Campbell is born in Belfast on July 15, 1879, into a Catholic and Irish nationalist family from County Down. He is educated at St. Malachy’s College, Belfast. After working for his father he teaches for a while. He travels to Dublin in 1902, meeting leading nationalist figures. His literary activities begin with songs, as a collector in Antrim, County Antrim and working with the composer Herbert Hughes. He is then a founder of the Ulster Literary Theatre in 1904. He contributes a play, The Little Cowherd of Slainge, and several articles to its journal Uladh edited by Bulmer Hobson. The Little Cowherd of Slainge is performed by the Ulster Literary Theatre at the Clarence Place Hall in Belfast on May 4, 1905, along with Lewis Purcell’s The Enthusiast.
Campbell moves to Dublin in 1905 and, failing to find work, moves to London the following year where he is involved in Irish literary activities while working as a teacher. He marries Nancy Maude in 1910, and they move shortly thereafter to Dublin, and then later to County Wicklow. His play Judgement is performed at the Abbey Theatre in April 1912.
Campbell takes part as a supporter in the Easter Rising of 1916, doing rescue work. The following year he publishes a translation from Irish of the short stories of Patrick Pearse, one of the leaders of the Rising.
Campbell becomes a Sinn FéinCouncillor in Wicklow in 1921. Later in the Irish Civil War he is on the Republican side, and is interned in 1922-23. His marriage breaks up, and he emigrates to the United States in 1925 where he settles in New York City. He lectures at Fordham University, and works in academic Irish studies, founding the University’s School of Irish Studies in 1928, which lasts four years. He is the editor of The Irish Review (1934), a short lived “magazine of Irish expression.” The business manager is George Lennon, former Officer Commanding of the County WaterfordFlying Column during the Irish War of Independence. The managing editor is Lennon’s brother-in-law, George H. Sherwood.
Campbell returns to Ireland in 1939, settling at Glencree, County Wicklow. He dies at Lacken Daragh, Enniskerry, County Wicklow on June 6, 1944.
O’Reilly is one of six children of James P. O’Reilly, shopkeeper and musician, and Catherine O’Reilly (née Donegan). The family moves to Dublin when he is nine years old. He is educated at the Christian Brothers school in James’s Street, where he excels at Gaelic football and develops an interest in drama and music. Toward the end of his schooldays, he begins to participate in athletics, particularly the high jump, and is coached by Jack Sweeney, a leading athletics coach.
Always a man of many talents and interests, after leaving school O’Reilly combines working in the insurance business with an athletics career with Donore Harriers and evening drama classes. He wins several Irish titles, including the high jump, javelin, and decathlon, and sets a national record in the high jump. In 1954 he wins the British AAA Championships high jump title, beating the Commonwealth champion into second place, and setting a championship record of 6 ft. 5 in. (1.96 m). As a result, he secures a United States athletics scholarship to the University of Michigan, Ann Arbor, where he takes a degree in liberal arts, majoring in speech and drama. While at Michigan he improves his Irish record to 6 ft. 7 in. (2.007 m). His athletic career, however, is dogged with bad luck. He is selected to compete in the high jump at the European Athletics Championships in Bern, Switzerland, in 1954 but fractures an ankle in practice and fails to advance beyond the qualifying round. Although he competes at international level for ten years (1952–62), he is unlucky to never take part in the Olympic Games. A victim of sporting politics in 1952, as an NCAA athlete he is not entitled to compete. He is selected for the 1956 Summer Olympics in Melbourne but is unable to attend when, at the last minute, his club cannot provide the finance for him to attend. Earlier that year he wins the Big Ten Conference high jump title.
On leaving Michigan O’Reilly moves to New York City, where he embarks on an acting career with the Irish Players, but he returns to Dublin in 1959, where, after brief spells working as a teacher and for an advertising agency, he applies to Ireland’s new television station for a position. He is looking for an acting job but ends up being offered a position as a presenter, joining Teilifís Éireann in 1961 as an announcer/interviewer. His relaxed and unobtrusive style appeals to viewers and his light entertainment show, The Life of O’Reilly, is the most popular programme on Irish television in the day, eclipsing even a fledgling The Late Late Show. It is as a sports presenter and commentator, however, that O’Reilly is primarily remembered, as he becomes the face of sport on RTÉ Television for many years. He attends five Olympic Games as a broadcaster, from Mexico in 1968 to Los Angeles in 1984, commentating on athletics and gymnastics. The first presenter of RTÉ’s flagship Saturday afternoon sports programme Sports Stadium in 1984, he continues to present it over its fourteen-year life, co-presenting the final programme in December 1997. He also is the regular presenter of RTÉ’s Wimbledon Championships tennis coverage for many years, the sports results on news broadcasts on TV and radio, and Sunday Sport on RTÉ Radio, as well as commentating on individual sports such as ice-skating.
Although sports presenting is a natural progression for an athlete with his talents, O’Reilly’s real love is the arts. He continues to act, playing the part of Detective Inspector Michael Roarke in the classic children’s film Flight of the Doves (1971) with Ron Moody and Willie Rushton. He is also an accomplished singer and songwriter, and writes and performs his own one-man show, Across the Spectrum, comprising his own poems and songs in 1992. As well as a book of poems, The Great Explosion (1977), he releases a number of albums and tops the charts with his own song, “The Ballad of Michael Collins,” in 1981. He has a great admiration for Michael Collins, and this leads to his becoming the first non-political figure to give the oration at the annual Collins commemoration at Béal na Bláth, County Cork, in 1981. He also writes the song “Let the Nations Play” (1985), inspired by the boycotts of the Olympic games of 1980 and 1984, and the song is adopted as an anthem of the international Olympic movement.
Tall and slim in build, O’Relly is affable, modest, and self-deprecating in character. His relaxed style is no mere public affectation. He often exasperates colleagues by turning up just in time for broadcasts, and his ability to ad-lib is important in a live television environment. He once describes himself as “a champion high-jumper who could enunciate properly and keep my hair neatly combed” (The Irish Times, April 7, 2001). Despite the disappointments in his sporting career, he maintains that his other interests more than compensated. In relation to the Olympics he is quoted as saying, “If you asked me whether I’d have preferred to win a medal or have written the song, I’d honestly say I would have preferred to have written the song” (Longford Leader, April 6, 2001).
O’Reilly lives in Ranelagh, Dublin, and is married twice. He meets his first wife Linda Herbst (née Kuhl) in New York in the late 1950s. His second marriage is to Johanna Lowry. He has four children. After a lengthy illness, he dies on April 1, 2001, in St. Vincent’s Hospital, Fairview, Dublin. He is buried at Mount Venus cemetery, Rathfarnham.
(From: “O’Reilly, Brendan” by Jim Shanahan, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Bushnell is one of four children of John Kavanagh and Evelyn (née Ledwidge). Her father is a motor mechanic with a business on Arnott Street, Portobello, with the family living in Milltown. She dances on the stage of the Theatre Royal as a child and is a junior Irish champion dancer. She attends the St. Louis convent school in Rathmines, where she performs in plays and musicals and sings in the school choir. The nuns disapprove of her musical influences and try to dissuade her interest in jazz and “the music of the night.” Due to the family’s financial circumstances, she leaves school at the age of 16 and takes a job as a typist. She marries Tony Bushnell in April 1961. He is a salesman who shares her interest in music. The couple moves to Templeogue, and have a daughter, Suzanne, and a son, Paul. Paul is now a session musician based in Los Angeles, and Suzanne sings with a female vocal harmony group, Fallen Angels.
Bushnell continues to perform in amateur musicals, and from the early 1960s she sings with an Irish céilí band. With help from her husband’s musical family, she sings in Dublin jazz clubs from 1967, emerging as a well-respected jazz and blues vocalist and cabaret performer. She competes in the national song contest in 1968 singing Ballad to a Boy and becomes a resident singer in the RTÉ Light Orchestra. By the late 1960s, she is one of the busiest singers in Ireland, singing jingles for radio and TV commercials, and featuring on showband records as a backing singer. She is a regular guest on RTÉ television variety shows from 1970, including hosting Girls, girls, girls.
From 1972 to 1974, Bushnell is part of a group called Family Pride, which is a group of session musicians who record together regularly. They compete in the 1973 national song contest, playing in Dublin venues and on radio shows. The group has two top ten Irish hits. Their 1973 album, Family Pride, is not a chart success, however. She represents Ireland at a number of international contests and festivals as a solo artist, releasing a few singles and an unsuccessful album with CBS Records, Are You Ready (1977). She is a backing singer for two of Ireland’s entries to the Eurovision Song Contest in 1974 and 1980. She is a regular in stage musicals from the mid to late 1970s, in productions such as the tribute shows to Jacques Brel (1974) and Bing Crosby (1978), sometimes performing alongside her brother John Kavanagh. From the late 1970s she appears in pantomimes with Maureen Potter.
In 1984 Bushnell stars in a musical based on the life of Édith Piaf, No Regrets, written specially for her by Leland Bardwell. She is lauded for capturing Piaf’s stage presence and husky voice. The show suffers when it has to move from the Gaiety Theatre to the National Stadium. She reworks it into a successful one-woman show called The Little Sparrow and also devises a one-woman tribute to Judy Garland. Her cabaret act in the late 1980s is highly successful, featuring big numbers by Brel, Garland, and Piaf. Due to her talent at singing blues and jazz, she is awarded the freedom of New Orleans by its mayor in 1986.
Bushnell struggles with depression brought on initially by an underactive thyroid and later exacerbated by her father’s death and her husband’s unemployment in the late 1980s. Disheartened by the lack of recognition in Ireland and her family’s financial difficulties, she considers emigrating or returning to her career as a typist. To aid with her depression, she takes up painting in 1992, holding a number of exhibitions in Dublin. She continues to sing regularly until her death, often at events for charity. She is awarded the Cheshire Foundation award in 1994 for her charitable work. She also appears in the film Agnes Browne.
Linda Martin, Northern Irish singer and television presenter, is born in Belfast, Northern Ireland on March 27, 1952. She is best known as the winner of the 1992 Eurovision Song Contest during which she represents Ireland with the song “Why Me?,” the first of a record three consecutive wins by Ireland. She is also known within Ireland as a member of the band Chips.
Martin is of Irish, Scottish and Italian ancestry. Her father’s family’s surname is originally Martini. Her paternal great-grandfather, Francis Martini, is born in Dublin to immigrants from Saronno, north of Milan, Italy. Two of her maternal great-grandparents, William Green and Elizabeth Nangle, have a coal-mining background and transferred to Belfast from Larkhall, Scotland.
Martin begins her musical career when she joins the band Chips in Omagh in 1969. They quickly become one of the top bands in Ireland on the live circuit, and release hit singles “Love Matters,” “Twice a Week” and “Goodbye Goodbye” during the mid-to-late 1970s. In 1972, she leaves Chips to be a vocalist with the new group Lyttle People but rejoins her former bandmates the following year.
The group appears on Opportunity Knocks in 1974 and appears a number of times on British television promoting their singles, but never scores a UK hit. With multiple entries to the Irish National finals of the Eurovision Song Contest, the band carries on into the 1980s. They score a final Irish hit in 1982 with “David’s Song (Who’ll Come With Me),” after which Martin leaves when she wins the Castlebar Song Contest with “Edge of the Universe” in 1983. From this point, she concentrates on a solo career as well as occasional live appearances with Chips until they recruit a new lead singer, Valerie Roe, in the late 1980s.
Martin participates in the National Song Contest four times as a member of Chips; however, they do not score successfully. She participates another four times in the contest as a soloist and once more as part of the group “Linda Martin and Friends.” With nine participations, she has been the most frequent entrant in the National Song Contest’s history. She wins the contest twice, going on to represent Ireland twice at the Eurovision Song Contest.
The first of these victories is in 1984 with the song “Terminal 3,” written by Johnny Logan. The song comes in second in the final, being beaten by eight points. “Terminal 3” reaches No. 7 in the Irish charts. The second victory is in 1992 when her song “Why Me?,” also written by Logan, goes on to win the final in Sweden. This becomes Ireland’s fourth victory in the Eurovision Song Contest, and the song reaches No. 1 in the Irish chart as well as becoming a hit in many European countries.
Martin is, at the time, one of only three artists to finish both first and second at Eurovision, behind Lys Assia and Gigliola Cinquetti. Since then, only Elisabeth Andreassen and Dima Bilan have achieved this, raising the number to five.
Martin is one of the hosts on the RTÉquiz showThe Lyrics Board and also serves as one of Louis Walsh‘s behind-the-scenes team on the first series of ITV‘s The X Factor. She also serves as a judge on the first, second and fourth seasons of RTÉ’s You’re a Star and on Charity You’re a Star in 2005 and 2006. While she is dismissed from later seasons, speaking on Saturday Night with Miriam on RTÉ television on July 28, 2007, she says that she is “open” to being invited back to the show. She does not rule out a return to Eurovision following Ireland’s dismal performance in the 2007 contest, finishing last with only five points.
During the interval of Eurovision 2013, the host Petra Mede presents a light-hearted history of the contest, during which she explains to viewers that Johnny Logan had won the competition three times, in 1980, 1987 and 1992. Appearing alongside Linda Martin in some vintage footage she jokes that he had won the third time disguised as a woman, saying, “I recognise a drag queen when I see one.” The joke proves controversial, particularly in the Irish media. However, on June 1, 2013, during an appearance on RTÉ’s The Saturday Night Show Martin says that she has actually benefited from all the publicity. On the same show she performs a cover of the song “Get Lucky” by Daft Punk.
Martin also appears in pantomime, in Dublin. She stars in Cinderella as the Wicked Stepmother, Snow White as the Evil Queen and Robin Hood as herself, at the Olympia Theatre. She tours Menopause The Musical with Irish entertainer Twink. While on tour, Twink describes Martin as a “cunt” during a tirade in May 2010. The two had been friends for 30 years but both say afterwards that they have no plans to speak to each other again.
Stewart is born on December 16, 1825, the second of two sons of Charles Frederick Stewart of 6 Pitt Street (now Balfe Street), Dublin, librarian of King’s Inns. Nothing is known of his mother other than that she studies music with one of the Logier family, presumably the noted military musician and piano teacher Johann Bernhard Logier, a resident of Dublin from 1809.
Stewart is educated at Christ Church Cathedral school in Dublin, where he is a chorister. He begins to accompany choral services in his early teens, and in 1844 is appointed organist of Christ Church Cathedral and the Trinity College Dublin (TCD) chapel. In addition, in 1852 he becomes de facto organist of St. Patrick’s Cathedral, and holds all three positions concurrently for the rest of his life.
Stewart’s first conducting appointment is with the Dublin University Choral Society in 1846, to which he later adds similar appointments in Dublin, Bray, and Belfast. He is active as a teacher, both privately and from 1869 at the Royal Irish Academy of Music (RIAM), and as a critic with the Dublin Daily Express. On occupying the University of Dublin‘s chair of music in 1862, he takes steps to formalise requirements for the music baccalaureate, introducing examinations in a modern language, Latin (or a second modern language), English (literature and composition), arithmetic, and music history. As a result, though not until 1878, similar examinations are introduced at the University of Oxford and the University of Cambridge. In his professorial capacity he delivers in the 1870s public lectures on Bach, Handel, Wagner, church music, music education, organology, and, most notably, Irish music, in which he reveals an uncanny knowledge of the wire-strung harp and the uilleann pipes. He also contributes entries on Irish music and musicians to the first edition of George Grove‘s A Dictionary of Music and Musicians.
By all accounts, Stewart is a very adept musician, having perfect pitch, a formidable memory, and astonishing facility in transposition. Apparently an autodidact, he is the first Irish organist to cultivate pedal technique, while in the art of improvisation both Joseph Robinson and Sir John Stainer hold him to be the equal of Mendelssohn.
Intent on broadening his musical horizons, Stewart travels widely. From 1851 he is a regular visitor to London, and from 1857 makes frequent trips to Continental Europe, attending the Beethoven and Schumann festivals at Bonn in 1871 and 1873 respectively and Wagner’s first Bayreuth Festival in 1876. On the initiative of the Dublin University Choral Society, he is conferred with the simultaneous degrees of Mus.B. and Mus.D. at a special ceremony on April 9, 1851. On February 28, 1872, he is knighted at Dublin Castle by John Poyntz Spencer, 5th Earl Spencer, a social climb that Stewart, who has no independent income, can afford only by accumulating professional appointments and by relentless private teaching. In addition to successive townhouses in the vicinity of Merrion Square, he owns a smaller property on Bray Esplanade, named Holyrood.
Among Stewart’s compositions, his disciple James Culwick lists about forty part songs (of which several win prizes), more than twenty solo songs, fifteen anthems, several church services, a quantity of shorter liturgical music, and sixteen choral cantatas with orchestra. Three of the cantatas set texts by John Francis Waller: the 24-movement A Winter Night’s Wake (1858), The Eve of St. John (1860) and Inauguration Ode for the Opening of the National Exhibition of Cork (1852) for the opening of the Irish Industrial Exhibition in Cork. Other occasional pieces are Who Shall Raise the Bell? (The Belfry Cantata) for the inauguration of Trinity College campanile in 1854, Ode to Shakespeare (1870) for the Birmingham Triennial Music Festival, Orchestral Fantasia (1872) for the Boston Peace Festival, How Shall We Close Our Gates? (1873) for the Dublin Exhibition and Tercentenary Ode (1892) for the tercentenary of Trinity College Dublin.
Though Stewart destroys many of his works, his surviving music is consistently well crafted, and the rapid decline in the popularity of the odes is at least partly attributable to the tawdry and ephemeral character of their texts. Yet despite his esteem for Wagner, he never shakes off the conservative stylistic influences of Handel, Beethoven, and Mendelssohn, and the posthumous performance of his music has been restricted almost entirely to the Dublin cathedrals.
In August 1846 Stewart marries Mary Emily Browne, the daughter of Peter Browne of Rahins House, Castlebar, County Mayo. They have four daughters, of whom the eldest dies in 1858. Following Mary’s death on August 7, 1887, he marries on August 9, 1888, Marie Wheeler of Hyde, Isle of Wight, the daughter of Joseph Wheeler of Westlands, Queenstown (now Cobh).
Stewart dies in Dublin on March 24, 1894, and is buried at Mount Jerome Cemetery alongside his first wife and eldest daughter. Portraits of him are in the possession of the Dublin University Choral Society and the Royal Irish Academy of Music (RIAM), and his statue, erected on Leinster Lawn in 1898, still stands.
(From: “Stewart, Sir Robert Prescott” by Andrew Johnstone, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
McLaughlin is one of ten children of Patrick McLaughlin, butcher and cattle dealer, and Annie McLaughlin (née Doherty). He starts singing in local churches in the Bogside at the age of seven, and as a teenager adds two years to his age to enlist in the Irish Guards, later serving abroad with the Palestine Police Force, before returning in the late 1930s to join the Royal Ulster Constabulary (RUC).
Known as The Singing Bobby, McLaughlin becomes a local celebrity before starting to work in the UK variety circuit, where he also plays summer seasons in English seaside resorts. The renowned Irish tenor John McCormack (1884–1945) advises him that his voice is better suited to a lighter repertoire than the operatic one he has in mind and urges him to find an agent. He finds the noted impresario Jack Hylton (1892–1965) who books him but is unable to fit his full name on the bill, thus Joseph McLaughlin becomes Josef Locke.
Locke makes an immediate impact when featured in “Starry Way,” a twenty-week summer show at the Opera House Theatre in Blackpool, Lancashire, England in 1946 and is rebooked for the following summer, then starring for three seasons at the Blackpool Hippodrome. He appears in ten Blackpool seasons from 1946 to 1969, not the nineteen seasons he later claims.
Locke makes his first radio broadcast in 1949 and subsequently appears on television programmes such as Rooftop Rendezvous, Top of the Town, All-star Bill and The Frankie Howerd Show. He is signed to the Columbia label in 1947, and his first releases are the two Italian songs “Santa Lucia” and “Come Back to Sorrento.”
In 1947, Locke releases “Hear My Song, Violetta,” which becomes forever associated with him. It is based on a 1936 tango “Hör’ mein Lied, Violetta” by Othmar Klose and Rudolf Lukesch. The song “Hör’ mein Lied, Violetta” is often covered, including by Peter Alexander and is itself based on Giuseppe Verdi‘s La traviata. His other songs are mostly a mixture of ballads associated with Ireland, excerpts from operettas, and familiar favourites.
In 1948, Locke appears in several films produced by Mancunian Films, usually as versions of himself. He plays himself in the film Holidays with Pay. He also appears as “Sergeant Locke” in the 1949 comedy What a Carry On!
In 1958, after Locke has appeared in five Royal Variety Performancetelecasts, and while he is still at the peak of his career, the British tax authorities begin to make substantial demands that he declines to meet. Eventually he flees the country for Ireland, where he lays low for several years. When his differences with the taxman are eventually settled, he relaunches his career in England with tours of the northern variety clubs and summer seasons at Blackpool’s Queen’s Theatre in 1968 and 1969, before retiring to County Kildare, emerging for the occasional concert in England. He later appears on British and Irish television, and in November 1984 is given a lengthy 90-minute tribute in honour of the award he is to receive at the Olympia Theatre commentating his career in show business on Gay Byrne‘s The Late Late Show. He also makes many appearances on the BBC Television‘s long running variety show The Good Old Days.
In 1991, the Peter Chelsom film Hear My Song is released. It is a fantasy based on the notion of Locke returning from his Irish exile in the 1960s to complete an old love affair and save a Liverpool-based Irish night-club from ruination. Locke is played by Ned Beatty, with the singing voice of Vernon Midgley. The film leads to a revival in Locke’s career. A compilation CD is released, and he appears on This Is Your Life in March 1992. He performs in front of the Prince and Princess of Wales at the 1992 Royal Variety Performance, singing “Goodbye,” the final song performed by his character in the film. He announces prior to the song that this will be his final public appearance.
Locke dies at the age of 82 at a nursing home in Clane, County Kildare on October 15, 1999, and is cremated at Glasnevin Cemetery. He is survived by his wife, Carmel, and a son.
On March 22, 2005, a bronze memorial to Locke is unveiled outside the City Hotel on Queen’s Quay in Derry by Phil Coulter and John Hume. The memorial is designed by Terry Quigley. It takes the form of a spiraling scroll divided by lines, representing a musical stave. The spiral suggests the flowing melody of a song and is punctuated by images illustrating episodes in his life, including Locke in police uniform, Blackpool Tower, Carnegie Hall, and the musical notes of the opening lines of “Hear My Song.”
A biography of the singer, entitled Josef Locke: The People’s Tenor, by Nuala McAllister Hart is published in March 2017, the centenary of his birth. The book corrects many myths that the charismatic Locke circulated about his career.
Murray is born in Macroom, County Cork on January 17, 1873, the seventh of the eleven children of Cornelius Murray and Honora Murray (née Kelleher). He is educated at St. Patrick’s Teacher Training College in Drumcondra, Dublin. He works as a schoolteacher and in 1900 is appointed headmaster of the national school in Rathduff, County Cork. His first play, The Wheel of Fortune, is produced in 1909 by the Little Theatre in Cork, a theatre he co-founded with Daniel Corkery, Con O’Leary and Terence MacSwiney. The play is revised and renamed Sovereign Love in 1913. In 1915, he moves to Dublin as headmaster of the Model Schools at Inchicore, where he remains until his retirement from teaching in 1932.
Murray’s play Birthright is performed in the Abbey Theatre in 1910 and establishes him as a writer of force. In all, he writes fifteen plays, all of which are produced by the Abbey. His two most highly regarded works are Maurice Harte (1912) and Autumn Fire (1924). Both of these and Birthright are performed in New York City on Broadway, with Autumn Fire having a run of 71 performances. He also writes an autobiographical novel Spring Horizon (1937).
It has been stated both by A. DeGiacomo and by R. Allen Cave that, in the Art competitions at the 1924 Summer Olympics in Paris, France, Murray is awarded a bronze medal for his play Birthright. However, according to the official record for the games, although Murray is a participant in the literature category with this play and also with Maurice Harte, he does not win a medal.
In his later years, Murray holds a number of significant positions: director of the Authors’ Guild of Ireland, vice-president of the Irish Academy of Letters and president of the Irish Playwrights’ Association. He is awarded an honorary Doctor of Letters (D.Litt.) by the National University of Ireland in 1949. He dies on March 7, 1959, at his home on Sandymount Strand, Ballsbridge, Dublin, of viral pneumonia, his wife having predeceased him by fifteen years. His extensive papers, containing scripts of almost all of his fifteen plays, correspondence, clippings, reviews, and other material, are held in the National Library of Ireland (NLI).
Patrick “Patsy” J. Touhey, a celebrated player of the uilleann pipes, is born on February 26, 1865, in Cahertinny, Bullaun, Loughrea, County Galway. His innovative technique and phrasing, his travels back and forth across the United States to play on the variety and vaudeville stage, and his recordings make his style influential among Irish American pipers. He can be seen as the greatest contributor to a distinctive American piping style.
According to Chief Francis O’Neill of the Chicago Police Department, in his seminal work O’Neill’s Irish Minstrels and Musicians, Touhey is the third generation of accomplished pipers stemming from his grandfather, Michael Twohill (the original spelling, b. ca. 1800), his father James and his uncle Martin, who are considered accomplished players. The family arrives in Boston around 1868, and his father arranges for his instruction from Bartley Murphy of County Mayo. However, at the age of ten Patsy loses his father and later lays the pipes aside.
In his late teens Touhey strays into a Bowerymusic hall where John Eagan, the “White Piper” of Galway, is engaged. Enthralled by Eagan’s virtuosity, he takes up the pipes again, and under the instruction of Eagan and Billy Taylor of Philadelphia soon becomes a master.
Touhey and Eagan tour the northeastern United States with “Harrigan’s Double Hibernian Co., Irish and American Tourists” in 1885 and 1886. This is his apparent introduction to theatrical life. Harrigan’s company stars Jeremiah “Jere” Cohan, the father of George M. Cohan, later a famous songwriter and showman. Despite a persistent legend, there is no evidence that Touhey plays publicly for the step-dancing of George M. Cohan, who is seven or eight years old at the time. Between 1886 and 1895 he appears in several theatre productions including “Inshavogue” and “The Ivy Leaf.” At the 1893 World’s Columbian Exposition in Chicago, he plays at the Irish Village, one of two rival Irish pavilions, and is later engaged for the 1904 World’s Fair in St. Louis (Louisiana Purchase Exposition). From about 1896 until 1921 he plays in vaudeville skits, trading jokes with his wife, Mary, and their on and off partner Charles Henry Burke. The shows include slapstick, low-brow gags, Irish nostalgia, and a piping finale to which Mary Touhey dances.
Chicago Police Chief Francis O’Neill, a prominent compiler of Irish dance tunes, calls Touhey “the genial wizard of the Irish pipers . . . A stranger to jealousy, his comments are never sarcastic or unkind, neither does he display any tendency to monopolize attention in company when other musicians are present.”
Touhey lives on Bristow Street in the Bronx, New York City, from at least 1900 until 1908. He and Mary live in rural East Haddam, Connecticut from 1908 to 1919, then in Freeport, New York from 1919 to 1922. In 1922 he moves back to the Bronx. He dies suddenly in his home at 1175 Concourse, New York, on January 10, 1923. He is buried in Saint Raymond’s Cemetery in the Bronx.
A statue of Patsy Touhey is unveiled in 2008 in Loughrea, near the place where he was born. It is a bronze sculpture by James MacCarthy that shows Touhey sitting on a limestone block and playing his pipes. Behind him, on the wall, there are three plaques with portraits of Peter and Vincent Broderick, two other local musicians, and Touhey himself. The statue is a tribute to the musical heritage of Loughrea and Galway, and a reminder of the connection between Ireland and its diaspora.
The band is briefly named the Fast, but as there is already a group of that name, they change it to Stiff Little Fingers, taken from the song of the same name that had appeared on Pure Mania, the 1977 album by the Vibrators. Apart from a five-year gap from 1983 to 1987, Stiff Little Fingers has been active since 1977 to the present day and have released ten studio albums.
In 1981, Burns makes his acting debut in an episode of the BBC‘s Play for Today series entitled Iris in the Traffic, Ruby in the Rain, written by Belfast-born poet and playwrightStewart Parker, which also features the rest of Stiff Little Fingers effectively playing themselves as “The Band.”
After the breakup of Stiff Little Fingers in 1983, Burns forms Jake Burns and the Big Wheel. The band consists of Burns on vocals and guitar, Steve Grantley on drums, Sean Martin on bass guitar, and Pete Saunders on keyboards. Big Wheel records a total of three singles, “On Fortune Street,” “She Grew Up” and “Breathless.” A compilation album, also called On Fortune Street, is released in 2002 after the band’s demise.
In 1987, Burns disbands Big Wheel, and Stiff Little Fingers reforms, because they are “skint and wanted to make a bit of cash to get back to Ireland for Christmas.”
From about 2001 to 2005, Burns is involved in a side project with Pauline Black of the Selecter, called 3 Men and Black. This involves Black touring with three male artists from the late 1970s and early 1980s doing acoustic versions of songs they are famous for and talking a little about how they came to write the songs. The lineup for the concerts is fairly fluid, and includes such people as Bruce Foxton, Jean-Jacques Burnel, Eric Faulkner and Nick Welsh.
On March 27, 2006, Burns releases a solo album titled Drinkin’ Again.
Burns lives in London for over ten years from 1978 after Stiff Little Fingers relocates there. His first wife lives in Newcastle upon Tyne, and after their marriage, he moves to Newcastle, where he lives for 16 years, becoming a supporter of Newcastle United F.C. He is also an avid supporter of the Northern Ireland national football team.
Burns’s second wife, Shirley, is American and they have lived in Chicago since 2004. Burns eventually becomes a U.S. citizen, partially so he can help vote out Donald Trump.
(Pictured: Jake Burns, performing with Stiff Little Fingers in 2019)
Fagan is born in Belfast on May 18, 1873, the eldest of the five children of Sir James Fagan, a surgeon at the Belfast Royal Hospital and an inspector of Irish reformatories, and Mary Catherine Fagan (née Hughes). He attends Clongowes Wood College near Clane, County Kildare and then moves to England. Initially interested in a career in the church, he begins studying law at Trinity College, Oxford in 1892 but leaves in 1893 without a degree. He works for a time in the Indian Civil Service but abandons this career for the stage.
Fagan begins his career as an actor with the company of Sir Frank Benson for two years, then joining, from 1895 to 1899, the company of Herbert Beerbohm Tree at Her Majesty’s Theatre. There he appears in Katherine and Petruchio, A Man’s Shadow, Julius Caesar, The Musketeers and Carnac Sahib. He starts writing plays in 1899, with The Rebels, for the time forsaking acting. In 1913, he returns to the stage touring as the Rt. Hon. Denzil Trevena in his own play, The Earth. He next writes The Fourth of August (1914) and Doctor O’Toole (1917). In 1917 he produces his first play, his own adaptation of the Eugène Brieux play Damaged Goods at St. Martin’s Theatre. He next produces The Wonder Tales and The Little Brother at the Ambassadors Theatre in London.
Fagan is persuaded by Jane Ellis, the actress who with Alfred Ballard founds the Oxford Playhouse “Red Barn” in 1923, to be its first manager. His first production at the Oxford Playhouse is a restaging of Shaw’s Heartbreak House and numbered Shaw among the audience. He produces The Cherry Orchard, at various theatres, to favourable reviews, popularising Anton Chekhov in Britain. From November 16, 1925, with Dennis Eadie, he presents Juno and the Paycock at the Royalty Theatre, thus bringing Seán O’Casey to the attention of London’s theatre-going public. O’Casey’s The Ploughand the Stars follows the next year.
Fagan receives little support from the University of Oxford or the play-going public and resigns in 1929. His successor is Stanford Holme, who broadens its appeal and, despite the straitened times, makes it financially viable. In 1929, he is a director of the Festival Theatre, Cambridge, where his friend Terence Gray is director. He also produces many works for the Irish Players.
Beginning in the 1920s, several of Fagan’s plays are adapted for film. He moves to Hollywood in 1929 for the filming by Paramount Pictures of his play The Wheel as The Wheel of Life. Other film work includes his co-adaptation of the screenplay for the 1932 film Smilin’ Through, and he co-writes Paramount’s Forgotten Commandments the same year. His play Bella Donna is filmed four times, including posthumously in 1946, and a 1936 film, The Improper Duchess is based on his 1931 play of the same name.
James Bernard Fagan dies in Hollywood, California, on February 17, 1933, at the age of 59 of a heart attack following a bout of influenza.
seamus dubhghaill 