civil Courts, the entire administration of the Imperial Government had ceased.” The civilian participants from Dublin Castle, especially Wylie, maintain that martial law is counter-productive, and will only antagonize the Irish people. As an alternative to martial law, General Tudor argues for the imposition of court-martial jurisdiction. Tudor argues forcefully that court-martial jurisdiction over all crimes will support the Black and Tans and Auxiliaries that he is recruiting. He declaims that “not a single criminal had been brought to justice for murder.” Lloyd George closes the discussion directing the Dublin Castle participants to provide final proposals for enforcement of the laws.
A draft bill to establish military criminal jurisdiction is considered by the Cabinet on July 26. The prime minister’s most telling contribution is his question as to whether a convicted man would be shot or hanged. It appears that he is comforted by the response that the defendant will be tried under the ordinary law which implies death by hanging. The resulting bill is completed by July 30, 1920, and is then quickly pushed through Parliament and receives royal assent on August 9, 1920. The ROIA provides that all crimes punishable under the laws in Ireland can be brought before a court-martial. The court-martial will have the power to impose any punishment authorized by statute or common law including the death penalty. The final step is taken on August 20, 1920, when the final regulations for implementation go into effect.
The combination of growing police and military pressure and recourse to the ROIA lead to increased internments of known or suspected IRA members and a steady increase in convictions to 50-60 per week. This makes it more difficult for IRA soldiers to continue openly working day jobs while carrying on part-time guerrilla activities. As a result, the IRA shifts its approach to guerrilla warfare in the rural counties. Volunteers from IRA units are organized into elite, full-time, mobile flying columns of around 25 men who live off the land and on the run. These flying columns prove to be more suited to ambushes of patrols and convoys and other targets of opportunity, rather than attacks on barracks which had become better defended.
On December 10, 1920, martial law is proclaimed in counties Cork, Kerry, Limerick, and Tipperary. In January 1921 martial law is extended to counties Clare and Waterford.
In a crucial judgement, R (Egan) v Macready, the Irish courts rule that the Act does not give power to impose the death penalty. This would no doubt have proved politically contentious had not hostilities ended the same day.
Despite its name, the courts are of the view that ROIA applies in England as well. Following the creation of the Irish Free State, when the Act is repealed by implication, it is still used to deport ex-members of the Irish Self-Determination League to Ireland.
After moving to Houston in 1994, Devlin tends bar in Irish pubs and music venues for a number of years before starting his first band. From his perspective behind the bar, he realizes there is a local demand for Irish rock music that nobody is fulfilling. In 1996, to this end he forms a band called On the Dole. Although the band does well for several years, opening for legendary Irish touring acts like The Wolfe Tones and The Saw Doctors, eventually he decides it is time to clear the decks and start again.
In 2003, while hosting a weekly open mic at an Irish pub, Devlin meets bassist and singer Chad Smalley, son of Nobel laureateRichard Smalley and a veteran of the Houston music scene who had recently returned from New York and is looking for a new project. The two of them soon begin singing and performing together every week, developing a tight vocal harmony style.
In July 2004, Devlin and Smalley form Blaggards, along with violinist Turi Hoiseth and drummer Brian Vogel. Hoiseth and Vogel have since left the band, leaving Devlin and Smalley as the only original members.
The song “Big Strong Man” from Blaggards’ first album Standards (2005) appears in the 2010 British film The Kid, directed by Nick Moran.
“Big Strong Man” and “Drunken Sailor” (also from Standards) are both featured in episode 86 of the CBS series The Good Wife, aired on March 24, 2013.
Blaggards’ second album, Live in Texas, is released in 2010. It is a recording of a live performance at Houston’s Continental Club on June 13, 2009. The band’s latest album, Blagmatic, is released on July 14, 2021.
Blaggards, with Arizona-based fiddle player Heide Riggs and drummer Kevin “Turbo” Newton in the current lineup, continue to maintain a rigorous schedule, playing constantly throughout Texas and touring nationally several times a year. Beginning in 2010 (excluding the COVID years), the band does a 10-day Ireland tour every year in the early fall.
Wilmer is born to Major Harold Gordon Wilmer and Alice Violet McEntire. Her father is killed at Gallipoli when she is four years old. She has a younger brother, Harold, who follows in the family military tradition and is killed in 1942. She learns her skills in the Royal Hibernian Academy (RHA) schools in Dublin, starting in 1926, where she wins a number of awards for her art. She is trained by Lilian Davidson who is working out of her studio in Earlsfort Terrace in Dublin. She wins the Taylor Scholarship in 1933 which sends her to the Slade School of Fine Art in London.
In 1936, Wilmer marries Dr. Brendan O’Brien, a Dublin surgeon and son of Dermod O’Brien. She and her husband settle in Dublin after working abroad for a few years. They have two sons, Dermod and Anthony, who is also an artist. Another artistic relative is Geraldine O’Brien.
In the period from the 1940s and 1950s O’Brien exhibits in Dublin with Brigid Ganly, RHA, her sister-in-law, as well as submitting works to the Society of Dublin Painters, the Royal Hibernian Academy and the Water Colour Society of Ireland. She exhibits annually in the Irish Living Art Exhibition and the Oireachtas Art Exhibition. O’Brien is elected a member of the Royal Hibernian Academy in 1976. She is president of the Water Colour Society of Ireland from 1962 to 1981.
On August 6, 1998, Irish Olympic swimming champion Michelle de Bruin is banned from swimming for four years after being found guilty of tampering with a drug test. The International Swimming Federation says she used alcohol to tamper with urine samples taken the previous January at her home as part of the out-of-competition doping control programme run by FINA, the world governing body of swimming.
De Bruin is the golden girl of Irish swimming, winning three medals at the 1996 Summer Olympics in Atlanta. Her performances in Atlanta give rise to much muted comment about a dramatic improvement in her times. U.S. swimmer and then world record holder Janet Evans is more vocal, stating at one press conference that the Irish swimmer’s performance is “questionable and suspicious.” Supporters decry the comments as jealousy. At the same time, the Irish media does not cover itself in glory with the national broadcaster RTÉ apparently decreeing that comment about possible drug taking should not be referenced by commentators.
FINA says her urine sample shows “unequivocal signs of adulteration” and has an alcohol content (to mask drug taking) that is “compatible with physical manipulation.”
De Bruin confirms a challenge to the ban at a news conference on Friday, August 7. It continues her emphatic and repeated claims that she has never breached drug rules. Her sister, Aisling Smith, speaking from the family home in Rathcoole, on the outskirts of Dublin, says, “Michelle is determined to fight it through.”
De Bruin competes under her maiden name of Smith at the 1996 Atlanta Olympics and wins gold medals in the 400m individual medley, 400m freestyle, and the 200m individual medley. She wins a bronze medal in the 200m butterfly event.
Reacting to news of the ban, Irish Minister for Tourism, Sport and Recreation Dr. Jim McDaid says it is a personal tragedy for the swimmer and her family. Taking time out from government business in Reykjavik, Iceland, he says, that like the rest of the Irish people, he is “saddened and disappointed” at the ban and hopes that the Olympic champion can establish her innocence.
A four-year ban from any national or international swimming contest at De Bruin’s age of 28 effectively ends her swimming career. She could also be stripped of the four medals – two gold, two silver – she won at the 1997 European Aquatics Championships in Seville, Spain.
At a later conference, Evans highlights that the accusations of de Bruin’s doping had been heard by her poolside. De Bruin later receives an apology from Evans.
De Bruin never returns to competitive swimming and later works as a barrister, practising under her married name. Despite the ban for manipulating samples, none of Smith’s swimming achievements have been annulled, and she remains Ireland’s most successful Olympian.
Her coach and husband, Erik de Bruin, previously serves a four-year ban for using illegal drugs during his career as a discus thrower.
John Havelock Nelson, composer and conductor, dies in Belfast, Northern Ireland, on August 5, 1996. He makes an immense contribution to the development of the cultural life of the province – and beyond – over the second half of the 20th century.
Nelson is born of middle-class parents in Cork, County Cork, on May 25, 1917, his distinctive forename being taken from a cousin of his mother who lost his life in World War I. Despite his birthplace, both his parents’ ancestral roots lie firmly in Northern Ireland.
Nelson’s father Robert comes from Larne, County Antrim, where he was raised. However, the early years of his mother Grace are quite eventful. She is born in the Belgian Congo on account of her father’s placement there as a missionary in the latter years of the 19th century (his family hail from Tobermore, County Londonderry). She is eventually sent home at an early age, due to the threat of malaria, and is raised in Belfast by an aunt and uncle who have no family of their own. It appears that Nelson inherits his musical genes from both parents. Although his father is trained as a chartered accountant, he is a capable baritone singer who studies in the early 1900s with C. J. Brennan, later to become the organist and choirmaster at St. Anne’s Cathedral, Belfast). Meanwhile, his mother shows talent as a pianist during her upbringing in her adopted city and by her early 20s is offering her services as an accompanist.
By chance, this is how his parents meet. They marry in 1916, shortly before their arrival in Cork where Robert takes up his first accountancy job. Within a month of Nelson’s birth, the family moves to Dublin where his father has secured a better post, eventually settling near Dún Laoghaire, just south of the capital city. From the age of five, now the eldest of four brothers born a year apart, he starts piano lessons and makes such rapid progress that, by the age of ten, he is able to play in a piano trio and to accompany his father in informal concerts. By the age of twelve, he wins a scholarship to the Royal Irish Academy of Music, Dublin, giving him the opportunity to study piano and theory and helping him to establish his core musical skills. Soon he adds conducting and organ lessons to his study programme.
As far as Nelson’s general education is concerned, this is completed at St. Andrew’s College, Dublin, where he excels in English, history and the sciences. By his late teens, he is determined to pursue a professional career as a musician. His father, however, exercises caution in this regard, advising him to take a science degree in the first instance. Consequently, he gains entry to Trinity College Dublin (TCD) in 1935 to read Natural Science, then makes a decision the following year to change to Medical Science. By 1939, he completes his primary degree in Medical Science, leading to doctoral research in bacteriology. At the same time, he begins a 4-year music degree at TCD while remaining musically active outside the university in relation to his piano studies, and also co-founds and conducts the Dublin Orchestral Players, a body that continues to provide an invaluable platform for amateur performers. He completes his university studies in 1943, graduating with a PhD in Medical Science and a primary Music degree. Seven years later he also completes a doctorate in Music from the same university.
His university career now behind him, like many fellow Irishmen, Nelson feels a desire to contribute to the World War II effort and applies for a commission in the medical branch of the Royal Air Force (RAF) in 1944. Eventually, he is called up and located at RAF Halton, Buckinghamshire, where he remains until after the end of the War, only returning to Dublin for his marriage in 1945. By nature, an outgoing, sociable person, he wastes no time in immersing himself in music-making activities when off duty, both inside and outside his RAF base. It is during this immediate post-war period that he becomes convinced that he wants to pursue a career in music. By chance, his attention is drawn to a BBC advertisement regarding a number of regional posts for staff accompanists, including Northern Ireland. His application is successful, and he reports for duty at BBC Northern Ireland in March 1947, where he remains for the next 30 years. In his new post, his main role is to play and accompany on the piano. To this end, he becomes involved in a number of new radio programmes, notably Children’s Hour. Elsewhere, he composes and arranges music for adult dramas and serials, the best known being The McCooeys. Another responsibility is to assist in auditioning local musicians for broadcasting opportunities, a process that uncovers much local talent, including a young James Galway. While his activities revolve around radio work in the 1950s, the next 20 years embrace opportunities arising from the new medium of television, including the popular Songs of Praise which involve him as conductor.
Nelson’s decision to retire from the BBC in 1977 enables him to focus fully on his free-lance career which had been running parallel, up until then, with his broadcasting work. In this capacity he is able to give full rein to his diverse range of musical skills as choral and orchestral conductor, chamber musician, music-festival adjudicator, composer and arranger. One should not overlook his role as animateur in founding the Studio Symphony Orchestra (1947) and the Studio Opera Group (1950). Both became integral parts of the local cultural scene during Nelson’s lifetime. His contribution as a festival adjudicator is an important activity, notably when undertaking tours abroad, including to Canada and the Caribbean. His visits to the latter area lead him to form the Trinidad and Tobago Opera Company shortly after his BBC retirement. In his busy lifestyle, he makes time to satisfy his creative energy as a composer and arranger. In total he publishes over 100 pieces, many inspired by his love of Irish traditional song and are of short duration and scored for a variety of vocal combinations. His enjoyment of his reputation as a piano accompanist of international standing is confirmed by his association with some of the leading Irish and British professional singers of the period, including Bernadette Greevy (soprano), Margaret Marshall (soprano), Peter Pears (tenor) and Ian Wallace (bass-baritone).
During his lifetime, Nelson’s outstanding services to music, both inside and outside the province, are recognised by a number of awards. The first of these is an OBE in 1966, followed in the latter part of his life by four honorary doctorates, three from local universities. A gifted and versatile musician, his personality is described by one colleague as “magnetic”- he has the unique ability to reach out to everybody irrespective of their age, status and position in life in whatever role he performs. In his best-known role as a conductor, a critic says of him that, “Dr. Nelson has a remarkable touch in getting people to do what he wants in the pleasantest way possible.” His vision and determination help to establish a vibrant music culture throughout Northern Ireland, an achievement that will remain his lasting legacy.
Nelson is survived by his three children and eight grandchildren; his wife Hazel having predeceased him in 1983.
Cluney tours briefly with the band Dark Lady supporting Jake Burns and the Big Wheel, notably at the Marquee Club in Wardour Street, Soho, City of Westminster, London, but then spends five years back in Belfast teaching guitar until Stiff Little Fingers is reformed. He is a regular songwriting contributor for the group’s first four albums, taking over lead vocal duties on his own compositions. He leaves the group amid some acrimony in 1993.
Cluney moves to Rochester, Minnesota, in 1997, keeping up his involvement in music, playing guitar with several regional rock bands.
Cluney completes a feature-length film in 2009 and tours the United Kingdom for the first time in fifteen years, as the opening for The Damned and The Alarm on their 341 tour. He subsequently tours the next two years, as a solo artist, and in 2013 forms XSLF with former bandmate Jim Reilly, and friend, Ave Tsarion.
Cluney currently lives in Rochester with his wife, Carol, while touring frequently throughout the United Kingdom (including Northern Ireland), Ireland and Europe with his nephew David Cluney who also plays the guitar.
Dunphy grows up in Drumcondra, Dublin, in what he describes as “a one-room tenement flat [with] no electricity, no hot water.” He attends Saint Patrick’s National School, Drumcondra. In 1958, he gets a one-year government scholarship to Sandymount High School but has to work as a messenger at the tweed clothing shop Kevin and Howlin.
A promising footballer, Dunphy leaves Dublin while still a teenager to join Manchester United as an apprentice. He does not break into the first team at United, and subsequently leaves to play for York City, Millwall, Charlton Athletic, Reading and Shamrock Rovers. It is at Millwall that he makes the most impact. He is considered an intelligent and skillful player in the side’s midfield. He is a member of “The Class of ’71,” the Millwall side that fails by just one point to gain promotion to the Football League First Division.
Dunphy accompanies Johnny Giles back to Ireland to join Shamrock Rovers in 1977. Giles wants to make the club Ireland’s first full-time professional club and hopes to make Rovers into a force in European football by developing talented young players at home who would otherwise go to clubs in England. Dunphy is originally intended to be in charge of youth development. However, despite an FAI Cup winners medal in 1978, his only medal in senior football, and two appearances in the UEFA Cup Winners’ Cup, he becomes disillusioned with the Irish game and drops out of football altogether to concentrate on a career in journalism.
Since the 1980s, Dunphy has written a number of books. His first and most widely praised book is Only a Game? The Diary of a Professional Footballer, which is an autobiographical account of his days playing for Millwall. Written in diary form, it records events from the dressing room of his 1973–74 season, which begins well for him at Millwall but subsequently ends in disillusionment: after being substituted in an October 27, 1973, home loss to eventual league winners Middlesbrough, he does not play another game all season, the club finishing mid-table.
In 1985, rock band U2 and manager Paul McGuinness commission Dunphy to write the story of their origins, formation, early years and the time leading up to their highly successful album The Joshua Tree. His book Unforgettable Fire – Past, Present, and Future – The Definitive Biography of U2 is published in 1988. It receives some favourable reviews, but critics close to the band speak of many inaccuracies. A verbal war erupts in the press during which he calls lead singer Bono a “pompous git.”
Dunphy also writes a biography of long-serving Manchester United manager Matt Busby and in 2002 ghost writes the autobiography of Republic of Ireland and Manchester United player Roy Keane.
Since the mid-1980s, Dunphy has regularly appeared as an analyst during football coverage on Raidió Teilifís Éireann (RTÉ). Since RTÉ acquired the rights to show English football, he has been a regular contributor to Premier Soccer Saturday. He also contributes to analysis of UEFA Champions League games and, in international football, RTÉ’s coverage of FIFA World Cups, UEFA European Football Championships and qualifying matches involving the Republic of Ireland national football team.
In 2001, Dunphy becomes the first male host of the quiz show The Weakest Link, which airs on TV3, for just one series. In 2003, he is hired again by TV3 to host their new Friday night chat show, entitled The Dunphy Show. Pitted head-to-head with RTÉ’s long-running flagship programme, The Late Late Show, Dunphy’s show loses what is a highly publicised “ratings war,” and is cancelled before its original run concludes.
Dunphy is the first presenter of a made-for-mobile television show on the 3 mobile network in Ireland. His rants and “Spoofer of the Week” are watched by thousands of 3 Mobile customers. The shows are awarded “Best Entertainment Show” at Ireland’s Digital Media Awards. He admits he never uses a mobile himself but enjoys filming for a mobile audience from his living room in Ranelagh.
In July 2018, Dunphy announces that he is leaving RTÉ after 40 years with the broadcaster, and that he intends to focus on his podcastThe Stand with Eamon Dunphy.
Dunphy has also has a prominent radio career with several stations, including Today FM, Newstalk and RTÉ Radio 1. He is the original host in 1997 of the popular current affairs show The Last Word on Today FM. In September 2004, he takes over The Breakfast Show slot on the Dublin radio station Newstalk 106 from David McWilliams. The show tries to court controversy and listeners in equal measure. He fails to attract the large listenership predicted, with only a few additional thousand tuning in. He announces in June 2006 his intention to leave Newstalk 106, citing an inability to sustain the demands of an early morning schedule. After his departure from Newstalk 106, he confirms he is suffering from a viral illness from which he later recovers.
In July 2006, RTÉ announces that Dunphy will present a new weekly programme as part of the new RTÉ Radio 1 autumn schedule.
Dunphy rejoins Newstalk but leaves again in 2011 “due to interference from management and a push to put a more positive spin on the news.” On his last show he accuses his boss, Denis O’Brien, of “hating journalism.” He quits after Sam Smyth is sacked from Today FM (also owned by O’Brien) and says management at Newstalk is trying to remove “dissenting voices” like Constantin Gurdgiev from the airwaves.
Dunphy is a daily Mass-goer until he is preparing for marriage to his first wife, Sandra from Salford, when he is 21. He is Catholic and she is Protestant. The priest instructing them for marriage disapproves strongly of the mixed couple, saying that he should not marry her because she is “not a proper person.” Dunphy’s observance is already weakening but he quits his daily Mass-going at this point. He and Sandra have two children, a boy and a girl, and he is now a grandfather. His first marriage ends, and he moves to Castletownshend in County Cork for two years in the early 1990s. He lives with another partner, Inge, before meeting his second wife, RTÉ commissioning editor Jane Gogan, in the Horseshoe Bar in Dublin in 1992. They marry at the Unitarian Church on St. Stephen’s Green on September 24, 2009.
In an interview with An Phoblacht, Dunphy, who had previously written highly critical articles on the Provisional IRA and Sinn Féin, states that he is now a Sinn Féin supporter and declares he had voted for them in the 2011 Irish general election. He describes their representatives as “incredibly hard-working and incredibly intelligent.”
Dunphy publishes his autobiography entitled The Rocky Road in October 2013.
Today, Dunphy generally resides at his home near Ranelagh in Dublin. He also owns a holiday home in Deauville, France.
(Pictured: Éamon Dunphy at the Sinn Féin Summer School, 2013)
Whitty is born in on January 7, 1904, in Newbawn, County Wexford. He is a Volunteer in the IRA, who serves in the South Wexford Brigade during the Irish War of Independence. After the signing of the 1921 Anglo-Irish Treaty, he joins the Anti-Treaty side in the Irish Civil War.
In late October 1922, Whitty is arrested (although never charged or convicted of any crime) in a roundup of dissidents. He is initially interned by Irish Free State troops at Wexford Prison and from there is transferred to the Curragh Camp. It has been asserted that his arrest was in revenge for the actions of his brothers who are deeply involved with the IRA. The authorities are unable to locate his brothers, so he is arrested instead.
While at the Curragh Camp, Whitty decides to independently start a hunger strike and dies as a result on August 2, 1923, at the Curragh Camp hospital. At the time, hunger strikes are not an official policy of the IRA and are not directed by its General Headquarters. Instead, each hunger striker makes an individual decision to strike. Due to the newly formed Irish Free State government’s news embargo on conditions in prisons at the time, very little is published on Whitty’s motivations and the circumstances of his hunger strike and death, including the number of days of his strike.
Earlier, the high-profile hunger strike deaths of Thomas Ashe, president of the Irish Republican Brotherhood (IRB) in 1917 and Terence MacSwiney, Lord Mayor of Cork in 1920, bring international attention to the Republicans’ cause. The Irish Government’s news embargo prevents the embarrassment of having to publicly announce the death by hunger strike of a 19-year-old internee. From 1922, hunger strikes are of value only when a government is likely to be embarrassed sufficiently by the death of a prisoner.
With the ending of the 1923 Irish Hunger Strikes in late November 1923, the news embargo is relaxed. The November 20, 1923 death of Denny Barry from County Cork and the November 22, 1923 death of Andy O’Sullivan from County Cavan are widely reported in the media, while Whitty’s earlier death in August remains largely unreported.
After Whitty’s non-sanctioned hunger strike and death, Michael Kilroy, the Officer Commanding (OC) of IRA prisoners in Mountjoy Prison announces that 300 men will go on hunger strike on October 13, 1923. By late 1923, thousands of Irish republican prisoners are on hunger strike in multiple prisons and internment camps across Ireland. The mass hunger strikes of October/November 1923 see around 8,000 of the 12,000 Anti-Treaty republican prisoners on hunger strikes in Irish prisons, protesting internment without charge/trial, poor prison conditions and demanding immediate release of all political prisoners. Previously, the Irish Free State government had passed a motion outlawing the release of prisoners on hunger strike.
With the death of Whitty and two other recent Irish republican hunger strikers, Michael Fitzgerald (died October 17, 1920) and Joe Murphy (died October 25, 1920) and the large numbers of Irish republican prisoners on hunger strike, the Irish Free State Government sends a delegation to speak with IRA leadership in late October 1923. On November 23, 1923, the day after Andy O’Sullivan’s death, the hunger strike is called off, eventually setting off a release program for many of the prisoners, although some are not released until as late as 1932. The mass hunger strike of 1923 lasts for 41 days and met with little success.
Whitty is buried at Ballymore Cemetery. Killinick, County Wexford. The inscription on his grave reads: “In Memory of Joseph Whitty, Connolly St, Wexford. South Wexford Brigade who died for Ireland 2nd August 1923.”
The Sinn Féin Cumann (Association) in Wexford is named after Joe Whitty. The annual Joe Whitty Commemoration is held each year on Easter Saturday evening in Ballymore, County Wexford.
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