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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.


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Great Famine Monument Dedicated at Grosse Île, Quebec

On August 15, 1909, the Ancient Order of Hibernians dedicate a monument to victims of the Great Famine at Grosse Île, Quebec, Canada.

Grosse Île, in the Gulf of Saint Lawrence, acts as a quarantine station for Irish people fleeing the Great Famine between 1845 and 1849. It is believed that over 3,000 Irish people died on the island and over 5,000 are buried in the cemetery there.

In 1847, 100,000 Irish people travel to Grosse Île to escape starvation, unaware of the hardships they would encounter upon arrival. The first coffin ship – named for their crowded and deadly conditions – arrives on May 17, 1847, the ice still an inch thick on the river. Of that ship’s 241 passengers, 84 are stricken with fever and 9 have died on board. With the hospital only equipped for 150 cases of fever, the situation quickly spins out of control. More and more ships arrive at Grosse Île each day, sometimes lining up for miles down the St. Lawrence River throughout the summer. On these coffin ships the number of passengers stricken by fever increases exponentially.

Between 1832 and 1937, Grosse Île’s term of operation, the official register lists 7,480 burials on the island. In 1847 alone, 5,424 burials take place, the majority being Irish immigrants. In that same year, over 5,000 Irish people on ships bound for Canada are listed as having been buried at sea.

When the monument is unveiled in 1909, more than 60 years have passed since the more than 5,000 Irish men, women, and children were buried on the island, but the ancestors and relatives of those victims have not forgotten them. Through the hard work of the Ancient Order of Hibernians, thousands of dollars are collected to erect a fitting memorial to those innocent victims of man’s inhumanity to man. The symbol they choose to use is a Celtic cross. Designed by Jeremiah Gallagher, a member of the Ancient Order of Hibernians in Quebec, the cross is carved from granite and stands 48 feet high atop its pedestal.

The monument bears an inscription in Irish commemorating the victims of the epidemic and condemning colonial rule. In English, it reads: “Children of the Gael died in their thousands on this island having fled from the laws of foreign tyrants and an artificial famine in the years 1847-48. God’s blessing on them. Let this monument be a token and honor from the Gaels of America. God Save Ireland.”

To ensure that no one traveling up or down the St. Lawrence River fails to see the monument, it is placed on Telegraph Hill, the highest point on the island. The monument is unveiled by the Papal Legate before a crowd of 9,000, including several hundred French Canadians, some perhaps from families that had adopted one or more of the over 600 Irish orphans whose parents were left behind on Gross Île. The cross stands as a beacon to those who pass up and down the busy waterway, reminding them not only of the tragedy that once happened on that island but also of the ultimate triumph of those who survived.

Today, the island is a National Historic Site that serves as a Famine memorial. It is dedicated in 1996 after a four-year-long campaign to protect the mass gravesite.


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Death of Annie Horniman, Theatre Patron & Manager

Annie Elizabeth Fredericka Horniman CH, English theatre patron and manager, dies on August 6, 1937, while visiting friends in Shere, Surrey, England. She establishes the Abbey Theatre in Dublin and founds the first regional repertory theatre company in Britain at the Gaiety Theatre in Manchester. She encourages the work of new writers and playwrights, including W. B. Yeats, George Bernard Shaw and members of what become known as the Manchester School of dramatists.

Horniman is born at Surrey Mount, Forest Hill, London, on October 3, 1860, the elder child of Frederick John Horniman and his first wife Rebekah (née Emslie). Her father is a tea merchant and the founder of the Horniman Museum. Her grandfather is John Horniman who founds the family tea business of Horniman and Company. She and her younger brother Emslie are educated privately at their home. Her father is opposed to the theatre, which he considers sinful, but their German governess takes her and Emslie secretly to a performance of The Merchant of Venice at The Crystal Palace when she is fourteen years old.

Horniman’s father allows her to enter the Slade School of Fine Art in 1882. Here she discovers that her talent in art is limited but she develops other interests, particularly in the theatre and opera. She takes great pleasure in Richard Wagner‘s Der Ring des Nibelungen and in Henrik Ibsen‘s plays. She cycles in London and twice over the Alps, smokes in public and explores alternative religions. The “lonely rich girl” has become “an independent-minded woman.” In 1890 she joins the occult society, the Hermetic Order of the Golden Dawn, where she remains a member until disagreements with its leaders lead to her resignation in 1903. During this time she meets and becomes a friend of W. B. Yeats, acting as his amanuensis for some years. Their friendship endures. Frank O’Connor recalls that on the day Yeats hears of her death, he spends the entire evening speaking of his memories of her.

Horniman’s first venture into the theatre is in 1894 and is made possible by a legacy from her grandfather. She anonymously supports her friend Florence Farr in a season of new plays at the Royal Avenue Theatre, London. This includes a new play by Yeats, The Land of Heart’s Desire, and the première of George Bernard Shaw’s play Arms and the Man. In 1903 Yeats persuades her to go to Dublin to back productions by the Irish National Theatre Society. Here she discovers her skill as a theatre administrator. She purchases a property and develops it into the Abbey Theatre, which opens in December 1904. Although she moves back to live in England, she continues to support the theatre financially until 1910. Meanwhile, in Manchester she purchases and renovates the Gaiety Theatre in 1908 and develops it into the first regional repertory theatre in Britain.

At the Gaiety, Horniman appoints Ben Iden Payne as the director and employs actors on 40-week contracts, alternating their work between large and small parts. The plays produced include classics such as Euripides and Shakespeare, and she introduces works by contemporary playwrights such as Ibsen and Shaw. She also encourages local writers who form what becomes known as the Manchester School of dramatists, the leading members of which are Harold Brighouse, Stanley Houghton and Allan Monkhouse. The Gaiety company undertakes tours of the United States and Canada in 1912 and 1913. Horniman becomes a well-known public figure in Manchester, lecturing on subjects which include women’s suffrage and her views about the theatre. In 1910 she is awarded the honorary degree of MA by the University of Manchester. During World War I the Gaiety continues to stage plays but financial difficulties lead to the disbandment of the permanent company in 1917, following which productions in the theatre are by visiting companies. In 1921 she sells the theatre to a cinema company.

As a result of her tea connection, Horniman is known as “Hornibags.” She holds court at the Midland Hotel, wearing exotic clothing and openly smoking cigarettes, which is considered scandalous at the time. She introduces Manchester to what is called at the time “the play of ideas.” The theatre critic James Agate notes that her high-minded theatrical ventures have “an air of gloomy strenuousness” about them.

Horniman moves to London where she keeps a flat in Portman Square. In 1933 she is made a Companion of Honour. She and Algernon Blackwood might be the only past or present members of an occult society to receive a United Kingdom honour.

Horniman dies, unmarried, on August 6, 1937, while visiting friends in Shere, Surrey. Her estate amounts to a little over £50,000. The Annie Horniman Papers are held in the John Rylands Research Institute and Library at the University of Manchester. Her portrait, painted by John Butler Yeats in 1904, hangs in the public area of the Abbey Theatre.


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Birth of Gerry Cooney, Former Professional Boxer

Gerald Arthur Cooney, American former professional boxer who competes from 1977 to 1990, is born into a blue-collar Irish Catholic family on August 4, 1956, in Manhattan, New York City. He challenges twice for world heavyweight titles in 1982 and 1987. He is widely regarded as one of the hardest punchers in heavyweight history.

Cooney is encouraged to become a professional fighter by his father. His brother, Tommy Cooney, is also a boxer and reaches the finals of the New York Golden Gloves Sub-Novice Heavyweight division. His grandparents lived in Placentia, Newfoundland, in Canada.

Fighting as an amateur, Cooney wins international tournaments in England, Wales, and Scotland, as well as the New York Golden Gloves titles. He wins two New York Golden Gloves Championships, defeating Larry Derrick to win the 1973 160-lb Sub-Novice Championship and Earlous Tripp to win the 1976 Heavyweight Open Championship. In 1975 he reaches the finals of the 175-lb Open division, but is defeated by Johnny Davis. He trains at the Huntington Athletic Club in Long Island, New York, where his trainer is John Capobianco. His amateur record consists of 55 wins and 3 losses.

When Cooney turns professional, he signs with co-managers Mike Jones and Dennis Rappaport. He is trained by Victor Valle. Known for his big left-hook and his imposing size, he has his first paid fight on February 15, 1977, beating Billy Jackson by a knockout in one round. Nine wins follow and he gains attention as a future contender, although his opponents are carefully chosen. He moves up a weight class and fights future world cruiserweight champion S. T. Gordon in Las Vegas, winning by a fourth round disqualification. He has eleven more wins, spanning 1978 and 1979. Among those he defeats are Charlie Polite, former U.S. heavyweight champion Eddie Lopez, and Tom Prater. These are not rated contenders, however.

By 1980, Cooney is being featured on national television. Stepping up, he beats one-time title challengers Jimmy Young and Ron Lyle, both by knockout. The Young fight is stopped because of cuts sustained by Young. By then Cooney is ranked number 1 by the World Boxing Council (WBC) and eager for a match with champion Larry Holmes.

In 1981, Cooney defeats former world heavyweight champion Ken Norton by knockout just 54 seconds into the first round with a blisteringly powerful attack. This ties the record set in 1948 by Lee Savold for the quickest knockout in a main event in Madison Square Garden. Since his management team is unwilling to risk losing a big future pay day with Holmes by having him face another viable fighter, Cooney does not fight for 13 months after defeating Norton.

The following year, Holmes agrees to fight Cooney with the fight held on June 11, 1982. With a purse of ten million dollars for the challenger, it is the richest fight in boxing history to that time. The promotion of the fight takes on racial overtones that are exaggerated by the promoters, something Cooney does not agree with. He believes that skill, not race, should determine if a boxer is good. However, if he wins, he would become the first Caucasian world heavyweight champion since Swede Ingemar Johansson defeated Floyd Patterson 23 years earlier. Don King calls Cooney “The Great White Hope.” The bout draws attention worldwide, and Larry Holmes vs. Gerry Cooney is one of the biggest closed-circuit/pay-per-view productions in history, broadcast to over 150 countries.

Cooney fights bravely after he is knocked down briefly in the second round. He is fined three points for repeated low blows. After 12 rounds, the more skillful and experienced Holmes finally wears him down. In round 13, his trainer, Victor Valle, steps into the ring, forcing the referee to stop the fight. Two of the three judges would have had Cooney ahead after the 12th round if it were not for the point deductions. He and Holmes become friends after the fight, a relationship that endures for them. On December 14, 1982, he fights Harold Rice, the heavyweight champion of Connecticut, in a four-round bout. No winner is declared, so he tells the crowd following the bout, “This is only an exhibition. I’m sorry if I disappointed anybody. I’m trying to work myself back in shape so I can knock out Larry Holmes. Everything is OK. I felt a little rusty, but that is normal. It has been a while. I felt good in front of the people.”

After a long layoff, Cooney fights in September 1984, beating Phillip Brown by a 4th-round knockout in Anchorage, Alaska. He fights once more that year and wins, but personal problems keep him out of the ring.

Although Cooney fights only three official bouts in five years following his loss to Holmes, in 1987 he challenges former world heavyweight and world light heavyweight champion Michael Spinks in a title bout. He appears past his prime and Spinks, boxing carefully with constant sharp counters, knocks him out in the fifth round. His last fight is in 1990. He is knocked out in a match-up of power-punching veterans in two rounds by former world champion George Foreman. He does stagger Foreman in the first round, but he is over-matched, and Foreman knocks him out two minutes into the second round.

The losses to Holmes, Spinks, and Foreman exposes Cooney’s Achilles’ heel: his inability to clinch and tie up his opponent when hurt. In the Foreman fight, he rises from a second-round knockdown and stands in the center of the ring as Foreman delivers the coup de grâce.

Cooney compiles a professional record of 28 wins and 3 losses, with 24 knockouts. Not a single one of his fights ever goes the distance in a 12 or 15-round match. He is ranked number 53 on The Ring‘s list of “100 Greatest Punchers of All Time.”

Cooney founds the Fighters’ Initiative for Support and Training, an organization which helps retired boxers find jobs. He is deeply involved in J.A.B., the first union for boxers. He becomes a boxing promoter for title bouts featuring Roberto Durán, Héctor Camacho, and George Foreman. He is a supporter of the “hands are not for hitting” program, which tries to prevent domestic violence. He guides young fighters in the gym. In June 2010, he becomes the co-host of “Friday Night at the Fights” on Sirius XM radio.

Cooney resides in Fanwood, New Jersey, with his wife Jennifer and two of their three children, Jackson and Sarah. His son Chris resides in New York. He has been inducted into the Hall of Fame at Walt Whitman High School (New York), where he graduated.