seamus dubhghaill

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Birth of Adrian Long, Civil Engineer & QUB Professor

Adrian Ernest Long OBE, civil engineer and professor at Queen’s University Belfast (QUB), is born on April 15, 1941, in Dungannon, County Tyrone, Northern Ireland. He has a particular interest in concrete structures and patents FlexiArch, a precast concrete arch product. He serves as president of the Institution of Civil Engineers (ICE) for 2002–03, the first Northern Irish engineer to do so.

Long comes from a carpentry and blacksmithing background. In 1959, he enters Queen’s University Belfast to study civil engineering. He graduates with first class honours and then takes a PhD at Queens. In 1967, he moves to Canada, working as a bridge designer for Fenco Engineering in Toronto.

Long, however, spends only a year in Canada, returning to Belfast in 1968 to become an associate professor of civil engineering at Queen’s University Belfast. In 1976, he is promoted to a full professorship. His work is largely in the field of concrete structures, particularly in chloride resistance, maintenance problems and arch bridge structures. He publishes twenty papers in journals managed by the Institution of Civil Engineers and wins eight of the institution’s medals for these, including the ICE Gold Medal.

From 1997 Long works on the FlexiArch, a precast concrete arch in which the individual voussoirs are joined by a flexible polymeric membrane. The arch arrives to site flat packed and when lifted into position by a crane, the gaps between the voussoirs close under gravity and form the correct arch profile. He patents the product, which is produced by Irish precast manufacturer Macrete, in 2004. The product can be constructed within a day and, containing no corrodible elements, has been stated to have a design lifespan of 300 years. More than fifty FlexiArch bridges have been constructed in the UK and Ireland and spans up to 30m are possible.

By 2002, Long is appointed dean of the faculty of engineering at QUB. In November of that year, he is appointed president of the ICE for the 2002–2003 session, the first Northern Irish person to hold that position. He is also a Fellow of the Royal Academy of Engineering and of the Institute for the Advancement of Engineering.

Long is appointed an officer of the Order of the British Empire in the 2006 New Year Honours for services to higher education and civil engineering. He resigns as professor at QUB in 2006 but remains there as an emeritus professor in the School of Natural and Built Environment. Since 2015, the ICE Northern Ireland awards the Adrian Long medal to the best paper in an ICE journal to be authored by a Northern Ireland member. The medal features a bust of Long.

Long is married to Elaine and they have two children, Michael and Alison. Michael serves as the 80th Lord Mayor of Belfast from May 9 to June 1, 2022. He also serves as High Sheriff of Belfast in 2021 and serves on Belfast City Council since 2001, where he is the Alliance group leader from 2015 to 2021. He is married to Alliance Party leader and Minister of Justice Naomi Long.

Long dies at the age of 81 at the Ulster Hospital on April 23, 2022.


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Birth of Thomas Paterson, Historian & Museum Curator

Thomas George Farquhar Paterson, local historian, folklore collector and museum curator, is born on February 29, 1888, in or near Toronto, Ontario, Canada.

Paterson is the eldest child in a family of seven sons and one daughter born to John and Rachel (née Farquhar) Paterson. His parents had emigrated from County Armagh, in what is now Northern Ireland. Their first three children are born in Canada, but the family returns to Ireland in the early 1890s, to the family farm in Cornascreeb, five miles south of Portadown, County Armagh. Also known as George, he attends Aghory national school, and leaves at age 14 to be apprenticed to a grocer in Portadown. In 1911, he takes a position in Couser’s, the leading grocery and wine merchant’s business in Armagh. In time becoming the manager, he is acquainted with the local gentry and clergy.

However, the grocery trade is never Paterson’s main interest. From an early age, he is fascinated by the history and folklore of his native place. He becomes an expert on the genealogy of the gentry as well as of the farming families around Armagh, and also collects material on many aspects of Armagh life. His notebooks eventually contain well over a million words of notes on history, archaeology, dialect, folkways and natural history, as well as drawings and plans of traditional houses, fireside accoutrements and farm implements. His knowledge of history, archaeology and natural history is widely recognised, and in 1931 Armagh County Council asks him to become honorary curator of the small museum established by the Armagh Natural History and Philosophical Society. Four years later, he leaves Couser’s and becomes full-time curator of the museum, re-named the Armagh County Museum. He greatly augments and improves the collections, and in the late 1950s oversees the enlargement of the building. His life’s work culminates in the opening of the new building in 1962. He retires a year later at the age of 75.

Paterson’s work wins the respect of scholars, including Emyr Estyn Evans, a lifelong friend, and material that he records has been cited in a wide variety of books and journal articles. Over one hundred citations are listed in a posthumous bibliography in 1972, and since then hundreds of scholarly works have drawn on his published and unpublished material. His manuscripts are in Armagh County Museum, where they form an important resource.

Paterson publishes a book, Country Cracks: Old Tales from the County of Armagh (1939), and a very large number of articles in newspapers and journals, especially in Seanchas Ardmhacha, Ulster Journal of Archaeology and Ulster Folklife. He sometimes uses the pseudonym “Cornascreeb.” He greatly assists researchers interested in the Armagh background of Alexander Campbell and his father Thomas Campbell and is made an honorary member of the Disciples of Christ Historical Society, based in Nashville, Tennessee.

Paterson is a founder member of the committee that re-establishes the Ulster Journal of Archaeology. He is active in local history societies, and for many years is a member of the Ancient Monuments Advisory Council. He records many local sites for the register of ancient monuments. He is a member of the Northern Ireland committee of the National Trust and seeks to preserve Armagh’s architectural heritage and local industrial archaeology. He donates much important archive material to the Public Record Office of Northern Ireland. He describes and collects folk artefacts, at least thirty years before most academic historians are interested in such objects, and he is a foundation trustee of the Ulster Folk Museum in Cultra, County Down. He is also a member of the first board of the Institute of Irish Studies in Queen’s University Belfast (QUB), from 1965.

Membership of the Royal Irish Academy is an honour not often accorded to someone who has not had a university education, still less to someone who leaves school at the age of 14, but Paterson is elected MRIA in 1941. He is conferred with an honorary MA by QUB in 1944. His service on many public bodies is acknowledged by the award of an Order of the British Empire (OBE).

Paterson never marries and dies in Armagh on April 6, 1971. Hundreds of people contribute to a memorial fund. Some of the money subscribed is used to purchase nineteenth-century drawings for the county museum, and in 1975 the memorial committee also publishes Harvest home: the last sheaf: a selection from the writings of T. G. F. Paterson relating to County Armagh, edited by Emyr Estyn Evans.


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Birth of William Randall Roberts, Fenian & U.S. Representative

William Randall Roberts, Fenian Brotherhood member, United States Representative from New York (1871–1875), and a United States Ambassador to Chile, is born on February 6, 1830, in Mitchelstown, County Cork.

Roberts is the son of Randall Roberts, a baker, and Mary Roberts (née Bishop). He is educated locally and in July 1849 leaves with his family for the United States. For several years he works as a clerk for a dry goods company in New York City. In 1857, he sets up his own dry goods business, the Crystal Palace, which becomes successful. He retires in 1869 as a very wealthy man.

Having joined the American Fenian Brotherhood in 1863, Roberts gives it strong financial support for the remainder of the decade. He also supports several Irish American charitable organisations, including the Knights of St. Patrick, of which he is president. In October 1865, he is responsible for a change in the constitution of the Fenian Brotherhood, which results in a split in the movement. The majority of the Brotherhood supports his proposal to elect a “senate” to govern the organisation, with himself as president, in place of the autocratic leader, John O’Mahony. After the suppression of the Irish People and the arrest of the Irish Republican Brotherhood (IRB) leaders in Dublin in September 1865, he believes that it to be foolish to send American Fenian troops to Ireland.

Seeking to capitalise on the bad relations that develop between the United States and Britain during the American Civil War, Roberts hopes that a Fenian Brotherhood invasion Canada might provoke a war between Britain and the United States and thereby make a successful insurrection in Ireland more possible. Once the invasion takes place (May 31 – June 3, 1866), however, the American government seizes the Fenians’ supplies and reinforcements, thereby prompting him to abandon the attack. He is arrested in New York on June 7 and detained in prison but escapes prosecution and is released on June 15. Three days later, with the support of Irish American politicians, he is allowed to deliver an address to the United States Senate appealing for support for the cause of the amnesty of IRB prisoners in Ireland. Thereafter he goes on a lecture tour and argues that American politicians cannot hope to receive Irish American electoral support if they do not support the Fenian cause. In response to demands from Irish American politicians, in September 1866, President Andrew Johnson orders that the arms seized by the United States army be returned to the Fenian Brotherhood.

After the failure of the March 1867 rising in Ireland, Roberts sends men to Ireland to assume command of the IRB on his behalf. A significant number of IRB men follow his lead, and in June 1867 a convention is held in Paris over which he presides. At this he proposes the establishment of a Supreme Council to govern the IRB, a proposal that is soon accepted. He seeks to be appointed president of the new Supreme Council, but the IRB refuses owing to his being such a divisive figure within American Fenianism. In dismay he resigns as president of the Senate wing of the Fenian Brotherhood on December 31, 1867, and becomes less active in the revolutionary movement. In 1870, he opposes the attempt of Fenians to invade Canada once more, and in January 1871 organises a welcoming committee in New York for five recently released IRB leaders who had been banished from Ireland.

By that time, however, Roberts is more concerned with American politics. During 1870, he is elected to Congress as a Democratic Party candidate for New York, a seat he holds until 1874 when, due to financial difficulties, he decides not to run for reelection. As a congressman, he criticises the Republican government for its policy towards the former Confederate states, opposes the increasing power of railroad companies, demands greater protection for American citizens living in foreign countries (including the Fenians imprisoned in Canada), and supports civil rights for black people. He also attracts much praise for his strong criticism of British foreign policy.

After leaving Congress, Roberts becomes a member of the Tammany Society and attains prominence in New York municipal politics, being elected president of the New York City Board of Aldermen in 1878. The following year, he runs for the position of sheriff of New York but is defeated. Thereafter, he leaves the Tammany Society and establishes a rival organisation, the New York County Democracy. In 1882, he supports Grover Cleveland for the governorship of New York and in 1884 as the Democratic candidate for the United States presidency. He is rewarded on April 2, 1885, when President Cleveland appoints him Envoy Extraordinary and Minister Plenipotentiary to Chile.

Roberts’s term of office is cut short, however, when he suffers a paralytic stroke in May 1888. He is sent back to New York and to hospital, where he remains for nine years. He never regains his mental or physical health and dies on August 9, 1897. His funeral takes place on hospital grounds with few people in attendance. He had been separated from his wife, of whom nothing is known, except that they had at least one son, prior to being admitted to hospital. He is buried at Calvary Cemetery, Queens, New York City.

(From: “Roberts, William Randall” by Owen McGee, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of Pete St. John, Irish Folk Singer-Songwriter

Peter Mooney, Irish folk singer-songwriter known professionally as Pete St. John, is born in Inchicore, Dublin on January 31, 1932. He is best known for composing “The Fields of Athenry.”

St. John is the eldest of six children born to Tommy and Lottie Mooney. He is educated at Scoil Muire Gan Smál and Synge Street CBS. He emigrates to Ontario, Canada in 1958 where he takes what labouring jobs he can find. Within six months he meets a woman named Gert Gorman who has an electrical contracting company in the United States. She and her husband sponsor him to move to Washington, D.C., where he is able to work as an electrician. He marries his sweetheart, Susie Bourke, who is from a well-known Dublin theatrical family with links to both the Gaiety and the Olympia theatres. They have two sons, Kieron and Brian. He travels widely and becomes involved in the peace movement and the civil rights movement. He remains in the United States until 1970, returning to settle in Collins Avenue in north Dublin.

The Dublin city that St. John returns to is a changed place from the one he had grown up in and proves to be the spur that inspires his songwriting. He chooses “St. John” as his nom de plume, inspired by a middle name he had been given while at school when all the boys in his class were assigned saints’ names. In 1975, he is running a theatre in Petticoat Lane on Marlborough Street, and while fixing an alarm outside a window on the first floor, the ledge on which he is leaning gives way, resulting in a bad fall. He breaks his elbow and hip and spends six months in the hospital recuperating. It is during this time that he takes to songwriting in earnest.

St. John is an extrovert who loves people. He is a voracious reader with a particular interest in Irish history. His son Kieron recalls his father writing “The Rare Aul Times” during this recovery period and singing it to his family. The Dublin City Ramblers is the first band to cover the song, but it is Danny Doyle’s version that achieves a real breakthrough, spending eleven weeks in the Irish Singles Chart, reaching No. 1 in 1978.

In 1978, St. John writes “The Fields of Athenry,” a tale of a man exiled to Botany Bay for stealing food to feed his family during the Famine. It has been recorded by several artists, charting in the Irish Singles Chart on a number of occasions. A recording by Paddy Reilly, which is released in 1982, remains in the Irish charts for 72 weeks.

St. John pays close attention to the melding of lyric and melody and has particular form in writing memorable melodies that sound timeless, resonating deeply with listeners across all walks of life. His songs sometime express regret for the loss of old certainties, for example, the loss of Nelson’s Pillar and the Metropole Ballroom, two symbols of old Dublin, as progress makes a “city of my town.”

St. John describes his chosen craft with affection. “Songs are magic carpets. They can tell a story over and over again without boring the pants off the listener and maybe take us out of ourselves for a few moments of peaceful escapism. With easy to remember melody lines, the words can tell of times and events in our daily lives that are worth noting or remembering.”

St. John’s songbook consists of hundreds of compositions, including “The Ferryman,” “Waltzing on Borrowed Time” and “The Furey Man” and are recorded by over 2,500 artists. He is a founding member of the Irish Music Rights Organisation (IMRO) and is always generous and supportive of younger writers, some of whom he continues to mentor well into his 80s.

St. John is surprised and delighted at the affiliation that emerges between “The Fields of Athenry” and rugby and football sporting events. He is present in Croke Park in 2007 when Ireland beats England in the Six Nations, and where the song is sung three times over. It is a song often heard in Anfield in Liverpool, and at Glasgow Celtic games, and reverberates around the stadium at Chicago’s Soldier Field when Ireland beats the All Blacks on November 5, 2016.

St. John wins several awards, including the Irish Music Rights Organisation “Irish Songwriter of the Year.”

St. John lives life to the fullest, and while he suffers ill health in his later years with both diabetes and Parkinson’s disease, he never loses his zest for life. His son Kieron describes his father with affection as a man who had nine lives and lived them all to the fullest. He lives independently at home until his admission to Beaumont Hospital in Dublin. He dies peacefully there at the age of 90 on March 12, 2022. After his funeral, Paddy Reilly and Glen Hansard perform “The Fields of Athenry” at Beaumont House in Dublin as a tribute.


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Death of Musicologist Francis Llewellyn Harrison

Francis Llewellyn Harrison, better known as “Frank Harrison” or “Frank Ll. Harrison” and one of the leading musicologists of his time and a pioneering ethnomusicologist, dies in Canterbury, England, on December 29, 1987.

Initially trained as an organist and composer, he turns to musicology in the early 1950s, first specialising in English and Irish music of the Middle Ages and increasingly turning to ethnomusicological subjects in the course of his career. His Music in Medieval Britain (1958) is still a standard work on the subject, and Time, Place and Music (1973) is a key textbook on ethnomusicology.

Harrison is born in Dublin on September 29, 1905, the second son of Alfred Francis Harrison and Florence May (née Nash). He becomes a chorister at St. Patrick’s Cathedral, Dublin in 1912 and is educated at the cathedral grammar school and Mountjoy School. A competent organist, he is deputy organist at St. Patrick’s from 1925 to 1928. In 1920, he also begins musical studies at the Royal Irish Academy of Music, where he studies with John Francis Larchet (composition), George Hewson (organ) and Michele Esposito (piano). In 1926, he graduates Bachelor of Music at Trinity College Dublin and is awarded a doctorate (MusD) in 1929 for a musical setting of Psalm 19. He then works in Kilkenny for one year, serving as organist at St. Canice’s Cathedral and music teacher at Kilkenny College.

In 1930, Harrison emigrates to Canada to become organist at Westminster Presbyterian Church in New Glasgow, Nova Scotia. In 1933, he studies briefly with Marcel Dupré in France but returns to Canada in 1934 to become organist at Knox Presbyterian Church in Ottawa. In 1935, he takes a position as organist and choirmaster at St. George’s Cathedral in Kingston, Ontario, as well as taking up the newly created post of “resident musician” at Queen’s University at Kingston. His duties include giving lectures, running a choir and an orchestra, and conducting concerts himself. His course in the history and appreciation of music is the first music course to be given for full credit at Queen’s. He resigns from St. George’s in 1941 to become assistant professor of music at Queen’s in 1942. During his years in Canada he still pursues the idea of remaining a performing musician and composer, winning three national composition competitions: for Winter’s Poem (1931), Baroque Suite (1943) and Night Hymns on Lake Nipigon (1945).

On a year’s leave of absence from Queen’s, Harrison studies composition with Paul Hindemith at Yale University, also taking courses in musicology with Leo Schrade. In 1946, he takes up a position at Colgate University in Hamilton, New York, and then moves on to Washington University in St. Louis as head of the new Department of Music (1947–1950).

In 1951, Harrison takes the degrees of Master of Arts (M.A.) and Doctor of Music (DMus) at Jesus College, Oxford, and becomes lecturer (1952), senior lecturer (1956), and reader in the history of music (1962–1970) there. In 1965, he is elected Fellow the British Academy and Senior Research Fellow at Oxford. From 1970 to 1980, he is Professor of Ethnomusicology at the University of Amsterdam in the Netherlands, retiring to part-time teaching in 1976.

Harrison also holds Visiting Professorships in musicology at Yale University (1958–1959), Princeton University (spring 1961 and 1968–1969), and Dartmouth College (winter 1968 and spring 1972). He also briefly returns to Queen’s University at Kingston as Queen’s Quest Visiting Professor in the fall of 1980 and is Visiting Andrew W. Mellon Professor of Music at the University of Pittsburgh for the calendar year 1981.

Harrison’s honorary titles also include Doctor of Laws at Queen’s University, Kingston (1974), Corresponding Member of the American Musicological Society (1981), and Vice President and Chairman of the Plainsong and Medieval Music Society (1985). At Queen’s also, the new Harrison-LeCaine Hall (1974) is partly named in his honour.

Harrison dies in Canterbury, England on December 29, 1987.

In 1989, Harry White appreciates Harrison as “an Irish musicologist of international standing and of seminal influence, whose scholarly achievement, astonishingly, encompassed virtually the complete scope of the discipline which he espoused.” David F. L. Chadd writes of him “He was above all things an explorer, tirelessly curious and boyishly delighted in the pursuit of knowledge, experience and ideas, and totally heedless of artificially imposed constraints and boundaries.”

Since 2004, the Society for Musicology in Ireland (SMI) awards a bi-annual Irish Research Council Harrison Medal in his honour to distinguished international musicologists.


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Birth of Edna O’Brien, Novelist, Playwright & Poet

Edna O’Brien, novelist, memoirist, playwright, poet and short story writer, is born in Tuamgraney, County Clare on December 15, 1930. Philip Roth describes her as “the most gifted woman now writing in English,” while the former President of Ireland Mary Robinson cites her as “one of the great creative writers of her generation.” Her works often revolve around the inner feelings of women, and their problems in relating to men, and to society as a whole.

O’Brien is the youngest child of “a strict, religious family.” From 1941 to 1946 she is educated by the Sisters of Mercy, a circumstance that contributes to a “suffocating” childhood. “I rebelled against the coercive and stifling religion into which I was born and bred. It was very frightening and all pervasive. I’m glad it has gone.” She is fond of a nun as she deeply misses her mum and tries to identify the nun with her mother.

In 1950, O’Brien is awarded a licence as a pharmacist. In Ireland, she reads such writers as Leo Tolstoy, William Makepeace Thackeray, and F. Scott Fitzgerald. In 1954, she marries, against her parents’ wishes, the Irish writer Ernest Gébler and the couple moves to London. They have two sons, but the marriage is dissolved in 1964. Gébler dies in 1998.

In London, O’Brien purchases Introducing James Joyce, with an introduction written by T. S. Eliot. When she learns that James Joyce‘s A Portrait of the Artist as a Young Man is autobiographical, it makes her realise where she might turn, should she decide to write herself. In London she starts work as a reader for Hutchinson, where on the basis of her reports she is commissioned, for £50, to write a novel. Her first novel, The Country Girls (1960), is often credited with breaking silence on sexual matters and social issues during a repressive period in Ireland following World War II.

This novel is the first part of a trilogy of novels which includes The Lonely Girl (1962) and Girls in Their Married Bliss (1964). Shortly after their publication, these books are banned and, in some cases burned, in her native country due to their frank portrayals of the sex lives of their characters. Her novel A Pagan Place (1970) is about her repressive childhood. Her parents are vehemently against all things related to literature and her mother strongly disapproves of her daughter’s career as a writer.

O’Brien is a panel member for the first edition of the BBC‘s Question Time in 1979. In 2017, she becomes the sole surviving member.

In 1980, she writes a play, Virginia, about Virginia Woolf, and it is staged originally in June 1980 at the Stratford Festival, Ontario, Canada and subsequently in the West End of London at the Theatre Royal Haymarket with Maggie Smith and directed by Robin Phillips. It is staged at The Public Theater in New York City in 1985.

Other works include a biography of James Joyce, published in 1999, and one of the poet Lord Byron, Byron in Love (2009). House of Splendid Isolation (1994), her novel about a terrorist who goes on the run, marks a new phase in her writing career. Down by the River (1996) concerns an under-age rape victim who seeks an abortion in England, the “Miss X case.” In the Forest (2002) deals with the real-life case of Brendan O’Donnell, who abducts and murders a woman, her three-year-old son, and a priest, in rural Ireland.

O’Brien now lives in London. She receives the Irish PEN Award in 2001. Saints and Sinners wins the 2011 Frank O’Connor International Short Story Award, the world’s richest prize for a short story collection. Faber and Faber publishes her memoir, Country Girl, in 2012. In 2015, she is bestowed Saoi by Aosdána.


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Founding of the 32 County Sovereignty Movement

The 32 County Sovereignty Movement, often abbreviated to 32CSM or 32csm, is an Irish republican group founded by Bernadette Sands McKevitt on December 7, 1997, at a meeting of like-minded Irish republicans in Finglas, Dublin. It does not contest elections but acts as an advocacy group, with branches or cumainn organised throughout the traditional counties of Ireland.

The 32CSM has been described as the “political wing” of the now defunct Real Irish Republican Army (RIRA), but this is denied by both organisations. The group originates in a split from Sinn Féin over the Mitchell Principles.

Those present at the initial meeting are opposed to the direction taken by Sinn Féin and other mainstream republican groups in the Northern Ireland peace process, which leads to the Belfast Agreement (also known as the Good Friday Agreement) the following year. The same division in the republican movement leads to the paramilitary group now known as the Real IRA breaking away from the Provisional Irish Republican Army at around the same time.

Most of the 32CSM’s founders had been members of Sinn Féin. Some had been expelled from the party for challenging the leadership’s direction, while others felt they had not been properly able to air their concerns within Sinn Féin at the direction its leadership had taken. Bernadette Sands McKevitt, wife of Michael McKevitt and a sister of hunger striker Bobby Sands, is a prominent member of the group until a split in the organisation.

The name refers to the 32 counties of Ireland which are created during the Lordship and Kingdom of Ireland. With the partition of Ireland in 1920–22, twenty-six of these counties form the Irish Free State which is abolished in 1937 and is now known as Ireland since 1949. The remaining six counties of Northern Ireland remain part of the United Kingdom. Founder Bernadette Sands McKevitt says in a 1998 interview with the Irish Mirror that people did not fight for “peace” – “they fought for independence” – and that the organisation reaffirms to the republican position in the 1919 Irish Declaration of Independence.

Before the referendums on the 1998 Good Friday Agreement, the 32CSM lodges a legal submission with the United Nations challenging British sovereignty in Ireland. The referendums are opposed by the 32CSM but are supported by 71% of voters in Northern Ireland and by 94% in the Republic of Ireland. It is reported in February 2000 that the group established a “branch” in Kilburn, London.

In November 2005, the 32CSM launches a political initiative titled Irish Democracy, A Framework for Unity.

On May 24, 2014, Gary Donnelly, a member of the 32CSM, is elected to the Derry City and Strabane District Council. In July 2014, a delegation from the 32CSM travels to Canada to take part in a six-day speaking tour. On arrival the delegation is detained and refused entry into Canada.

The 32CSM has protested against what it calls “internment by remand” in both jurisdictions in Ireland. Other protests include ones against former Democratic Unionist Party (DUP) leader Ian Paisley in Cobh, County Cork, against former British Prime Minister John Major being given the Keys to Cork city, against a visit to the Republic of Ireland by Police Service of Northern Ireland (PSNI) head Sir Hugh Orde, and against the Israeli occupation of Palestine and Anglo-American occupation of Iraq.

In 2015, the 32CSM organises a demonstration in Dundee, Scotland, in solidarity with the men convicted of shooting Constable Stephen Carroll, the first police officer to be killed in Northern Ireland since the formation of the PSNI. The organisation says the “Craigavon Two” are innocent and have been victims of a miscarriage of justice.

The group is currently considered a Foreign Terrorist Organization (FTO) in the United States, because the group is considered to be inseparable from the Real IRA, which is designated as an FTO. At a briefing in 2001, a spokesman for the U.S. Department of State states that “evidence provided by both the British and Irish governments and open-source materials demonstrate clearly that the individuals who created the Real IRA also established these two entities to serve as the public face of the Real IRA. These alias organizations engage in propaganda and fundraising on behalf of and in collaboration with the Real IRA.” The U.S. Department of State’s designation makes it illegal for Americans to provide material support to the Real IRA, requires U.S. financial institutions to block the group’s assets and denies alleged Real IRA members visas into the U.S.

The 32CSM also operates outside of the island of Ireland to some extent. The Gaughan/Stagg Cumann covers England, Scotland and Wales, and has an active relationship of mutual promotion with a minority of British left-wing groups and anti-fascist organisations. The James Larkin Republican Flute Band in Liverpool, and the West of Scotland Band Alliance, the largest section of which is the Glasgow-based Parkhead Republican Flute Band, are also supporters of the 32CSM. As of 2014, the 32CSM’s alleged paramilitary wing, the Real IRA, is reported to have been still involved in attempts to perpetrate bombings in Britain as part of the Dissident Irish Republican campaign, which has been ongoing since 1998.


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Death of Liam Clancy, Irish Folk Singer

William “Liam” Clancy, Irish folk singer and actor, dies on December 4, 2009, in Bon Secours Hospital, Cork. He is the youngest and last surviving member of the influential folk group The Clancy Brothers, who are regarded as Ireland’s first pop stars. They record 55 albums, achieve global sales of millions and appear in sold-out concerts at such prominent venues as Carnegie Hall and the Royal Albert Hall.

Clancy is born in Carrick-on-Suir, County Tipperary on September 2, 1935, the ninth and youngest surviving child of Robert Joseph Clancy and Joanna McGrath. He receives a Christian Brothers education before taking a job as an insurance man in Dublin. While there he also takes night classes at the National College of Art and Design.

Clancy begins singing with his brothers, Paddy and Tom Clancy, at fund-raising events for the Cherry Lane Theatre and the Guthrie benefits. The Clancy Brothers and Tommy Makem, begin recording on Paddy Clancy’s Tradition Records label in the late 1950s. Liam plays guitar in addition to singing and also records several solo albums. They record their seminal The Rising of the Moon album in 1959. There are international tours, which include performances at Carnegie Hall and the Royal Albert Hall. The quartet records numerous albums for Columbia Records and enjoys great success during the 1960s folk revival. In 1964, thirty percent of all albums sold in Ireland are Clancy Brothers and Tommy Makem records.

After The Clancy Brothers split up, Liam has a solo career in Canada. In 1975, he is booked to play a festival in Cleveland, Ohio, where Tommy Makem is also playing. The two play a set together and form the group Makem and Clancy, performing in numerous concerts and recording several albums together until 1988. The original Clancy Brothers and Tommy Makem line-up also get back together in the 1980s for a reunion tour and album.

In later life, Liam maintains a solo career accompanied by musicians Paul Grant and Kevin Evans, while also engaging in other pursuits. In 2001, Clancy publishes a memoir titled The Mountain of the Women. He is also in No Direction Home, the 2005 Bob Dylan documentary directed by Martin Scorsese. In 2006, Clancy is profiled in a two-hour documentary titled The Legend of Liam Clancy, produced by Anna Rodgers and John Murray with Crossing the Line Films, which wins the award for best series at the Irish Film and Television Awards in Dublin. His final album, The Wheels of Life, is released in 2009. It includes duets with Mary Black and Gemma Hayes as well as songs by Tom Paxton and Donovan.

Liam Clancy dies from pulmonary fibrosis on December 4, 2009, in Bon Secours Hospital, Cork. He is buried in the new cemetery in An Rinn, County Waterford, where he spent the last number of years of his life, owning a successful recording studio.


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Birth of John Hogan, the “Greatest of Irish Sculptors”

Irish sculptor John Hogan, described in some sources as the “greatest of Irish sculptors,” is born in Tallow, County Waterford, on October 14, 1800. According to the Dictionary of Irish Biography he is responsible for “much of the most significant religious sculpture in Ireland” during the 19th century. Working primarily from Rome, among his best-known works are three versions of The Dead Christ, commissioned for churches in Dublin, Cork, and the Basilica of St. John the Baptist in St. John’s, Newfoundland and Labrador, Canada.

Hogan is the third child of John Hogan, a carpenter and builder of Cove Street, Cork, County Cork, and Frances Cos, the great-granddaughter of Sir Richard Cox, Lord Chancellor of Ireland from 1703 to 1707. As the family feels that she had married beneath her station, she is disinherited.

At the age of fourteen, Hogan is placed as clerk to an attorney, where he spends much of his time carving figures in wood. After two years, he chooses to be apprenticed to the architect Sir Thomas Deane, where his talents for drawing and carving are developed. He carves balusters, capitals, and ornamental figures for Deane’s buildings. At the completion of his apprenticeship in March 1820, Deane encourages him to consider taking up sculpture as a profession. For the next three years, he attends lectures on anatomy, copies casts of classic statuary in the Gallery of the Cork Society of Arts, and makes anatomical studies in wood of feet, hands, and legs. Among the first of his works to attract notice is a life-size figure of Minerva for an insurance building built by Deane.

In 1821, Hogan carves twenty-seven statues in wood for the North Chapel in Cork for the reredos behind the high altar. After subsequent cathedral renovations, these are now positioned in decorative plasterwork over the nave. He also does a bas-relief of the “Last Supper” for the altar. This work keeps him employed for about a year.

In 1823, the engraver William Paulet Carey visits Cork, and impressed with Hogan’s talent, begins to publicise his work in order to raise subscriptions for him to study in Italy. Hogan arrives in Rome, by way of Dublin and Liverpool, in 1824. He works in the galleries of the Vatican but cannot afford a studio. Additional subscriptions allow him to improve his situation, rent a studio, purchase marble, and hire models. Danish sculptor Bertel Thorvaldsen says to him, “My son, you are the best sculptor I leave after me in Rome.”

In 1829, Hogan visits Ireland, bringing several works with him. The Royal Arts Society provides a venue for an exhibition. The Royal Dublin Society awards him a gold medal.

Hogan’s best-known work and masterpiece are the three versions of the statue of The Dead Christ or The Redeemer in Death. Created in flawless Carrara marble, the first version (1829) is located in St. Therese’s Church, Dublin, the second (1833) in St. Finbarr’s (South) Church, Cork, and the third and final version (1854) is located in the Basilica of St. John the Baptist, Newfoundland. His other works include the Sleeping Shepherd and The Drunken Faun. He assures his international reputation in 1829 with The Dead Christ. Thereafter, his creations are snapped up by Irish bishops visiting his Rome studio.

In 1837 Hogan is elected a member of the Virtuosi del Pantheon. During the next several years, he has several works in hand, including a marble statue of Daniel O Connell, for the Repeal Association. The statue stands today at City Hall, Dublin, the same spot where O’Connell gave his first speech against the Acts of Union in 1800.

In 1840, a monumental group in memory of Bishop James Warren Doyle, founder of the Cathedral of the Assumption in Carlow, is brought to Dublin and exhibited at the Royal Exchange. The statue of Bishop Doyle is in the Cathedral of the Assumption, as is a second Hogan work depicting the Holy Family.

Hogan marries Cornelia Bevignani in Rome in 1838. The figure of Hibernia, in Hogan’s work Hibernia with the Bust of Lord Cloncurry (1844), is reportedly modelled on his wife. A representation of this work is later used as the watermark on all Series A banknotes printed in Ireland from the 1920s to the 1970s. The couple has four sons and eight daughters.

With the revolutionary movement growing in Italy during the 1840s, and after spending twenty-four years in Rome, Hogan returns with his family to Ireland in 1848. At first, he finds little work in the aftermath of the Great Famine, but gradually commissions increase. He can be impatient with ignorance, intolerant of professional inferiority, and independent. He holds aloof from other artists and refuses to join the Royal Hibernian Academy.

Hogan has a stroke in 1855 and, though he recovers somewhat, his health begins to fail. By the year prior to his death, he can no longer work and his sons, John Valentine Hogan and James Cahill, assist at his studio and complete some of the work.

Hogan dies at his home at 14 Wentworth Place (later renamed Hogan Place), Dublin, on March 27, 1858. He is buried at Glasnevin Cemetery in Dublin.

(Pictured: Scan of a drawing depicting the Irish sculptor John Hogan with his sculpture The Drunken Faun in background, published in the Dublin University Magazine, January 1850)


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Death of Playwright George Shiels

George Shiels, playwright, dies following a lengthy illness in Carnlough, County Antrim, Northern Ireland, on September 19, 1949.

Shiels is born on June 24, 1881, in Milltown, Ballybrakes, near Ballymoney, County Antrim, one of seven sons of Robert Shiels, a railway worker, and Eliza Shiels (née Sweeney), who also has one daughter. The family soon moves to Castle Street, Ballymoney, where he attends the local Roman Catholic national school. His elder brothers emigrate to the United States when young. With there being no chance of further schooling even if he wanted it, he leaves Ireland when he is 19 years old. He works as a casual labourer in many places in western North America: as a farmworker and miner in Idaho and Montana, and as a lumber camp worker in British Columbia, Canada. In 1904 he is employed by the Canadian Pacific Railway to supervise a gang of workers who are building a stretch of railway in Saskatchewan. In a serious accident, he is badly injured. Despite surgery on his back, he is never able to walk again, and he receives a disability pension from the railway company.

After a long convalescence in Canada, Shiels returns to his mother’s house in Ballymoney around 1908. He sets up in business in Main Street as a shipping agent and as an agent for the Canadian Pacific Railway, taking bookings from intending emigrants. He is encouraged by his parish priest, Fr. John Hasson, by a local solicitor, Jack Pinkerton, and by James Pettigrew, a teacher, to write short stories. To try to preserve anonymity in a small community, he at first uses the pseudonym “George Morshiel,” and is successful with Western stories and other short fiction. His friends urge him to try writing dramas, and in 1918 Away from the Moss is produced by the Ulster Literary Theatre in Belfast.

After further success there with two short plays in which Shiels is learning his craft, the Abbey Theatre in Dublin accepts a one-act play, Bedmates, which is performed in January 1921. With great regularity for the next twenty years, he writes twenty-two plays for the Abbey Theatre. His work forms the basis of the repertoire in the 1920s and 1930s and attracts large audiences. Plays such as The New Gossoon (1930) provide Dublin theatregoers with entertainment, but also help form the style of acting and production which for many years characterises the Abbey and its actors. Three of his plays, Paul Twyning (1922), Professor Tim (1925) and The New Gossoon, are later performed in theatres in London and are also published in a 1945 volume, which is twice reprinted. Professor Tim, produced by the touring Abbey Theatre, receives enthusiastic reviews in Philadelphia, and The New Gossoon appears successfully on Broadway in New York City in 1932, 1934, and 1937.

Shiels’s earlier work is perhaps easiest for audiences to enjoy. Comedies such as Moodie in Manitoba (1918) portray characters so realistic that north Antrim people believe with some alarm that it might be possible to identify who Shiels had in mind when he created them, and he is at first somewhat less than popular in Ballymoney. He superbly reproduces local language and thoroughly understands the local way of life. Plays he writes late in his career are first performed by the Group Theatre in Belfast, and in these productions (and in the radio versions broadcast by the BBC) his work becomes widely known, almost beloved, in the north of Ireland. During the first half of the twentieth century amateur drama groups throughout Ireland are much more important in local life than they have been since the advent of television. Probably all such societies have at some time staged a Shiels play, and this tradition continues. His plays contain amusing dialogue, carefully crafted plots, and usually more or less happy endings.

However, Shiels’s later works, notably The Passing Day (1936), first broadcast as a radio play, and The Rugged Path (1940), which breaks all records at the Abbey Theatre in a run of three months, tackle darker subject matter and feature characters still less sympathetic even than the rogues and hypocrites of the earlier work. In The Rugged Path and its sequel, The Summit (1941), he explores the moral crisis facing Ireland after the political changes of the 1920s. One critic sees in it an allegory for the contemporary struggle against Adolf Hitler. His view of life in the small towns and farms of Ireland is never in the slightest rosy-tinted, but in the symbolism of The Passing Day, he achieves “bitter intensity” (The Irish Times review, quoted by Casey).

Shiels’s modesty leads him to refuse an honorary doctorate from Queen’s University Belfast (QUB), in 1931. He is reticent about his experiences and beliefs and does little to foster his own reputation. In one early interview he expresses the belief that Ulster theatre needs dramatic material that reflects the psychology and setting of the region. His own work, at its best, achieves this and more. The very qualities which make his work popular in the north of Ireland permit some metropolitan literary critics to dismiss his plays as “kitchen comedies.” However, with the passage of time, his importance as a chronicler of a vanishing way of life can be set alongside the recognition due to him as a prolific and gifted dramatist.

Shiels suffers from a lengthy illness, and though he undergoes an operation in Ballymoney in 1949, dies soon afterwards at his house, New Lodge, in Carnlough, County Antrim, on September 19, 1949. He is buried in the graveyard of Our Lady and St. Patrick in Ballymoney. In the month that he dies, the Group Theatre and Garvagh Young Farmers’ Club are both rehearsing Shiels plays, and there have since been many productions of his plays in the north and elsewhere. Ballymoney Drama Festival presents a portrait of Shiels to the Abbey Theatre, and a new production of The Passing Day is staged there to celebrate his centenary in 1981.