Peters is born on July 6, 1939, in Halewood, Lancashire, England, later living at 5 Mere Avenue in Alkrington, where she goes to primary school. She moves to Ballymena (and later Belfast) at the age of eleven when her father’s job is relocated to Northern Ireland. As a teenager, her father encourages her athletic career by building her home practice facilities as birthday gifts. She qualifies as a teacher and works while training.
After Ballymena, the family moves to Portadown where she attends Portadown College. The headmaster, Donald Woodman, and the PE teacher, Kenneth McClelland, introduce her to athletics, McClelland being her first coach. She is head girl of the school in 1956.
At the 1972 Summer Olympics in Munich, competing for Great Britain and Northern Ireland, Peters wins the gold medal in the women’s pentathlon. She had finished 4th in 1964 and 9th in 1968. To win the gold medal, she narrowly beats the local favourite, West Germany’s Heide Rosendahl, by 10 points, setting a world record score. After her victory, death threats are phoned into the BBC: “Mary Peters is a Protestant and has won a medal for Britain. An attempt will be made on her life, and it will be blamed on the IRA … Her home will be going up in the near future.” But Peters insists she will return home to Belfast. She is greeted by fans and a band at the airport and paraded through the city streets but is not allowed back in her flat for three months. Turning down jobs in the United States and Australia, where her father lives, she insists on remaining in Northern Ireland.
In 1972, Peters wins the BBC Sports Personality of the Year award: “Peters, a 33-year-old secretary from Belfast, won Britain’s only athletics gold at the Munich Olympics. The pentathlon competition was decided on the final event, the 200m, and Peters claimed the title by one-tenth of a second.”
She represents Northern Ireland at every Commonwealth Games between 1958 and 1974. In these games she wins two gold medals for the pentathlon, plus a gold and silver medal for the shot put.
In May 2001, following her athletic career, Peters becomes a Trustee of The Outward Bound Trust and is Vice-President of the Northern Ireland Outward Bound Association. She is also Patron of Springhill Hospice in Rochdale, Greater Manchester.
Peters is appointed a Member of the Order of the British Empire (MBE) for services to athletics in the 1973 New Year Honours. For services to sport, she is promoted in the same Order to Commander (CBE) in the 1990 Birthday Honours and again to Dame Commander (DBE) in the 2000 Birthday Honours. In the 2015 New Year Honours, she is awarded as Member of the Order of the Companions of Honour (CH), also for services to sport and the community in Northern Ireland, and in 2017, she is made a Dame of the Order of Saint John (DStJ). She is appointed a Lady Companion of the Order of the Garter (LG) on February 27, 2019, and therefore granted the title Lady. She represents the Order at the 2023 coronation.
Northern Ireland’s premier athletics track, on the outskirts of Belfast, is named after Peters. A statue of her stands within it.
In April 2009, Peters is named the Lord Lieutenant of the City of Belfast; she retires from the post in 2014, being succeeded by Fionnuala Jay-O’Boyle. She is a Freeman of the Cities of Lisburn and Belfast.
Hammond is born on December 5, 1928, in Miss Kells’s nursing home on the Castlereagh Road in Belfast, the son of Leslie Hammond, a tram driver, and his wife Annie (née Lamont). His parents are not city people; his mother grew up near Ballybogy in the Ballymoney area of County Antrim, and his father, though from a family with roots in south County Londonderry, had lived in Ballymoney as a boy, and had been apprenticed to a blacksmith there. Both have a strong sense of their rural identity and maintain the Ulster Scots dialect of their childhood. They are never quite at home in the Belfast suburb of Cregagh, and in particular do not share the sectarian attitudes that are much more present in 1930s Belfast than they had been in north Antrim, one of the last strongholds of Presbyterian radicalism. Even as a boy, Hammond is interested in the old songs that his mother sang and realises that the traditions in which his parents had been nurtured are disappearing quickly in an increasingly urbanising and modernising world. When he encounters the work of Emyr Estyn Evans in the early 1940s, he is encouraged to document both rural tradition and the street life of the city, and he and a couple of friends, though still just teenagers, ride off on their bicycles to look for folklore in the hinterland of Belfast.
After primary school, Hammond wins a scholarship in 1941 to Methodist College Belfast, where he does well in examinations, and then goes to Stranmillis University College to train as a teacher. In his first job, in Harding Memorial primary school in east Belfast, he proves to be a popular, idealistic teacher, and is remembered by his pupils fifty years later as a fine singer and a teller of ghost stories, who had taken the class on memorable youth-hosteling trips to the Mourne Mountains. Youth hosteling and folklore collecting increases his awareness and understanding of the rich traditions of the whole community in the north of Ireland, and he is never constrained by political or religious barriers. His early career mirrors closely that of James Hawthorne, and their paths are to cross in later life.
Hammond is friendly with many others active in the cultural life of Northern Ireland and makes a name for himself as a song collector and eventually as an expert on all aspects of traditional singing. In 1956, he is awarded a scholarship to travel in the United States to meet the important pioneers of folk-music collecting and performance there. He records his first LP record of Ulster songs, I Am The Wee Falorie Man (1958), in the United States, and becomes friends with Pete Seeger, the Appalachian singer Jean Ritchie, with old blues singers, and notably with Liam Clancy, one of the three Clancy brothers who as a quartet with Tommy Makem are to popularise Irish folk music in the United States and elsewhere.
On returning to Belfast, Hammond takes a job in 1958 in Orangefield secondary school in the east of the city, where the highly regarded headmaster John Malone encourages new approaches to education. Among his pupils at Orangefield is George Ivan “Van” Morrison, who credits him with inspiring his interest in Irish traditional music. Hammond enjoys teaching but is increasingly drawn to folk-song performance and recording. He appears regularly on radio programmes of the BBC and Radio Éireann, and in 1964 joins the school’s department in BBC Northern Ireland. There, with colleagues like Sam Hanna Bell, James Hawthorne and others, he works on programmes such as Today and Yesterday in Northern Ireland, which for the first time introduces pupils (and many adults) to local history and to aspects of tradition. In 1968, with two friends, the poets Seamus Heaney and Michael Longley, he puts on poetry and traditional music events in schools all over the province. The Arts Council funds the Room to Rhyme project, which is immensely influential and inspiring, and is still talked about many years later by those who attended as children.
Hammond is creatively involved with hundreds of hours of broadcasting, in television as well as radio, and eventually for adults as well as children. He writes scripts, produces documentary series such as Ulster in Focus and Explorations, and brings an artistic sensibility to filming, as well as working sympathetically with traditional singers and craftspeople. Dusty Bluebells, a sensitively made film of Belfast children’s street games, wins the prestigious Golden Harp award in 1972. After he leaves the BBC to work as a freelance, and founds Flying Fox Films in 1986, he continues making documentaries on many aspects of Ulster life and heritage. His film called Steel Chest, Nail in the Boot and the Barking Dog (1986), about working in the Belfast shipyards, also wins a Golden Harp award. A companion book of the same name is published. Another book is Belfast, City of Song (1989), with Maurice Leyden. In 1979, he edits a volume of the songs of Thomas Moore. His documentary programmes include films about singers from Boho, County Fermanagh, and about the big houses of the gentry in Ireland. The Magic Fiddle (1991/2) examines the role of the instrument in the folk music of Ireland, Scandinavia, Canada, and the American south, while Another Kind of Freedom (1993) is about the experiences of a former Orangefield pupil, the Beirut hostage Brian Keenan. He also produces and directs the films Something to Write Home About (1998), Where Are You Now? (1999), and Bogland (1999), all of which explore Seamus Heaney’s home region and experiences.
The first poem in Heaney’s collection Wintering Out (1972) is entitled “For David Hammond and Michael Longley.” Their lifelong friendship leads to several other creative collaborations. In particular, after a distressing evening in 1972 when Hammond, affected by the despair and terror unleashed by Irish Republican Army (IRA) bombing of his city, is for once unable to sing, Heaney meditates on the experience in an essay and in an important poem, “The singer’s house” (subsequently included in his 1979 Field Work collection). The poem urges the singer to keep singing, to defend the values of art and friendship in a hostile time. Hammond collaborates with Dónal Lunny and other traditional musicians to bring out an LP also called The Singer’s House (1978), which includes Heaney’s poem on the album sleeve, and features some of the songs that he had made famous, such as “My Aunt Jane” and “Bonny Woodgreen,” from his vast repertoire of songs from Ulster. The album is reissued in 1980.
In 1995, Hammond is one of Heaney’s personal guests at the award of his Nobel prize in Stockholm, characteristically wearing his usual, mustard-yellow, cattle-dealer boots with evening dress. On another formal occasion, when he is awarded an honorary doctorate by Dublin City University in November 2003, he surprises the audience by standing up in his academic robes to sing “My Lagan love,” instead of giving an address. His unique, light mellow voice is an ideal vehicle for the traditional ballads which he knows so well. He records a number of records in the 1960s, including Belfast Street Songs, and publishes the book Songs of Belfast (1978). He also encourages traditional musicians like Arty McGlynn, and collaborates with them on various recording projects. He is well known for live and often impromptu performances at festivals and venues in Ireland and the United States. He also performs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
Hammond is also a notable collaborator with poets and dramatists, especially in the important Field Day Theatre Company project, of which he is a director, along with Seamus Heaney, Tom Paulin, Seamus Deane, Thomas Kilroy, and the project’s founders, Brian Friel and Stephen Rea. He supports the Field Day search for a “fifth province,” where history and community and culture can intersect, believing that to speak unthinkingly of “two traditions” is to perpetuate superficial political divisions. As he says in an interview in The Irish Times on July 4, 1998, songs can “take you out of yourself” and become bridges to unite people.
Hammond receives many honours. In 1994, he receives the Estyn Evans award for his contribution to mutual understanding, and his work is featured in several major events in his honour: in the University of North Florida (1999), in the Celtic Film Festival in Belfast (2003), and in Belfast’s Linen Hall Library (2005). A Time to Dream, a film about his life and work, is broadcast on BBC Northern Ireland in December 2008.
Hammond dies in hospital in Belfast, after a long illness, on August 25, 2008, survived by his wife Eileen (née Hambleton), whom he marries on July 19, 1954, and by their son and three daughters. His funeral in St Finnian’s church is a major cultural event, where friends sing, play and speak in his honour.
In Seamus Heaney’s last collection of poetry, Human Chain (2010), he includes a poignant farewell to Hammond. The poet imagines (or perhaps dreams) of another visit to the singer’s house, but this time “The door was open, and the house was dark.”
(From: “Hammond, David Andrew (‘Davy’)” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, December 2014)
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.
Frazer grows up in the village of Whitecross, County Armagh, Northern Ireland, as one of nine children, with his parents Bertie and Margaret. He is an ex-member of the Territorial Army and a member of the Free Presbyterian Church of Ulster. He attends a local Catholic school and plays Gaelic football up to U14 level. He describes his early years as a “truly cross-community lifestyle.” Growing up, he is a fan of the American actor John Wayne and wrestling. His father, who is a part-time member of the British Army‘s Ulster Defence Regiment (UDR) and a council worker, is killed by the Provisional Irish Republican Army (IRA) on August 30, 1975. The family home had previously been attacked with petrol bombs and gunfire which Frazer claims were IRA men, due to his father’s UDR membership. He states that his family is well respected in the area including by “old-school IRA men” and receives Mass cards from Catholic neighbours expressing their sorrow over his father’s killing. Over the next ten years, four members of Frazer’s family who are members or ex-members of the Royal Ulster Constabulary (RUC) or British Army are killed by the IRA. An uncle who is also a member of the UDR is wounded in a gun attack.
Soon after his father’s death, the IRA begins targeting Frazer’s older brother who is also a UDR member. Like many South Armagh unionists, the family moves north to the village of Markethill. After leaving school, he works as a plasterer for a period before serving in the British Army for nine years. Following this he works for a local haulage company, then sets up his own haulage company, which he later sells.
During the Drumcree conflict, Frazer is a supporter of the PortadownOrange Order who demand the right to march down the Garvaghy Road against the wishes of local residents. He is president of his local Apprentice Boys club at the time.
For a brief period after selling his haulage firm, Frazer runs “The Spot,” a nightclub in Tandragee, County Armagh, which closes down after two Ulster Protestant civilians who had been in the club, Andrew Robb and David McIlwaine, are stabbed to death in February 2000 by the Ulster Volunteer Force (UVF), after one of them had allegedly made derogatory remarks about dead UVF Mid-Ulster Brigade leader Richard Jameson. Frazer is confronted in an interview on BBC Radio Ulster about the murders by the father of one of the victims, Paul McIlwaine. During the Smithwick Tribunal, set up to investigate allegations of collusion in the 1989 Jonesborough ambush, it is alleged by a member of Garda Síochána that Frazer is a part of a loyalist paramilitary group called the Red Hand Commando. Frazer denies this allegation, saying they put his life in danger.
Frazer applies for a licence to hold a firearm for his personal protection and is turned down, a chief inspector says, in part because he is known to associate with loyalist paramilitaries.
FAIR, founded by Frazer in 1998, claims to represent the victims of IRA violence in South Armagh. It has been criticised by some for not doing the same for victims of loyalist paramilitary organisations or for those killed by security forces.
In February 2006, Frazer is an organiser of the Love Ulster parade in Dublin that has to be cancelled due to rioting. In January 2007, he protests outside the Sinn FéinArd Fheis in Dublin that votes to join policing structures in Northern Ireland. He expresses “outrage at the idea that the ‘law-abiding population’ would negotiate with terrorists to get them to support democracy, law and order.”
In January 2007, Frazer dismisses Police OmbudsmanNuala O’Loan‘s report into security force collusion with loyalist paramilitaries.
In March 2010, Frazer claims to have served a civil writ on deputy First MinisterMartin McGuinness, of Sinn Féin, seeking damages arising from the killing of his father by the Provisional IRA. Both Sinn Féin and the courts deny that any such writ had been served, but in June 2010 Frazer announces that he will seek to progress his claim in the High Court. There has since been no report of any such litigation. He previously pickets McGuinness’s home in Derry in 2007 to demand support for calls for Libya to compensate victims of IRA attacks. Accompanied by two other men, he attempts to post a letter to the house but is confronted by local residents and verbally abused. When McGuinness stands for election in the 2011 Irish presidential election, Frazer announces that he and FAIR will picket the main Sinn Féin election events, however, no such pickets take place.
In September 2010, the Special EU Programmes Body (SEUPB) revokes all funding to FAIR due to “major failures in the organisation’s ability to adhere to the conditions associated with its funding allocation” uncovered following a “thorough audit” of the tendering and administration procedures used by FAIR.
In November 2011, the SEUPB announces that it is seeking the return of funding to FAIR and another Markethill victims’ group, Saver/Naver. FAIR is asked to return £350,000 while Saver/Naver is asked to return £200,000. Former Ulster Unionist Party (UUP) leader Reg Empey demands that the conclusions about FAIR’s finances be released into the public domain.
In January 2012, Frazer announces a protest march to be held on February 25 through the mainly Catholic south Armagh village of Whitecross, to recall the killing of ten Protestant workmen by the South Armagh Republican Action Force (SARAF) in January 1976 in the Kingsmill massacre. He also names individuals whom he accuses of responsibility for the massacre. He later announces that the march is postponed “at the request of the Kingsmills families.” A 2011 report by the Historical Enquiries Team finds that members of the Provisional IRA carried out the attack despite the organisation being on ceasefire.
A delegation including Frazer, UUP politician Danny Kennedy and relatives of the Kingsmill families travel to Dublin in September 2012 to seek an apology from the Taoiseach, Enda Kenny. The apology is sought for what they describe as the Irish government‘s “blatant inaction” over the Kingmills killings. The Taoiseach says he cannot apologise for the actions of the IRA but assures the families there is no hierarchy for victims and their concerns are just as important as any other victims’ families. The families express disappointment although Frazer states he is pleased to have met the Taoiseach.
On November 16, 2012, Frazer announces that he is stepping down as director of FAIR, after he had reviewed a copy of the SEUPB audit report which, he claims, shows no grounds for demanding the reimbursement of funding. He adds, “I will still be working in the victims sector.”
In 2019, the BBC investigative journalism programme Spotlight reports that Frazer distributed assault rifles and rocket launchers from Ulster Resistance to loyalist terror groups who used them in more than 70 murders. A police report on the activities of the former Ulster Defence Association (UDA) boss Johnny Adair states he was receiving weapons from Ulster Resistance in the early 1990s and his contact in Ulster Resistance was Frazer.
In addition to his advocacy for Protestant victims, Frazer contests several elections in County Armagh. He is not elected and, on most occasions, loses his deposit. He runs as an Ulster Independence Movement candidate in the 1996 Forum Elections and the 1998 Assembly elections, and as an independent in the 2003 Assembly elections and a council by-election.
In the 2011 Northern Ireland Assembly election Frazer is listed as a subscriber for the Traditional Unionist Voice (TUV) candidate for the Newry and Armagh constituency, Barrie Halliday, who secures 1.8% of the vote. At Newry Crown Court on Wednesday, June 21, 2017, Pastor Barrie Gordon Halliday is sentenced to nine months in prison, suspended for eighteen months, when he pleads guilty to seventeen counts of VAT repayment fraud.
In November 2012, Frazer announces his intention to contest the 2013 Mid Ulster by-election necessitated by Martin McGuinness’s decision to resign the parliamentary seat to concentrate on his Assembly role. He is quoted in The Irish News in January 2013 as stating that he will not condemn any paramilitary gunman who shoots McGuinness.
Despite his earlier advocacy of Ulster nationalism, in 2013 Frazer declares himself in favour of re-establishing direct rule in Northern Ireland.
Frazer dies of cancer in Craigavon, County Armagh, Northern Ireland, on June 28, 2019. Traditional Unionist Voice (TUV) leader Jim Allister and DUP Assembly member Jim Wells pay tribute to his memory.
Gibney works as a civil servant in the Irish tax office for seven years and then joins the Bank of Ireland. She studies for a drama degree while at the bank and joins the company’s amateur dramatics group. She trains to be an actress at Dublin Oscar Theatre School.
Gibney’s first professional acting role comes in 1996, with a minor part in Some Mother’s Son, a film starring Helen Mirren. In 1999, she appears in the film Agnes Browne as Winnie the Mackerel. In 2007, she appears in Prosperity as Linda.
Gibney’s most prominent role is her portrayal of Cathy Brown, the daughter of Agnes Brown, played by her real-life husband, Brendan O’Carroll, a part she begins playing in the 1990’s in the original Mrs. Browne, and subsequently the BBC sitcom Mrs. Brown’s Boys since 2011. She also appears as Cathy in the film adaption Mrs. Brown’s Boys D’Movie and the talk show All Round to Mrs. Brown’s between 2017 and 2020. She and O’Carroll reprise their roles as the characters in the Netflix film A Madea Homecoming (2022).
In 2014, Gibney takes part in the twelfth series of Strictly Come Dancing. She is partnered with Irish professional Tristan MacManus. She and MacManus are the second couple to be eliminated in week three of the competition after dancing to ABBA‘s “Mamma Mia” on Movie Week. She competes in the bottom two against Blue star Simon Webbe and his partner Kristina Rihanoff.
Gibney has been married to Brendan O’Carroll since 2005 and has three stepchildren, Fiona and Danny, who also appear in Mrs. Brown’s Boys, and Eric.
Mac Aonghusa is the son of Criostóir Mac Aonghusa, a writer and Irish language activist, and Mairéad Ní Lupain, a nurse and native Irish speaker. The eldest of four siblings, he grows up speaking Irish as his first language and allegedly does not learn English until the age of eleven. His parents are left-wing Irish republicans who support Fianna Fáil and associate with the like-minded Máirtín Ó Cadhain and Peadar O’Donnell. His parents split when he is ten years of age. His mother takes his siblings away to Dublin while he and his father remain in Rosmuc, a remote village and part of the Galway Gaeltacht. As a teenager he is educated at Coláiste Iognáid (also known as St. Ignatius College), a bilingual school in Galway.
Upon leaving school, Mac Aonghusa first works as an actor at the Abbey Theatre in Dublin, performing in Irish language productions. In 1952, he becomes involved in Radio Éireann, first as an actor but later as a reader of short stories before advancing to becoming a newsreader, presenter and interviewer. As he advances his career, he works for RTÉ, UTV and BBC television from the 1960s. In 1962, he begins presenting An Fear agus An Sceal (The Man & his Story) on RTÉ television, an Irish language show which sees him interviewing a different guest of note about their life each episode. That same year he wins a Jacob’s Award for An Fear agus an Sceal, which he continues to host until 1964.
As well as attracting awards, An Fear agus an Sceal also brings controversy. Two interviews, one with Máirtín Ó Cadhain, one with Con Lehane, both criticise the measures practised by the Fianna Fáil government during World War II to suppress and imprison Irish republicans. In response, the Fianna Fáil government intervenes with RTÉ, and those episodes are not aired. This is not to be Mac Aonghusa’s only run-in with the Fianna Fáil government. After he recorded a programme in which he questioned the effectiveness of Ireland’s civil defence measures in the face of nuclear war, then Minister for DefenceKevin Boland has the episode suppressed. He once again runs afoul of the Fianna Fáil government when, after criticising the party in his anonymous weekly political gossip column in the Sunday Independent, then Minister for AgricultureNeil Blaney sees to it that the column is dropped. He is not deterred and returns anonymously as “Gulliver” in The Sunday Press and a gossip column on the back page of The Hibernia Magazine.
The latter half of Mac Aonghusa’s 1960s/70s broadcasting career is primarily associated with the Irish language current events show Féach, which he both presents and edits. He resigns from Féach in 1972 following a bitter dispute with the broadcaster and commentator Eoghan Harris.
In 1959, Mac Aonghusa writes a series of six articles for The Irish Times in which he vehemently opposes the Fianna Fáil government’s proposal to abolish single transferable vote in Ireland in favour of first-past-the-post voting. He contends that first-past-the-post voting gives too much influence to party bosses, while proportional representation gives even small minorities representation, preventing them from feeling excluded by the state such as nationalists in Northern Ireland. In the referendum held on the matter on June 17, 1959, voters reject first past the vote by a margin of 2%. Fianna Fáil attempts to repeal proportional representation again in the late 60s, at which point Mac Aonghusa once again throws himself into the fight, leading a group called “Citizens for PR.” In the referendum of 1968, voters reject the first past the post system by over 20%. He later recalls that his defence of proportional representation his greatest achievement in politics.
In the 1960s, both Mac Aonghusa and his wife, Catherine, join the Sean Connolly branch of the Labour Party in Dublin. The branch had established a reputation as a haven for intellectuals who want a branch to themselves away from the many other Labour branches dominated by trade unionists. The branch comes to advocate for expressly socialist policies combined with on-the-ground grass-roots campaigning. Through the Sean Connolly Branch, both he and his wife begin to develop significant influence over the leader of the Labour party Brendan Corish.
In the 1965 Irish general election, Mac Aonghusa stands on behalf of the Labour party in the Louth constituency but is not elected. In 1966, he publishes a book of speeches by Corish, the speeches themselves mostly having been ghostwritten by his wife Catherine. The introduction of the book proclaims that Corish had developed a “brand of democratic republican socialism … broadened by experience and built firmly on Irish‐Ireland roots” and had rid the party of “do‐nothing backwoodsmen”, thereby becoming the “first plausible and respected Labour leader in Ireland”. It is at this same time that he is elevated to vice-chairman of the party. As vice-chair, he tries to convince Corish to stand in the 1966 Irish presidential election. When he fails to do so, he supports Fine Gael‘s Tom O’Higgins in his bid for the presidency. O’Higgins comes within 0.5% of beating the incumbent, an ageing Éamon de Valera.
It was around this same time that Mac Aonghusa becomes active in the Wolfe Tone Societies, a republican organisation linked almost directly to Sinn Féin. He suggests that republicans with “progressive views” should join the Labour party. In 1966, alongside Máirtín Ó Cadhain and other Gaeilgeoirí, he counter-protests and disrupts the Language Freedom Movement, an organisation seeking the abolition of compulsory Irish in the education system. For this, he and his allies are criticised as acting illiberally, while he maintains that those who oppose the Irish language are “slaves” unworthy of tolerance.
Mac Aonghusa’s open disdain for the conservative and trade union wings of the Labour, as well as his open embrace of republican sensibilities and tendency to make pronouncements on Labour policy without first consulting the party’s structures, bring him many internal enemies. An attempt is made to censure him for backing breakaway trade unions, but he is able to survive this. In 1966, he encourages the formation of the Young Labour League, an unofficial youth wing of the party led by Brian Og O’Higgins, son of former Sinn Féin president Brian O’Higgins. Mirroring his own position, the Youth League are Corish loyalists that openly rebel against the views of Labour’s conservative deputy leader James Tully. When the youth league begins publishing their own weekly newsletter, Labour’s administrative council condemns it after discovering material which is “violently” critical of Tully and other Labour conservatives. An ensuing investigation into the newsletter leads to Mac Aonghusa admitting that he had financed it and written some of the content, but not the anti-Tully material. After he refuses to co-operate with further investigations into the matter, he is expelled on January 12, 1967 for “activities injurious” to the party. In the aftermath, he portrays himself a left-wing martyr purged by a right-wing “Star chamber,” a tactic that garners him sympathy. Nevertheless, his expulsion is confirmed at the October 1967 party conference, despite one last appeal. His wife leaves the party alongside him.
In the aftermath of his expulsion from Labour, Mac Aonghusa expresses an interest in the social democratic wing of Fine Gael, which had been developing under Declan Costello since the mid-1960s. However, he does not join the party and instead runs as an independent candidate in the 1969 Irish general election in Dún Laoghaire–Rathdown. When he is not elected, he begins to refocus on the revival of the Irish language and with nationalist politics rather than being elected himself.
Upon the onset of the Troubles, Mac Aonghusa is initially supportive of Official Sinn Féin, however by 1972 he comes to resent them and, through the Ned Stapleton Cumann, their secret influence over RTÉ. During the Arms Crisis in 1970, he supports Charles Haughey and Neil Blaney, who stand accused of arranging to supply weapons to the Provisional IRA, in the pages of the New Statesman and other left‐wing journals. In this time period, he warns editors not to reprint his material in the Republic of Ireland as there is a de facto ban on him, and indeed, official attempts are made to block the transmission of his telexed reports.
Despite his earlier famed stark criticism of Fianna Fáil, Mac Aonghusa’s defence of Haughey leads to a friendship between the two men which results in him becoming one of Haughey’s loudest defenders throughout the rest of his career. His columns in The Sunday Press and Irish language paper Anois are accused of descending into self-parody in their stringent defences of Haughey.
During the 1970s, Mac Aonghusa writes a number of books covering significant figures in Irish republicanism. In order, he releases books on James Connolly, Patrick Pearse, Wolfe Tone and Éamon de Valera. In his work on De Valera, he emphasises what he perceives as the more radical aspects of the Fianna Fáil founder. During 1974 and 1975, he works as a United Nations Special Representative to the Southern Africa region with Seán MacBride, where they involve themselves in the South African Border War, and during which time Mac Aonghusa becomes involved in setting up a radio station in Namibia, linked to the South West Africa People’s Organisation (SWAPO) nationalist party.
In the 1980s, Haughey twice appoints Mac Aonghusa to the Arts Council as well as naming him president of Bord na Gaeilge (1989-93). This is an issue as Mac Aonghusa is already president of Conradh na Gaeilge. Being head of the main Irish language lobbying body as well as the state body responsible for the Irish language has an obvious conflict of interest. In 1991, following the announcement by Haughey that the government is to fund the creation of an Irish-language television station (launched in 1996 as Teilifís na Gaeilge), an elated Mac Aonghusa suggests that Haughey would be “remembered among the families of the Gael as long as the Gaelic nation shall survive.”
In 1992 there are calls for Mac Aonghusa to step down from Bord na Gaeilge after he pronounces that “every respectable nationalist” in West Belfast should vote for Sinn Féin’s Gerry Adams over the Social Democratic and Labour Party (SDLP) candidate Joe Hendron in the 1992 United Kingdom general election as he considers a defeat for Adams “a victory for British imperialism.” Nevertheless, he simultaneously advises voters in South Down to vote for the SDLP’s Eddie McGrady over Sinn Féin. He rails against his detractors at the Conradh na Gaeilge ardfheis that year, declaring that “The mind of the slave, of the slíomadóir, of the hireling and the vagabond is still fairly dominant in Ireland.”
As of 1995, Mac Aonghusa continues to label himself a socialist. In the foreword to the book, he writes about James Connolly that is released that year, he declares that “the abolition of capitalism is essential if the great mass of the people in all parts of the globe are to be emancipated.”
However, with the recent collapse of the Soviet Union in mind, Mac Aonghusa declares that the Stalinist regimes of Eastern Europe have not been socialist and argues that the social democracies of Scandinavia are what James Connolly had envisioned as the desired socialist society. In the same text, he accuses the Irish education system as well as Ireland’s media of obfuscating Connolly’s views on socialism and nationalism.
Mac Aonghusa battles through ill health in his final years but remains able to continue writing a number of books. His last publication, Súil Tharam (2001), comes just two years before his death in Dublin on September 28, 2003.
In 1955, Mac Aonghusa marries Catherine Ellis, a member of the Church of Ireland from Belfast. For her married name, she chooses to use “McGuinness,” the English language equivalent of Mac Aonghusa. Catherine McGuinness goes on to become a Senator and a Judge of the Circuit Court, High Court and Supreme Court over the course of her legal career. Together they have three children together.
Born John Gerard Smyth, upon joining the Norbertine Roman Catholic religious order in 1945, he changes his name to Brendan. The Norbertines, also known as the “Premonstratensians,” are aware of Smyth’s crimes as early as the late 1970s, yet they do not report him to either the Garda Síochána or the Royal Ulster Constabulary (RUC). He is moved from parish to parish and between dioceses and countries whenever allegations are made. In some cases, the order does not inform the diocesan bishop that Smyth has a history of sexual abuse and should be kept away from children. He abuses children in parishes in Rhode Island and North Dakota and at one time works in Boston and is suspected of similar actions while on pastoral work in Wales and Italy. Norbertine Father Bruno Mulvihill makes several attempts to alert church authorities about the abuse committed by Smyth.
Smyth’s first conviction follows the reporting to police of his abuse of four siblings in Belfast’s Falls Road. After his arrest in 1991, he flees to the Republic of Ireland, where he spends the next three years on the run, staying mostly at Kilnacrott Abbey. This leads to the collapse of the Fianna Fáil–Labour Party coalition government in December 1994 when the poor handling of an extradition request from the RUC by the Irish Attorney General‘s office leads to a further delay of Smyth’s trial. An award-winning UTVCounterpoint programme on the scandal by journalist Chris Moore, followed by a book, accuses the head of the Norbertines and the Archbishop of Armagh of mishandling the case, and the Norbertines of negligence and a failure to tell others of Smyth’s crimes, enabling him to sexually abuse large numbers of children for 40 years.
Smyth dies in prison of a heart attack at the age of 70 on August 22, 1997, after collapsing in the exercise yard, one month into a 12-year prison sentence. The Norbertines hold his funeral before dawn and cover his grave with concrete to deter vandalism. He is buried in Kilnacrott Abbey, which is later put up for sale with 44 acres of land, including the grave.
On October 27, 2005, the title “Reverend” is removed from his gravestone following a campaign by one of Smyth’s victims.
Reviewers of the case differ as to whether there is a deliberate plot to conceal Smyth’s behaviour, incompetence by his superiors at Kilnacrott Abbey, or some combination of factors. Cahal Daly, both as Bishop of Down and Connor, a diocese where some of the abuse takes place, and later as Cardinal Archbishop of Armagh, is recorded as having been privately furious at the Norbertine “incompetence.” Smyth’s activities are investigated by the Northern Ireland Historical Institutional Abuse Inquiry, finding that: “…despite knowing his history of abusing children, the Norbertine religious order moved Smyth to different dioceses where he abused more children…”
In 2010, Daly’s successor as Roman Catholic Archbishop of Armagh, Cardinal Seán Brady, faces “huge pressure to resign” after he admits that in 1975, he witnessed two teenage boys sign oaths of silence after testifying in a Church inquiry against Smyth. Survivor groups see this as evidence of collusion, but Brady says he “did not have the authority” to turn Smyth in. On March 17, 2010, the Deputy First Minister of Northern Ireland, Martin McGuinness, calls for Brady to resign.
In 2013, some of Smyth’s alleged Rhode Island victims between 1965 and 1968, both male and female, call for the Diocese of Providence to investigate Smyth. As of 2019, he is among those listed by the Diocese of Providence as being “credibly accused” of committing sex abuse.
Module 6 of the 2014-2016 Northern Ireland Historical Institutional Abuse Inquiry is dedicated to Smyth’s crimes in Northern Ireland.
A two-part dramatisation of the Smyth case, Brendan Smyth: Betrayal of Trust, is broadcast by the BBC on March 13, 2011, with Ian Beattie in the title role and Richard Dormer as Chris Moore.
(Pictured: Father Brendan Smyth, Our Lady of Mercy, East Greenwich, Rhode Island, USA, c. 1965)
MacMahon, who is educated at home, is also literary. From the 1890s she begins contributing to periodicals such as the New Ireland Review, for which she writes on local history. Her first novel, A New Note, appears in 1894 and over the next thirty-five years she is prolific, publishing over twenty novels as well as making numerous contributions to magazines, and several to BBC radio programmes. She is unmarried and writing is her main source of income, but during World War I she works as a civil servant in various government departments including War, Trade, and the newly created Intelligence department. Afterward she lives in Brockenhurst, Hampshire, England, and converts at some stage to Catholicism.
MacMahon’s novels are romances. Typical of them is An Honorable Estate (1898), which features an English heiress marrying an impoverished Irish clergyman in a fit of pique, only to fall in love with him. They are undemanding but entertaining and occasionally ironic, with clever social commentary. Irish Book Lover, a quarterly review of Irish literature and bibliography, commends The Job (1914) for its insightful and sympathetic characterisation. It is an account of a baronet‘s struggle to improve his Irish estate despite the fecklessness of the inhabitants. Ireland is a frequent setting for her stories. Her view of it verges on the sentimental, and she often features eccentric but ultimately good-hearted country people.
However, MacMahon’s last book, Wind of Dawn (1927), is a more profound, interesting study. Set during the Irish War of Independence and the truce, it looks at the complexities within Irish society and the differences in attitude between the Anglo- and native Irish. Rich in characters, it features a naive English girl in love with Ireland, a papist-hating domestic servant, and an ascendancy grande dame who finds England monotonous but is adamant that her children will be educated there and will not acquire a brogue. Unlike MacMahon’s other books, it is not a romance and ends in tragedy and then acceptance for the coming change of regime. It reads like a lesser novel by Elizabeth Bowen and resembles in theme and argument, though not in quality, The Last September (1929), which it predates. Unfortunately, she is not inspired to go further in this line. She writes no more and retires on a government civil pension.
By the time of her death on April 19, 1956, MacMahon has fallen into complete obscurity, and surprisingly, given the quantity and relative merit of her work, she has no entry to date in any of the numerous anthologies of Irish or women writers.
Henry is the third of four sons of the Rev. Robert Mitchell Henry, minister of the Reformed Presbyterian Church, and his wife Kate Ann Berry, eldest of four daughters of Thomas Berry, minister of the Baptist church, Athlone. His father becomes a Baptist in 1858 and pastor of Great Victoria Street Baptist Church, Belfast, resigning in 1875 to join the Plymouth Brethren.
Henry marries the painter Emily Grace Mitchell on September 17, 1903, in London at St Peter’s Anglican church, Bayswater. He returns to Ireland in 1910. From then until 1919 he lives on Achill Island, where he learns to capture the peculiar interplay of light and landscape specific to the west of Ireland. In 1919, he moves to Dublin and in 1920 he is one of the founders of the Society of Dublin Painters, originally a group of ten artists. He designs several railway posters, some of which, notably Connemara Landscape, achieves considerable sales. He separates from his wife in 1929. His second wife is the artist Mabel Young.
In the 1920s and 1930s, Henry is Ireland’s best-known artist, one who has a considerable influence on the popular image of the west of Ireland. Although he seems to cease experimenting with his technique after leaving Achill and his range is limited, he creates a large body of fine images whose familiarity is a testament to its influence.
Henry’s use of colour is affected by his red-green colour blindness. He loses his sight in 1945 and does not regain his vision before his death.
A commemorative exhibition of Henry’s work is held at Trinity College, Dublin, in 1973 and the National Gallery of Ireland holds a major exhibition of his work in 2004.
A painting by Henry is featured on an episode of the BBC‘s Antiques Roadshow, broadcast on November 12, 2006. The painting is given a value of approximately £40,000–60,000 by the Roadshow. However, due to the buoyancy of the Irish art market at the time, it sells for €260,000 on December 5, 2006, in James Adams’ and Bonhams’ joint Important Irish Art sale.
Pictured: “Roadside Cottages, below Mweelrea Mountain” by Paul Henry, RHA, oil on panel, 1940)
seamus dubhghaill 