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Death of Sir Richard Steele, Writer, Playwright & Politician

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Sir Richard Steele, writer, playwright, and politician, remembered as co-founder, with his friend Joseph Addison, of the magazine Tatler, dies in Carmarthen, Wales on September 1, 1729.

Steele is born in Dublin on March 12, 1672, to Richard Steele, an attorney, and Elinor Symes (née Sheyles). He is largely raised by his uncle and aunt, Henry Gascoigne and Lady Katherine Mildmay. A member of the Protestant gentry, he is educated at Charterhouse School, where he first meets Addison. After starting at Christ Church, Oxford, he goes on to Merton College, Oxford, then joins the Life Guards of the Household Cavalry in order to support King William‘s wars against France. He is commissioned in 1697 and rises to the rank of captain within two years. He leaves the army in 1705, perhaps due to the death of the 34th Foot’s commanding officer, Robert Lucas, 3rd Baron Lucas, which limits his opportunities of promotion.

Steele is a member of the Kit-Kat Club. Both Steele and Addison become closely associated with Child’s Coffee-house in St. Paul’s Churchyard.

Steele’s first published work, The Christian Hero (1701), attempts to point out the differences between perceived and actual masculinity. Written while he is serving in the army, it expresses his idea of a pamphlet of moral instruction.

Steele writes a comedy that same year titled The Funeral. This play meets with wide success and is performed at Theatre Royal, Drury Lane, bringing him to the attention of the King and the Whig party. Next, he writes The Lying Lover, one of the first sentimental comedies, but a failure on stage. In 1705, he writes The Tender Husband with contributions from Addison, and later that year writes the prologue to The Mistake, by John Vanbrugh, also an important member of the Whig Kit-Kat Club with Addison and Steele.

In 1706 Steele is appointed to a position in the household of Prince George of Denmark, consort of Anne, Queen of Great Britain. He also gains the favour of Robert Harley, 1st Earl of Oxford and Earl Mortimer.

The Tatler, Steele’s first journal, first appears on April 12, 1709, and appears three times a week. He writes this periodical under the pseudonym Isaac Bickerstaff and gives Bickerstaff an entire, fully developed personality. The Tatler is closed down to avoid the complications of running a Whig publication that had come under Tory attack.

Steele becomes a Whig Member of Parliament in 1713, for Stockbridge. He is soon expelled for issuing a pamphlet in favor of the Hanoverian succession. When George I of Great Britain comes to the throne in the following year, Steele is knighted and given responsibility for the Theatre Royal, Drury Lane in London. He returns to parliament in 1715, for Boroughbridge.

While at Drury Lane, Steele writes and directs the sentimental comedy The Conscious Lovers, which is an immediate hit. However, he falls out with Addison and with the administration over the Peerage Bill (1719), and in 1724 he retires to his second wife’s homeland of Wales. He remains in Carmarthen after his wife’s death, dying there on September 1, 1729. He is buried there at St. Peter’s Church. During restoration of the church in 2000, his skull is discovered in a lead casket, having previously been accidentally disinterred during the 1870s.

(Pictured: Portrait of Sir Richard Steele by Jonathan Richardson)


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Death of Yann Renard-Goulet, Sculptor & Breton Nationalist

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Yann Renard-Goulet, French sculptor, Breton nationalist and war-time collaborationist with Nazi Germany who headed the Breton Bagadou Stourm militia, dies in Bray, County Wicklow on August 22, 1999.

Goulet is born in Saint-Nazaire, France on August 20, 1914. Before World War II, he is a member of the Breton National Party and a former member of the French Section of the Workers’ International (SFIO). His artistic career begins at the École nationale supérieure des Beaux-Arts, where he studies art and architecture, and learns sculpture with Auguste Rodin‘s assistant, Charles Despiau. His works in France include bas-reliefs shown at the Exposition International de Paris (1938), and the monument to the youth of the French empire in Lille (1939). He is part of the Breton artistic movement Seiz Breur.

Goulet’s involvement in Breton nationalism leads to accusations that he had orchestrated the destruction of the Monument to the Breton-Angevin Federation at Pontivy on December 18, 1938, by Gwenn ha du, the nationalist terrorist group. He is detained, but then released.

In 1939, he is sent to Strasbourg to study the art of sabotage. He participates in the beginning of World War II fighting for France, and is captured by the Germans on June 11, 1940, while blowing up a bridge on the Aisne with friends from a French corps.

Later in the war, Goulet joins the assault section of Bagadou Stourm, Breton nationalist stormtroopers allied to the Germans. He also collaborates with the pro-Nazi nationalist newspaper L’Heure Bretonne. In 1941 in Paris, he becomes head of Bagadou Stourm and the “Youth Organizations” of the Breton National Party. The promotion of Bagadou Stourm officers is named “Patrick Pearse” to commemorate the 25th anniversary of the 1916 Easter Rising against British rule in Ireland.

After the liberation of France, Goulet travels with his wife and children to Ireland, and is sentenced to death as a Collaborationist by a French court in his absence. He acquires Irish citizenship in 1952 and becomes an art professor.

Goulet is commissioned to create public works commemorating the Irish Republican Army (IRA) and other republicans, including the Custom House Memorial (Dublin), the East Mayo Brigade IRA Memorial, the Republican Memorial (Crossmaglen), and the Ballyseedy Memorial (Kerry). He exhibits regularly at the Royal Hibernian Academy, eventually becoming the RHA Professor of Sculpture. He is also made a member of Aosdána in 1982.

Towards the end of the 1960s, Goulet claims to have taken the reins of the Breton Liberation Front (Front de Libération de la Bretagne, or FLB) and to have been behind all their attacks.

In 1969 Goulet becomes secretary general and chair of the Comité National de la Bretagne Libre and publishes the communiques of the FLB. In 1968, the head of police in Bray congratulate him on organising the previous day’s attack on the CRS barracks in Saint-Brieuc.

Goulet died at Bray, County Wicklow, on August 22, 1999, two days after his 85th birthday.

(Pictured: Custom House Memorial in Dublin by Yann Renard-Goulet, 1957)


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Death of English Actress Ellen Kean

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Ellen Kean, one of the finest English actresses of her day, dies in Bayswater, City of Westminster, England on August 20, 1880. She is known as Ellen Tree until her marriage in 1842, after which she is known both privately and professionally as Mrs. Charles Kean and always appears in productions together with her husband.

Kean is born Eleanora Tree in Ireland on December 12, 1805, the third of four daughters of Cornelius Tree, an official of the East India Company in London. Her three sisters become actresses, but, unlike Ellen, retire from the stage when they marry. Her professional stage debut is in a musical version of Twelfth Night in London in 1822 as Olivia alongside her sister Maria as Viola. She gains experience touring in the provinces, and from 1826 is a regular member of the companies at the Theatre Royal, Drury Lane and Theatre Royal Haymarket, making a success in The Wonder and The Youthful Queen. At the Royal Opera House at Covent Garden, she takes on the roles of William Shakespeare‘s Romeo to the Juliet of Fanny Kemble, Françoise de Foix in Francis I, and Lady Townley in The Provoked Husband.

In 1832, by now established as a leading actress, Tree accepts an engagement in Hamburg, Germany, where a junior member of the company is Charles Kean. He had made an undistinguished debut at Drury Lane in 1827, and he and Tree had acted together in 1828 in a play called Lovers’ Vows and later in Othello. In the German season they fall in love but are persuaded by family and friends not to marry in haste. Tree returns to London and resumes her successful West End career, including a considerable success in Ion in another breeches role. At the end of 1836, Tree goes to the United States, where she tours in Shakespeare for more than three years, playing heroines such as Rosalind, Viola and Beatrice, among other roles. By the time of her return to England in 1839, she has made a profit of £12,000 on the tour, equivalent to at least £1 million in modern terms.

By 1841 Charles Kean has established himself as a successful actor, and he and Tree appear together in Romeo and Juliet at the Theatre Royal Haymarket. They are married the next year, and she at once switches her professional name from Ellen Tree to Mrs. Charles Kean. For the next nine years they appear together at the Haymarket, making a joint visit to the United States in 1846. In 1850, Kean takes over the management of the Princess’s Theatre in London. The Times called this “the most important period of Mrs. Kean’s career…. Hitherto she had been the Rosalind and the Viola of the stage; henceforward her name was to be associated with characters of a more matronly type” in roles including Lady Macbeth and Gertrude in Hamlet. The same writer also credits her for “the good taste and artistic completeness” of Kean’s productions. Ellen Terry, who makes her first stage appearance as the boy Mamillius in The Winter’s Tale, remembers Kean “as Hermione wearing a Greek wreath round her head and a crinoline with many layers of petticoats.”

Charles Kean dies in 1868, and his widow retires from the stage, living quietly in Bayswater, in the City of Westminster, where she dies at the age of 73 on August 20, 1880. The Times in its obituary says, “Mrs. Kean is not to be numbered with the greatest votaries of the English stage, but her acting was distinguished by considerable power, tenderness and refinement.” She is buried in a vault alongside her husband at Catherington, Hampshire.

(Pictured: “Charles Kean and Wife Ellen Tree” by Mathew Brady Studio (1844-1894), modern albumen print from wet plate collodion negative, National Portrait Gallery, Smithsonian Institution)


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Death of Leslie Montgomery, Playwright & Writer

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Leslie Alexander Montgomery, playwright, humorist, and writer who writes under the pen name “Lynn Doyle,” dies in Dublin on August 18, 1961. He adopts the pseudonym for his writing, using a homophone of “linseed oil.” Supposedly, he chooses the name after seeing a large tin of linseed oil in a paint shop, initially signing “Lynn C. Doyle” but later dropping the “C.”

Born in Downpatrick, County Down on October 5, 1873, Montgomery is educated at Dundalk in County Louth. He commences work as a bank clerk at the age of 16, and remains with the Northern Banking Company, working in locations such as Keady and Cushendall before a transfer to the quaint seaside town of Skerries in County Armagh. There he becomes branch manager until his retirement in 1934.

Aside from this rather strait-laced, white-collar career, however, Montgomery fosters a life-time passion for writing in various forms and genres, and his contribution to Ulster literature in the early part of the 20th century should not be underestimated.

Montgomery is part of the Ulster Literary Theatre movement founded by Bulmer Hobson and David Parkhill in 1902, and early works include Love and Land, a play that is produced at the Little Theatre in London and represents Montgomery’s first critical success.

Other works during this decade include The Summons and The Lilac Ribbon. By the beginning of the 1920s, Montgomery is a leading northern playwright. He is best known, however for the Ballygullion series, twenty books which fondly caricature Northern Irish village life. The first in the series is published in 1908 and the last in 1957.

Montgomery writes the first book, which would lend its title to the rest of the series, in Dublin. This is followed by other works every few years such as Mr. Wildridge of the Bank, Lobster Salad, Dear Ducks, Me and Mr. Murphy and Rosabelle and Other Stories.

Written in the dialect of the east Ulster region, the stories celebrate an imaginary townland area in the Slieve Gullion region of County Down. They reflect Montgomery’s early years there and in Dundalk. The books also reveal a lot about contemporary Ulster life.

The versatile writer also produces poetry during the 1930s. Ballygullion Ballads, published in 1936 is illustrated by the famous Belfast artist William Conor, as are several of the later editions of his books.

In 1936, Montgomery has the somewhat dubious honour of being the first Irish writer to be appointed to the Censorship Board. He resigns within two years of accepting the job, however, claiming that it is “so terribly easy to read only the marked passages, so hard to wade through the whole book afterwards.”

Following his retirement from the Northern Banking Company, he gains further notoriety as a lecturer, and also regularly broadcasts his stories for the fledgling BBC in Belfast. Indeed, his most productive period as a writer is in his 1960s, during which time he writes his autobiography, An Ulster Childhood, in 1954.

Montgomery dies in Dublin on August 18, 1961, but his legacy is preserved in the Lynn Doyle Collection at Belfast Central Library, which consists of a series of archival boxes which were purchased by the library. The collection is extensive, and includes broadcasts and lecture transcripts, manuscripts, essays, short stories, poetry, personal correspondence, photographs, land leases and legal documents.


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Death of Keyboardist Lou Martin

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Louis Michael “Lou” Martin, piano and organ player from Belfast, dies in Bournemouth, Dorset, on August 17, 2012. He is most famous for his work with the London-based band Killing Floor and with fellow Irish musician Rory Gallagher.

Martin is born in Belfast on August 12, 1949. He starts learning the piano at the age of six and joins his first professional band, Killing Floor, in April or May 1968. In 1969 Martin and Stuart McDonald are recruited by 17-year-old Darryl Read who forms a band for Emperor Rosko‘s brother, Jeff Pasternak, called Crayon Angels. Read assembles the band and plays drums while Rosko acts as manager. Martin later leaves Killing Floor to play alongside Gallagher, and is featured on several of Gallagher’s albums, including Blueprint, Tattoo, Irish Tour ’74, Against the Grain, Calling Card, Defender and Fresh Evidence. He also plays rhythm guitar on one track, “Race the Breeze” from Blueprint.

After leaving Gallagher’s band, Martin and drummer Rod de’Ath form Ramrod, after which Martin plays with Downliners Sect and Screaming Lord Sutch. He also tours with Chuck Berry and Albert Collins.

Martin plays in the Nickey Barclay band in London in the 1980s, alongside Barclay on keyboards, with John Conroy and Dave Ball on lead guitar. The band plays across London on the blues rock circuit during the 1980s at venues such as The White Lion, Putney, The Star and Garter on Lower Richmond Road, The Golden Lion, Fulham and the Cartoon, Croydon.

Killing Floor releases an album in 2004 named Zero Tolerance, on which Martin participates.

After a period of illness including cancer and a number of strokes, Lou Martin dies peacefully in a hospital in Bournemouth, Dorset, at the age of 63, on August 17, 2012.


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Death of Patrick McGee, Actor & Director

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Patrick George McGee, Northern Irish actor and director of stage and screen known professionally as Patrick Magee, dies from a heart attack at his flat in Fulham, London on August 14, 1982. He is known for his collaborations with Samuel Beckett and Harold Pinter, as well as creating the role of the Marquis de Sade in the original stage and screen productions of Marat/Sade. He also appears in numerous horror films and in two Stanley Kubrick films, A Clockwork Orange and Barry Lyndon.

McGee is born into a middle-class family in Armagh, County Armagh, Northern Ireland on March 31, 1922. He is the first born of five children and is educated at St. Patrick’s Grammar School, Armagh.

McGee’s first stage experience in Ireland is with Anew McMaster’s touring company, performing the works of William Shakespeare. It is here that he first works with Pinter. He is then brought to London by Tyrone Guthrie for a series of Irish plays. He meets Beckett in 1957 and soon records passages from the novel Molloy and the short story From an Abandoned Work for BBC Radio. Impressed by “the cracked quality of Magee’s distinctly Irish voice,” Beckett requests copies of the tapes and writes Krapp’s Last Tape especially for the actor. First produced at the Royal Court Theatre in London on October 28, 1958, the play stars McGee and is directed by Donald McWhinnie. A televised version is later broadcast by BBC Two on November 29, 1972.

In 1964, McGee joins the Royal Shakespeare Company, after Pinter, directing his own play, The Birthday Party, specifically requests him for the role of McCann. In 1965 he appears in Peter Weiss‘s Marat/Sade, and when the play transfers to Broadway he wins a Tony Award. He also appears in the 1966 RSC production of Staircase opposite Paul Scofield.

McGee’s early film roles include Joseph Losey‘s The Criminal (1960) and The Servant (1963), the latter an adaptation scripted by Pinter. He also appears as Surgeon-Major James Henry Reynolds in Zulu (1964), Séance on a Wet Afternoon (1964), Anzio (1968), and in the film versions of Marat/Sade (1967) and The Birthday Party (1968). He is perhaps best known for his role as the victimised writer Frank Alexander, who tortures Alex DeLarge with Ludwig van Beethoven‘s music, in Stanley Kubrick’s film A Clockwork Orange (1971). His other role for Kubrick is as Redmond Barry’s mentor, the Chevalier de Balibari, in Barry Lyndon (1975).

McGee also appears in Young Winston (1972), The Final Programme (1973), Galileo (1975), Sir Henry at Rawlinson End (1980), The Monster Club and Chariots of Fire (1981) but is most often seen in horror films. These include Roger Corman‘s The Masque of Red Death (1964), and the Boris Karloff vehicle Die, Monster, Die! (1965) for AIP; The Skull (1965), Tales from the Crypt (1972), Asylum (1972), and And Now the Screaming Starts! (1973) for Amicus Productions; Demons of the Mind (1972) for Hammer Film Productions; and Walerian Borowczyk‘s Docteur Jekyll et les femmes (1981).

Patrick McGee dies from a heart attack at his flat in Fulham, London on August 14, 1982, at the age of 60, according to obituaries in The Herald and The New York Times. On July 29, 2017, a blue plaque is unveiled in Edward Street, Armagh to mark Patrick McGee’s birthplace.


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Birth of Irish American Painter William Harnett

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William Michael Harnett, Irish American painter known for his trompe-l’œil still lifes of ordinary objects, is born in Clonakilty, County Cork on August 10, 1848, during the time of the Great Famine.

Shortly after his birth Harnett’s family emigrates to the United States, settling in Philadelphia. Becoming a United States citizen in 1868, he makes a living as a young man by engraving designs on table silver, while also taking night classes at the Pennsylvania Academy of the Fine Arts and later, in New York City, at Cooper Union and at the National Academy of Design. His first known oil painting, a still life, dates from 1874.

The style of trompe-l’œil painting that Harnett develops is distinctive and inspired many imitators, but it is not without precedent. A number of Dutch Golden Age painters, Pieter Claesz for instance, had specialized in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in the early 19th century, pioneers the form in America. What sets Harnett’s work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting.

Harnett paints musical instruments, hanging game, and tankards, but also paints the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a board. He paints a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and even paper currency. His works sell well, but they are more likely to be found hanging in a tavern or a business office than in a museum, as they did not conform to contemporary notions of high art.

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Harnett spent the years 1880–1886 in Europe, staying in Munich from 1881 until early 1885. His best-known paintings, the four versions of After the Hunt, are painted between 1883 and 1885. Each is an imposing composition of hunting equipment and dead game, hanging on a door with ornate hinges at the right and keyhole plate at the left. These paintings, like the horseshoe or currency depictions mentioned earlier, are especially effective as trompe-l’œil because the objects occupy a shallow space, meaning that the illusion is not spoiled by parallax shift if the viewer moves.

Overall, Harnett’s work is most comparable to that of the slightly younger John F. Peto. The two artists know each other, and a comparison can be made between two paintings featuring violins. Harnett’s Music and Good Luck from 1888 shows the violin hanging upright on a door with ornate hinges and with a slightly torn piece of sheet music behind it. The elements are arranged in a stable, deliberate manner. Peto’s 1890 painting shows the violin hanging askew, as well as chipped and worn, with one broken string. The sheet music is dog-eared and torn around the edges and placed haphazardly behind the instrument. The hinges are less ornate, and one is broken. Harnett’s objects show signs of use but are well preserved, while Peto’s more humble objects are nearly used up.

Crippling rheumatism plagues Harnett in his last years, reducing the number but not the quality of his paintings. He dies in New York City on October 29, 1892. Other artists who paint similar compositions in Harnett’s wake include his contemporary John Haberle and successors such as Otis Kaye and Jefferson David Chalfant.

Harnett’s work is in collections in the Albright-Knox Art Gallery (Buffalo, New York), the Amon Carter Museum of American Art (Fort Worth, Texas), the Dallas Museum of Art, the Art Institute of Chicago, the Brooklyn Museum, the Carnegie Museum of Art (Pittsburgh, Pennsylvania), the Cincinnati Art Museum, the Cleveland Museum of Art, the Detroit Institute of Arts, the Fine Arts Museums of San Francisco, Harvard Art Museums, the High Museum of Art (Atlanta, Georgia), the Honolulu Museum of Art, the Joslyn Art Museum (Omaha, Nebraska), the Los Angeles County Museum of Art, the Metropolitan Museum of Art (New York, New York), the National Gallery of Art (Washington D.C.), the National Gallery of Canada (Ottawa, Ontario), the Philadelphia Museum of Art, the San Diego Museum of Art, Thyssen-Bornemisza Museum (Madrid, Spain), the Toledo Museum of Art (Toledo, Ohio), the Wadsworth Atheneum (Hartford, Connecticut), and the Wichita Art Museum (Wichita, Kansas) among others.

(Pictured: Music and Good Luck, oil on canvas by William Michael Harnett, 1888, Metropolitan Museum of Art)


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Premiere of “O’Neil of the Glen”

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O’Neil of the Glen, the first production released by the Film Company of Ireland (FCOI), premieres at Dublin’s Bohemian Picture Theatre on August 7, 1916. The film is adapted by W.J. Lysaght from a book by the acclaimed Irish novelist, Mrs. M. T. Pender. The film is a romantic tale which features two well-known Abbey Theatre members, as well as a host of rising stars.

Formed in March 1916 by James Mark Sullivan and Henry Fitzgibbon, the FCOI becomes the most important indigenous fiction film producer of the 1910s.

On 29 June, FCOI announces a “trial exhibition,” or what would now be called a test screening, of their first completed production, O’Neil of the Glen, at Dublin’s Carlton Cinema. Addressing a lunch for the press at the Gresham Hotel following the screening, Fitzgibbon claims that FCOI “had started an industry which would eventually be a source of great revenue in Ireland.” For his part, Sullivan argues that the film showed that Irish productions – taking advantage of Irish “imagination, ideals, and artistic temperament and beautiful scenery” – could compete with those anywhere.

The Bohemian is one of Dublin’s biggest and most luxurious cinemas, and Frederick A. Sparling’s commitment to a run that is twice the usual three days “speaks well for the film and the undoubted drawing powers such a production will have for Irish audiences.” In the event, Sparling also includes an unplanned Sunday show to take advantage of the phenomenal level of interest.

In the following weeks and months, O’Neil of the Glen is exhibited around the country. Following substantial runs in Dublin and Belfast it is announced for a three-day runs at Galway’s Victoria Cinema Theatre on September 11-13 and Cork’s Coliseum Theatre on September 14-16.


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Birth of John B. Keane, Irish Playwright & Novelist

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John Brendan Keane, Irish playwright, novelist and essayist, is born in Listowel, County Kerry on July 21, 1928.

Keane is the son of a national school teacher, William B. Keane, and his wife Hannah Purtill. He is educated at Listowel National School and then at St. Michael’s College, Listowel. He works as a chemist’s assistant for A.H. Jones who dabbles in buying antiques. He has various jobs in the United Kingdom between 1951 and 1955 working as a street cleaner and a bartender and lives in a variety of places including Northampton and London. It is while he is in Northampton that he is first published in an unnamed women’s magazine for which he receives £15.

After returning from the UK, Keane is a pub owner in Listowel from 1955 where he writes plays for the local theatre company and sponsors, from 1971, the annual Listowel Writers’ Week. He marries Mary O’Connor at Knocknagoshel Church on January 5, 1955 and they have four children: Billy, Conor, John and Joanna.

His first play, Sive (1959), is initially rejected by the Abbey Theatre in Dublin but goes on to win the amateur All-Ireland Drama Festival. Later plays include The Field (1965), which is released in a bowdlerized film version in 1990, and Big Maggie (1969), which is produced on Broadway in 1982. In 1998 Keane is honoured with a medal from the Abbey for his contribution to Irish theatre.

Keane is an Honorary Life Member of the Royal Dublin Society from 1991, serves as president of Irish club of PEN International and is a founder member of the Society of Irish Playwrights as well as a member of Aosdána. He is named the patron of the Listowel Players after the Listowel Drama Group fractures. He remains a prominent member of the Fine Gael party throughout his life, never being shy of political debate.

John Keane dies of prostate cancer on May 30, 2002, in Listowel at the age of 73.

Keane’s nephew is the investigative journalist Fergal Keane. His son John is a journalist with the Kilkenny People while his son Billy regularly writes a column for the Irish Independent.


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Birth of Jimmy Kennedy, Songwriter & Lyricist

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James Kennedy, songwriter and lyricist, is born on July 20, 1902, near Omagh, County Tyrone in what is now Northern Ireland. He puts words to existing music such as “The Teddy Bears’ Picnic” and “My Prayer” and co-writes with composers Michael Carr, Wilhelm Grosz and Nat Simon, among others. In a career spanning more than fifty years, he writes some 2,000 songs, of which over 200 become worldwide hits and about 50 are all-time popular music classics.

Kennedy’s father, Joseph Hamilton Kennedy, is a policeman in the Royal Irish Constabulary (RIC). While growing up in the village of Coagh, Kennedy writes several songs and poems. He is inspired by local surroundings — the view of the Ballinderry River, the local Springhill House and the plentiful chestnut trees on his family’s property, as evidenced in his poem Chestnut Trees. He later moves to Portstewart, a seaside resort in County Londonderry.

Kennedy graduates from Trinity College, Dublin, before teaching in England. He is accepted into the Colonial Service, as a civil servant, in 1927.

While awaiting a Colonial Service posting to the colony of Nigeria, Kennedy embarks on a career in songwriting. His first success comes in 1930 with “The Barmaid’s Song”, sung by Gracie Fields. Fellow lyricist Harry Castling introduces him to Bert Feldman, a music publisher based in London‘s “Tin Pan Alley“, for whom he starts to work. In the early 1930s he writes a number of successful songs, including “Oh, Donna Clara” (1930), “My Song Goes Round the World” (1931), and “The Teddy Bears’ Picnic” (1933), in which he provides new lyrics to John Walter Bratton‘s tune from 1907.

In 1934, Feldman turns down Kennedy’s song “Isle of Capri“, but it becomes a major hit for a new publisher, Peter Maurice. He writes several more successful songs for Maurice, including “Red Sails in the Sunset” (1935), inspired by beautiful summer evenings in Portstewart, Northern Ireland, “Harbour Lights” (1937) and “South of the Border” (1939), inspired by a holiday picture postcard he receives from Tijuana, Mexico and written with composer Michael Carr. He and Carr also collaborate on several West End shows in the 1930s, including London Rhapsody (1937). “My Prayer,” with original music by Georges Boulanger, has English lyrics penned by Kennedy in 1939. It is originally written by Boulanger with the title “Avant de Mourir” in 1926.

During the early stages of World War II, while serving in the British Army‘s Royal Artillery, where he rises to the rank of Captain, Kennedy writes the wartime hit, “We’re Going to Hang out the Washing on the Siegfried Line.” His hits also include “Cokey Cokey” (1945), and the English lyrics to “Lili Marlene.” After the end of the war, his songs include “Apple Blossom Wedding” (1947), “Istanbul (Not Constantinople)” (1953), and “Love Is Like a Violin” (1960). In the 1960s he writes the song “The Banks of the Erne'”, for recording by his friend from the war years, Theo Hyde, also known as Ray Warren.

Kennedy is a patron of the Castlebar Song Contest from 1973 until his death in 1984 and his association with the event adds great prestige to the contest.

Kennedy wins two Ivor Novello Awards for his contribution to music and receives an honorary degree from the New University of Ulster. He is awarded the OBE in 1983 and, in 1997, is posthumously inducted into the Songwriter’s Hall of Fame.

Jimmy Kennedy dies in Cheltenham on April 6, 1984, at the age of 81. He is interred in Taunton, Somerset.