The Irish American Athletic Club, an amateur athletic organization based in Queens, New York, is established on January 30, 1898, originally as the Greater New York Irish Athletic Association. They shorten the name to the Irish American Athletic Club a few years later. They purchase a plot of land in what is then called Laurel Hill, Long Island, near Calvary Cemetery, Queens, and build a state-of-the-art athletic facility on what is farmland. The stadium, called Celtic Park, formally reopens after renovations on May 9, 1901, and until the facility is sold for housing in 1930, some of the greatest American athletes train or compete on Celtic Park’s track and field. The Irish American Athletic Club adopts a winged fist adorned with American flags and shamrocks as their emblem, with the Irish Gaelic motto “Láim Láidir Abú” or “A strong hand will be victorious,” and are often referred to as the “Winged Fists.” At one time they have clubs in Boston, Chicago, San Francisco and Yonkers, New York.
The Irish American Athletic Club is predominantly composed of Irish-born and first generation Irish American athletes, but many of the athletes who compete for the Winged Fist organization are neither.
The Irish American Athletic Club wins the Amateur Athletic Union national outdoor track and field team championship titles in 1904, 1906, 1907, 1908, 1910, 1911, 1912, 1913, 1914 and 1916. They also win the national indoor track and field team championship titles in 1906, 1908, 1909, 1911, 1913, 1914 and 1915. Individual athletes of the IAAC win 81 national outdoor championships titles and 36 individual national indoor championship titles.
In 1912–13, 1913–14, 1914–15 and 1916–17 the Irish American Athletic Club has a team, the New York Irish-Americans, represented in the American Amateur Hockey League. The team is coached by James C. “Jimmy” O’Brien and has on its roster for various seasons future NHL players Tom McCarthy and Moylan McDonnell. John McGrath and Patsy Séguin also play for the club.
Before the largest crowd that has ever assembled to see a track meet in the United States, on September 9, 1916, the Irish American Athletic Club defeats the New York Athletic Club at the Amateur Athletic Union’s National Championships, by a score of 38 to 27. Before a crowd of 30,000 spectators at Newark, New Jersey‘s Weequahic Park, the Irish American Athletic Club wins what is to be their last national championship title. The club disbands a year later when the United States becomes a combatant in World War I.
Mary G. Harris Jones, known as Mother Jones, an Irish-born American schoolteacher and dressmaker who becomes a prominent union organiser, community organiser, and activist, dies in Silver Spring, Maryland, on November 30, 1930. She is once deemed “the most dangerous woman in America” because of her union activities.
Jones is the daughter of Richard Harris, a Roman Catholictenant farmer and railway labourer, and Ellen (née Cotter) Harris. She is baptised on August 1, 1837, in Cork, County Cork. Her exact date of birth is uncertain. She and her family are victims of the Great Famine, as are many other Irish families of the time. The famine forces more than a million families, including the Harrises, to immigrate to North America when she is ten years old. She lives in the United States and Canada, where she attends and later teaches in a Roman Catholic normal school in Toronto. In the United States she teaches in a convent school in Monroe, Michigan and works as a seamstress. In 1861 she marries George Jones, an iron-moulder and labour union member in Memphis, Tennessee. After the death of her husband and their four children in a yellow fever epidemic in 1867, she relocates to Chicago, Illinois, where she becomes involved with an early industrial union, the Knights of Labor. Her seamstress shop is destroyed in the Great Chicago Fire of 1871.
In the 1890s Jones becomes known as ‘Mother’ Jones and begins a long association with socialist causes and the United Mine Workers of America. She attends the founding convention of Social Democracy of America, later known as the Cooperative Brotherhood, in 1897 and in the same year organises support and publicity for striking bituminous coal miners in West Virginia, including a children’s march and parades of farmers delivering food to the miners’ camp. These types of defiant mass action become her trademark. Notable activities include organising women in support of an 1899 anthracite coal strike in eastern Pennsylvania, directing strikes of young women working in textile mills, a 1903 ‘children’s crusade’ against child labour which includes a ninety-mile march from Philadelphia to New York City, participating in 1905 in the founding convention of the Industrial Workers of the World, a radical labour union committed to the organisation of unskilled workers, campaigning for the release of Mexican revolutionaries imprisoned in American jails, and testifying in 1915 in congressional hearings against the abuse of corporate power by Rockefeller interests.
Jones reportedly meets with James Connolly, Irish socialist and labour organiser, in New York City in 1910. She is arrested for the first time for violating a federal injunction during a miners’ strike in West Virginia in 1902. In 1904, during a Colorado miners’ campaign, she has to avoid the authorities to escape possible deportation. During a 1914 strike in Ludlow, Colorado, she is imprisoned without trial for nine weeks. In 1919 she is arrested in Pennsylvania during a steelworkers’ strike for defending freedom of speech and the right of workers to organise unions. She remains active in the labour movement and radical causes into her nineties.
During her later years, Jones lives with her friends Walter and Lillie May Burgess on their farm in what is now Adelphi, Maryland. She celebrates her self-proclaimed 100th birthday there on May 1, 1930, and is filmed making a statement for a newsreel.
In 1932, about 15,000 Illinois mine workers gather in Mount Olive to protest against the United Mine Workers, which soon becomes the Progressive Mine Workers of America. Convinced that they have acted in the spirit of Mother Jones, the miners decide to place a proper headstone on her grave. By 1936, the miners have saved up more than $16,000 and are able to purchase “eighty tons of Minnesota pink granite, with bronze statues of two miners flanking a twenty-foot shaft featuring a bas-relief of Mother Jones at its center.” On October 11, 1936, also known as Miners’ Day, an estimated 50,000 people arrive at Mother Jones’s grave to see the new gravestone and memorial. Since then, October 11 is not only known as Miners’ Day but is also referred to and celebrated in Mount Olive as “Mother Jones’s Day.”
The farm where she died begins to advertise itself as the “Mother Jones Rest Home” in 1932, before being sold to a Baptist church in 1956. The site is now marked with a Maryland Historical Trust marker, and a nearby elementary school is named in her honor.
Clancy is born on March 7, 1922, at Carrick-on-Suir, County Tipperary, one of eleven children and the eldest of four boys born to Johanna McGrath and Bob Clancy. During World War II he serves as a flight engineer in the Royal Air Force in India. After his demobilization, Clancy works as a baker in London. In 1947 he emigrates to Toronto, Canada with his brother Tom Clancy. The following year, the two brothers move to Cleveland, Ohio to stay with relatives. Later, they attempt to move to California, but their car breaks down and they relocate to the New York City area instead.
After moving to Greenwich Village in 1951, both Patrick and Tom devote themselves primarily to careers in the theater. In addition to appearing in various Off-Broadway productions and television shows, they produce and star in plays at the Cherry Lane Theatre in Greenwich Village and at a playhouse in Martha’s Vineyard. After losing money on some unsuccessful plays, the brothers begin singing concerts of folk songs after their evening acting jobs are over. They soon dub these concerts “Midnight Specials” and the “Swapping Song Fair.” Patrick and Tom are often joined by other prominent folk singers of the day, including Pete Seeger, Woody Guthrie, and Jean Ritchie.
In 1956 their younger brother, Liam Clancy, immigrates to New York, where he teams up with Tommy Makem, whom he had met while collecting folk songs in Ireland. The two begin singing together at Gerde’s Folk City, a club in Greenwich Village. Patrick and Tom sing with them on occasion, usually in informal folk “sing-songs” in the Village. Around the same time, Patrick founds Tradition Records with folk-song collector and heiress Diane Hamilton, and in 1956 the Clancy Brothers and Tommy Makem release their first album, The Rising of the Moon, with only Patrick’s harmonica as musical accompaniment. However, the Clancys and Makem do not become a permanent singing group until 1959.
In the late 1950s, Clancy with his brothers and Makem begin to take singing more seriously as a permanent career, and soon they record their second album, Come Fill Your Glass with Us. This album proves to be more successful than their debut album, and they begin receiving job offers as singers at important nightclubs, including the Gate of Horn in Chicago and the Blue Angel in New York City. The group garners nationwide fame in the United States after an appearance on The Ed Sullivan Show, which leads to a contract with Columbia Records in 1961. Over the course of the 1960s, the Clancy Brothers and Tommy Makem record approximately two albums a year for Columbia. By 1964, Billboard magazine reports that the group was outselling Elvis Presley in Ireland.
The group performs together on stage, recordings, and television to great acclaim in the United States, Ireland, the United Kingdom, Canada, and Australia until Tommy Makem leaves to pursue a solo career in 1969. They continue performing first with Bobby Clancy and then with Louis Killen until Liam leaves in 1976 also to pursue a solo career. In 1977 after a short hiatus, the group reforms with Patrick, Tom, and Bobby Clancy and their nephew Robbie O’Connell. Liam returns in 1990 after the death of Tom Clancy.
In 1968, after two decades in North America, Clancy returns to live in Carrick-on-Suir, where he purchases a dairy farm and breeds exotic cattle. When not on tour or working on his farm, he spends much of his time fishing, reading, and doing crossword puzzles. In the late 1990s, he is diagnosed with a brain tumor. The tumor is successfully removed, but he is also stricken with terminal lung cancer around the same time. He continues performing until his failing health prevents him from doing so any longer.
Patrick Clancy dies at home of lung cancer on November 11, 1998, at the age of 76. He is buried, wearing his trademark white cap, in the tiny village of Faugheen, near Carrick-on-Suir.
The Great Chicago Fire, a conflagration that destroys roughly 3.3 square miles of Chicago, Illinois, including over 17,000 structures, kills approximately 300 people and leaves more than 100,000 residents homeless, starts at about 8:30 p.m. on October 8, 1871, in or around a small barn belonging to the Irish immigrant O’Leary family that borders the alley behind 137 W. DeKoven Street.
The shed next to the barn is the first building to be consumed by the fire. City officials never determine the cause of the blaze, but the rapid spread of the fire due to a long drought in that year’s summer, strong winds from the southwest, and the rapid destruction of the water pumping system, explain the extensive damage of the mainly wooden city structures. There has been much speculation over the years on a single start to the fire. The most popular tale blames Catherine O’Leary‘s cow, who allegedly knocked over a lantern; others state that a group of men were gambling inside the barn and knocked over a lantern. Still other speculation suggests that the blaze was related to other fires in the Midwest that day.
The fire’s spread is aided by the city’s use of wood as the predominant building material in a style called balloon framing. More than two-thirds of the structures in Chicago at the time of the fire are made entirely of wood, with most of the houses and buildings being topped with highly combustible tar or shingle roofs. All of the city’s sidewalks and many roads are also made of wood. Compounding this problem, Chicago receives only 1 inch of rain from July 4 to October 9, causing severe drought conditions before the fire, while strong southwest winds help to carry flying embers toward the heart of the city.
In 1871, the Chicago Fire Department has 185 firefighters with just 17 horse-drawn steam pumpers to protect the entire city. The initial response by the fire department is timely, but due to an error by the watchman, Matthias Schaffer, the firefighters are initially sent to the wrong place, allowing the fire to grow unchecked. An alarm sent from the area near the fire also fails to register at the courthouse where the fire watchmen are, while the firefighters are tired from having fought numerous small fires and one large fire in the week before. These factors combined to turn a small barn fire into a conflagration.
When firefighters finally arrive at DeKoven Street, the fire has grown and spread to neighboring buildings and is progressing toward the central business district. Firefighters hope that the South Branch of the Chicago River and an area that had previously thoroughly burned would act as a natural firebreak. All along the river, however, are lumber yards, warehouses, and coal yards, and barges and numerous bridges across the river. As the fire grows, the southwest wind intensifies and becomes superheated, causing structures to catch fire from the heat and from burning debris blown by the wind. Around midnight, flaming debris blows across the river and lands on roofs and the South Side Gas Works.
With the fire across the river and moving rapidly toward the heart of the city, panic sets in. About this time, Mayor Roswell B. Mason sends messages to nearby towns asking for help. When the courthouse catches fire, he orders the building to be evacuated, and the prisoners jailed in the basement to be released. At 2:30 a.m. on October 9, the cupola of the courthouse collapses, sending the great bell crashing down. Some witnesses report hearing the sound from a mile away.
As more buildings succumbed to the flames, a major contributing factor to the fire’s spread is a meteorological phenomenon known as a fire whirl. As overheated air rises, it comes into contact with cooler air and begins to spin, creating a tornado-like effect. These fire whirls are likely what drives flaming debris so high and so far. Such debris is blown across the main branch of the Chicago River to a railroad car carrying kerosene. The fire has jumped the river a second time and is now raging across the city’s north side.
Despite the fire spreading and growing rapidly, the city’s firefighters continue to battle the blaze. A short time after the fire jumps the river, a burning piece of timber lodges on the roof of the city’s waterworks. Within minutes, the interior of the building is engulfed in flames and the building is destroyed. With it, the city’s water mains go dry and the city is helpless. The fire burns unchecked from building to building, block to block.
Finally, late into the evening of October 9, it starts to rain, but the fire has already started to burn itself out. The fire had spread to the sparsely populated areas of the north side, having thoroughly consumed the densely populated areas.
Once the fire has ended, the smoldering remains are still too hot for a survey of the damage to be completed for many days. Eventually, the city determines that the fire destroyed an area about 4 miles long and averaging 3⁄4 mile wide, encompassing an area of more than 2,000 acres. Destroyed are more than 73 miles of roads, 120 miles of sidewalk, 2,000 lampposts, 17,500 buildings, and $222 million in property, which is about a third of the city’s valuation in 1871.
On October 11, 1871, General Philip H. Sheridan comes quickly to the aid of the city and is placed in charge by a proclamation, given by mayor Roswell B. Mason.
To protect the city from looting and violence, the city is put under martial law for two weeks under Gen. Sheridan’s command structure with a mix of regular troops, militia units, police, and a specially organized civilian group “First Regiment of Chicago Volunteers.”
For two weeks Sheridan’s men patrol the streets, guard the relief warehouses, and enforce other regulations. On October 24, the troops are relieved of their duties and the volunteers are mustered out of service.
Of the approximately 324,000 inhabitants of Chicago in 1871, 90,000 residents (about 28% of the population) are left homeless. One hundred twenty bodies are recovered, but the death toll is believed to possibly exceed 300. The county coroner speculates that an accurate count is impossible, as some victims may have drowned or been incinerated, leaving no remains.
In the days and weeks following the fire, monetary donations flow into Chicago from around the country and abroad, along with donations of food, clothing, and other goods. These donations come from individuals, corporations, and cities.
Almost from the moment the fire breaks out, various theories about its cause begin to circulate. The most popular and enduring legend maintains that the fire began in the O’Leary barn as Mrs. O’Leary is milking her cow. The cow kicks over a lantern (or an oil lamp in some versions), setting fire to the barn. The O’Leary family denies this, stating that they were in bed before the fire started, but stories of the cow begin to spread across the city. Catherine O’Leary seems the perfect scapegoat: she is a poor, Irish Catholic immigrant. During the latter half of the 19th century, anti-Irish sentiment is strong in Chicago and throughout the United States. This is intensified as a result of the growing political power of the city’s Irish population.
Furthermore, the United States has been distrustful of Catholics since its beginning, carrying over attitudes in England in the 17th century. As an Irish Catholic, Mrs. O’Leary is a target of both anti-Catholic and anti-Irish sentiment. This story is circulating in Chicago even before the flames die out and is noted in the Chicago Tribune‘s first post-fire issue. In 1893, the reporter Michael Ahern retracts the “cow-and-lantern” story, admitting it is fabricated, but even his confession is unable to put the legend to rest. Catherine O’Leary turns into a recluse after the fire and dies in 1895. Although the O’Learys are never officially charged with starting the fire, the story becomes so engrained in local lore that Chicago’s city council officially exonerates them — and the cow — in 1997.
(Pictured: A Currier & Ives lithograph showing people fleeing across the Randolph Street Bridge)
O’Connor is born on June 7, 1874, at Worcester, Massachusetts, the eldest of three sons and two daughters of Andrew O’Connor, a stonecutter from Lanarkshire, Scotland, who becomes a professional sculptor, and Marie Anne O’Connor (née McFadden), of County Antrim. Educated in Worcester public schools, at the age of 14 he becomes apprenticed to his father, helping him to design monuments for cemeteries. He is employed in the early 1890s on sculptural work for the World’s Columbian Exposition (Chicago World’s Fair), being active in the studio of William Ordway Partridge, and assisting Daniel Chester French on his colossal Statue of the Republic, a landmark of the 1893 Columbian exposition.
Moving to London (1894–98), O’Connor works on bas-reliefs in the studio of the painter John Singer Sargent, who uses him as a model for his mural Frieze of Prophets for the Boston Public Library. His first independent work, Sea Dreams, a relief of a head, is exhibited at the Royal Academy of Arts in 1896. Returning to the United States (1898–1903), he becomes a studio assistant of French, through whom he receives his first public commission, for the Vanderbilt Memorial Doors for St. Bartholomew’s Episcopal Church, Manhattan, New York, a project completed in 1902 to wide critical acclaim. He also executes the tympanum and lateral friezes.
Around 1900, O’Connor marries an artist’s model named Nora, by whom he has a daughter. In 1902, he hires as studio model Jessie Phoebe Brown from New Jersey and of County Down parentage. The following year he elopes with her to Paris, where they marry and have four sons, the youngest of whom, Patrick O’Connor, becomes an artist and gallery curator. Jessie continues for many years as his primary model, sitting for the heads of both female and male figures, O’Connor coarsening the features for the latter.
During his years in Paris (1903–14), O’Connor is influenced by the work of Auguste Rodin, whom he befriends. Among his pupils in Paris is the American sculptor and heiress Gloria Vanderbilt Whitney. He continues to fulfil numerous commissions for funerary and public monuments in the United States, an example of the former being the Recuillement in Sleepy Hollow Cemetery, near Tarrytown, New York. From 1906 he exhibits annually at the Salon in Paris, where he is the first foreigner to win a second-class medal, for his bronze statue of Gen. Henry Lawton. Included in his only exhibition at the Royal Hibernian Academy (1907) is a bronze relief of the prophet Nehemiah adapted from a panel of the Vanderbilt doors. The relief is subsequently included in his one-man show at the Galerie Hébrard, Paris in 1909.
In 1909, O’Connor wins a competition open to sculptors of Irish descent to execute a monument to Commodore John Barry, the County Wexford-born “father of the American navy,” for Washington, D.C. His design includes a frieze depicting events in Irish history, flanked by a group of three nude Irish emigrants entitled Exile from Ireland, and another group representing the Genius of Ireland, which includes a female figure of the “Motherland.” Probably owing to opposition from the Barry family to the depiction of their ancestor as a rough-and-ready sailor, the commission is not completed. His marble statue of Gen. Lew Wallace (author of Ben-Hur: A Tale of the Christ), a plaster of which is exhibited at the Salon in Paris in 1909, is placed by the state of Indiana in the National Statuary Hall in the United States Capitol, Washington, D.C. Another marble, Peace by Justice, is commissioned as a gift from the United States to the Peace Palace in The Hague in 1913.
Returning to Paris in the mid-1920s, O’Connor becomes the first foreigner to win a gold medal at the Salon des Artistes in 1928, for the marble sculpture Tristan and Iseult, now held in the Brooklyn Museum, New York. The French government makes him a Chevalier of the National Order of the Legion of Honour in 1929. In 1926 he had exhibited a plaster group, Monument aux morts de la Grande Guerre, at the Salon in Paris. The sculpture is requested in 1932 by the people of Dún Laoghaire, County Dublin, as a memorial to Christ the King, O’Connor obligingly altering the interpretation of his iconography. Imposed on a “Tree of life” are three figures of Christ, representing in turn “Desolation,” “Consolation” and “Triumph.” Cast in bronze, throughout World War II the statue remains hidden in Paris to avoid its being melted down for the valuable metal. Transported to Dún Laoghaire in 1949, due to clerical opposition to its unconventional iconography, it is not at first erected, but for years lay on its side in a garden in Rochestown Avenue until its eventual unveiling in 1978 as Triple Cross in Haigh Terrace, where it stands in Moran Park. His other chief work in Ireland is a bronze statue of Daniel O’Connell in the Bank of Ireland, College Green, Dublin. Inspired by Rodin’s famous Monument to Balzac, the work is executed at his studio in a converted stable at Leixlip Castle, County Kildare in 1931–32.
During the 1930s, O’Connor lives and works in London and Ireland, where he has residences at Glencullen House, County Wicklow, and 77 Merrion Square, Dublin. He dies at the latter address on June 9, 1941, and is buried in Glasnevin Cemetery. His own bronze relief, Le feu sacré, marks the grave. A portrait painting, executed by his son Patrick in 1940, is in Dublin City Gallery The Hugh Lane, which also holds twenty-six sculptures presented by O’Connor late in his life, and posthumously by his family. The collection includes a marble self-portrait bust of 1940, a bronze of the Lafayette cast by the gallery in 1984 from a reduced plaster model presented by the artist, and a bronze group entitled The Victim, on view in Merrion Square Park, from an uncommissioned and uncompleted war memorial conceived by O’Connor under the general title Le Débarquement. The National Gallery of Ireland has the Desolation maquette for the Triple Cross. A centenary exhibition of his work is held at Trinity College Dublin in 1974. His widow dies in Dublin in 1974.
(From: “O’Connor, Andrew” by Lawrence William White and Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
O’Byrne is the son of James Burns, a farmer, and his wife Isabella (née Arnett). His biographer states that his parents came from County Wicklow, which would imply that their name had been anglicised from the form “O’Byrne,” which their son readopts. He never marries and spends most of his life living with his unmarried sister Teresa. He has other siblings, as he is survived by four nieces and two nephews.
O’Byrne’s childhood is spent in the Balmoral district of south Belfast in a comfortable but slightly precarious middle-class Catholic environment. Although sparse in direct autobiographical references, his writings contain references to excursions around the Malone and Stranmillis areas, with particular reference to the Botanic Gardens. He is educated at St. Malachy’s College. After leaving school, he manages a spirit grocery on the Beersbridge Road in east Belfast and is active in the Sexton Debating Society, named after Thomas Sexton, then home rule MP for Belfast West, and led by Joseph Devlin, who remains a lifelong friend despite their later political differences. He also studiess music with Carl Hardebeck, acquiring an extensive knowledge of Irish folk music and becoming an accomplished singer of Irish tunes in Hardebeck’s arrangements.
O’Byrne subsequently joins the Belfast Gaelic League, becoming a leading member, though he never masters the Irish language. He moves in the literary and antiquarian circles around Francis Joseph Bigger, whose friendship becomes central to his career and self-definition. He is a regular participant in Bigger’s soirées and establishes friendships with many prominent political and cultural figures, among them Roger Casement and Alice Milligan. Although he is usually seen as a specifically northern writer, he draws extensively on a wider Irish tradition of defensively self-glorifying Catholic-nationalist antiquarianism, including the works of W. H. Grattan Flood and Archbishop of Tuam, John Healy, a major source for his later pamphlet on Saint Patrick and for the descriptions of Ulster monasteries in As I Roved Out: A Book of the North (1946).
In 1900, O’Byrne publishes a collection of verses, A Jug of Punch, of which no copies are known to survive, and in 1905 collaborates with Cahir Healy on another collection, The Lane of the Thrushes, which applies Celtic revival imagery to rural Ulster. He publishes another collection, The Grey Feet of the Wind, in 1917. The manuscript of his unpublished Collected Poems (1951) is in the Public Record Office of Northern Ireland.
In 1902, O’Byrne gives up the spirit grocery to work full time as a journalist, singer, and storyteller. He appears at a wide variety of concerts, where he cuts a striking figure in Gaelic dress with saffron kilt. He provides musical interludes at productions by the Ulster Literary Theatre, and his recitation of Eleanor Alexander’s humorous piece on the battle of Scarva inspires Harry Morrow’s celebrated satirical play Thompson in Tir-na-nOg (1912). In 1913, he founds and manages the Celtic Players, a theatre company which stages some plays of his own composition, including The Dream of Bredyeen Dara, possibly a nativity story incorporating Saint Brigid of Kildare.
During World War I O’Byrne achieves immense cross-community success with a weekly dialect column in the Unionist paper Ireland’s Saturday Night, describing the domestic activities of “Mrs. Twigglety” and her working-class friends. At the same time, he has abandoned his earlier support for Devlin’s home rule politics to embrace physical-force republicanism under the influence of Denis McCullough. During Casement’s imprisonment and trial, he carries on an intense correspondence with him, comforting him, urging him to convert to Catholicism, and sending him religious icons. Some commentators have detected homoerotic undertones in their exchanges, though this is a matter of opinion.
After the Easter Rising of 1916, O’Byrne is active in the reconstituted Irish Republican Army (IRA), and in 1919–20 he smuggles arms from Belfast to Dublin. In August 1920, he emigrates to the United States, where he goes on a six-month lecture tour to raise funds for victims of the Belfast pogroms. He allegedly raises $100,000 and funds the construction of Amcomri Street in west Belfast. He spends the next eight years in the United States as a speaker and entertainer, contributing to American Catholic publications. He develops an abiding fondness for Chicago and considers applying for American citizenship. At one point he corresponds with the film star Rudolph Valentino, who admires his verses on Italian themes.
O’Byrne returns to Belfast in September 1928 with the intention of opening a bookshop in Dublin, but this has to be abandoned after the loss of his savings in the Wall Street crash of October 1929. He settles into respectable semi-poverty in Cavendish Street, off the Falls Road, and remains a presence on the fringes of Belfast literary life. In 1930, he founds the Cathal O’Byrne Comedy Company, which performs plays of his own composition, notably the slight comedies The Returned Swank and The Burden, drawing on The Drone, by Samuel Waddell. In 1932, he sings at a concert in the Dublin Mansion House held to mark the Eucharistic Congress. He writes extensively for Catholic publications in Ireland and elsewhere, in particular the Capuchin Annual, Irish Monthly, and Irish Rosary, and publishes several pamphlets with the Catholic Truth Society (CTS). The sensibility displayed in these writings has much in common with that of Brian O’Higgins, Aodh de Blácam, Daniel Corkery and Gearoid Ó Cuinneagáin.
O’Byrne also publishes The Gaelic Source of the Brontë Genius (1932), Pilgrim in Italy (1930), and the story collection From Far Green Hills (1935), which retells gospel episodes in the style of an Irish storyteller with elements of Wildean orientalist exoticism. Pilgrim in Italy is published by the Three Candles Press of Colm Ó Lochlainn, an old friend through the Bigger circle, as is his last story collection, Ashes on the Hearth (1948), a series of slight reveries in which the narrator, wandering the back streets of Dublin, relives such resonant moments as the last days of James Clarence Mangan.
O’Byrne is best remembered, however, for As I Roved Out (1946), a collection of 128 articles on Belfast history originally published from the late 1930s in the Belfast Irish News. It displays considerable knowledge of Belfast history, drawn from lifelong reading and from conversations with Bigger, and can be seen as at once the summation of and a lament for the northern branch of the Irish revival associated with such figures as Bigger and Alice Milligan. The pieces, moving out from central Belfast to surrounding rural districts are held together by the storyteller surveying the landscape. Surveys of Belfast by journalistic flâneurs are not unprecedented, O’Byrne dismisses the mercantile and unionist establishment of Belfast as hopelessly materialistic and oppressive, casting himself and, by implication, his Catholic/nationalist readers as internal exiles forced into the side streets of history, treasuring a martyred religious faith and gazing back wistfully to the bright and fleeting hope represented by the Society of United Irishmen and the cultural revival. The book is punctuated by expressions of anger against the whole heritage of the Ulster plantation. The economic success of the planters is attributed solely to their plunder of the natives. The textile industry is discussed solely in terms of exploitation and starvation wages. Shipbuilding is dismissed with a remark that ships were built in Ulster long before the planters arrived. Finally, the history of Belfast is summed up in the confrontation between the Belfast merchant, ancestor of the unionist “establishment,” and would-be slave-trader Waddell Cunningham and the United Irishman and self-declared “Irish slave” William Putnam McCabe.
There are numerous contemptuous references to the Sabbatarianism and respectable dullness of late Victorian Belfast, contrasted with the lively artistic activities of the volunteer period. The book is reprinted three times in O’Byrne’s lifetime and is seen by nationalists as an underground classic. Its image of Belfast layered with fragmentary and hidden memories has been drawn on by authors as diverse as Ciaran Carson and Gerry Adams, and in the early twenty-first century O’Byrne is commemorated as one of the city’s significant writers. A plaque is placed on his Cavendish Street house in 2004. It is ironic that his reputation should rest on his memorialisation of Belfast, for he denounced it as “interminable miles of mean streets . . . one of the ugliest cities in the world.”
O’Byrne is believed by some, though not all, of his acquaintances to be homosexual. This view is supported by references to the descriptions of male beauty (based on Gaelic saga models) which recur in his writings and by the expressions of longing which permeate his work (which might also reflect a wider sense of loneliness or cultural displacement). His last years, 1954–57, are spent in the Nazareth Nursing Home in Ormeau Road, Belfast, where he dies on August 1, 1957, a month after suffering a stroke. His funeral is crowded, and his gravestone describes him as “singer, poet and writer who brought joy into the lives of others.”
(From: “O’Byrne, Cathal” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Francis O’Neill (Irish: Proinsias Ó Néill), an Irish-born American police officer and collector of Irish traditional music, is honoured in his native West Cork on March 11, 2000, where Garda Commissioner Patrick Byrne unveils a life-size monument of O’Neill playing a flute adjacent to the O’Neill family homestead in Trawlebane, County Cork. The monument, made by sculptor Jeanne Rynhart, and a commemorative wall are erected through the efforts of the Captain Francis O’Neill Memorial Company.
O’Neill is born in Trawlebane, near Bantry, County Cork, on August 28, 1848. At an early age he hears the music of local musicians, among them Peter Hagarty, Cormac Murphy and Timothy Dowling. At the age of 16, he becomes a cabin boy on an English merchant ship and remains a seaman until 1869. On a voyage to New York City, he meets Anna Rogers, a young emigrant whom he later marries in Bloomington, Illinois. They move to Chicago, and he becomes a Chicago policeman in 1873. He rises through the ranks quickly, eventually succeeding Joseph Kipley as the Chief of Police from 1901 to 1905. He has the rare distinction, in a time when political “pull” counts for more than competence, of being re-appointed three times to the position by two different mayors.
O’Neill is a flautist, fiddler and piper and is part of the vibrant Irish community in Chicago at the time. During his time as chief, he recruits many traditional Irish musicians into the police force, including Patrick O’Mahony, James O’Neill, Bernard Delaney, John McFadden and James Early. He also collects tunes from some of the major performers of the time including Patsy Touhey, who regularly sends him wax cylinders and visits him in Chicago. He also collects tunes from a wide variety of printed sources.
O’Neill retires from the police force in 1905. After that, he devotes much of his energy to publishing the music he has collected. His musical works include:
O’Neill’s Music of Ireland (1903), containing 1,850 pieces of music.
The Dance Music of Ireland (1907), sometimes called, “O’Neill’s 1001,” because of the number of tunes included.
400 tunes arranged for piano and violin (1915).
Waifs and Strays of Gaelic Melody (1922), 365 pieces.
Irish Folk Music: A Fascinating Hobby (1910). Appendix A contains O’Farrells Treatise and Instructions on the Irish Pipes, published 1797-1800; appendix B is Hints to Amateur Pipers by Patrick J. Touhy.
Irish Minstrels and Musicians (1913), biographies of musicians, including those from whom he collected tunes in Chicago.
In 2008, Northwestern University Press issues Chief O’Neill’s Sketchy Recollections of an Eventful Life in Chicago, a non-musical memoir edited by Ellen Skerrett and Mary Lesch, a descendant of O’Neill, with a foreword by Nicholas Carolan of the Irish Traditional Music Archive. Carolan himself writes a musical biography of O’Neill, A Harvest Saved: Francis O’Neill and Irish Music in Chicago, which is published in Ireland by Ossian in 1997. An historical biography of O’Neill, The Beat Cop: Chicago’s Chief O’Neill and the Creation of Irish Music, by Michael O’Malley, is published by the University of Chicago Press in 2022.
Chief O’Neill’s life is memorialized in the musical play Music Mad: How Chief O’Neill Saved the Soul of Ireland, which premieres in Chicago in 2012. Written by Adam B. Whiteman with the approval and acceptance of Francis O’Neill’s great-granddaughter, Mary Lesch, the show contains both dramatized content and material from O’Neill’s own writings.
Peter Hagarty and Francis O’Neill are memorialized in the song, Píobaire Bán, written by Tim O’Riordan. It is recorded by Patrick O’Sullivan on the CD One More Time and on O’Riordan’s own CD Taibhse.
In August 2013, the inaugural Chief O’Neill Traditional Music Festival takes place in Bantry, County Cork, just a few miles from Trawlebane. The 2013 event marks the centenary of the publication of O’Neill’s Irish Minstrels and Musicians. The event has taken place annually since.
Chief O’Neill’s Pub and Restaurant in Chicago’s Avondale neighborhood bears his name and displays related memorabilia.
O’Neill’s biographer, Nicholas Carolan, refers to him as “the greatest individual influence on the evolution of Irish traditional dance music in the twentieth century.”
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.
Donal Donnelly, Irish theatre and film actor, dies in Chicago, Illinois, on January 4, 2010. Perhaps best known for his work in the plays of Brian Friel, he has a long and varied career in film, on television and in the theatre. He lives in Ireland, the United Kingdom and the United States at various times, and his travels lead him to describe himself as “an itinerant Irish actor.”
Donnelly gets his start in an amateur group calling itself the Globe Theatre Players. It is organised and run by Jim Fitzgerald and Monica Brophy. He then later tours with Anew McMaster‘s Irish repertory company before moving to England where he stars with Rita Tushingham in the film The Knack …and How to Get It.
For many years, Donnelly tours a one-man performance of the writings of George Bernard Shaw, adapted and directed by Michael Voysey and entitled My Astonishing Self.
On television, Donnelly plays the lead role of Matthew Browne in the 1970s ITV sitcom Yes, Honestly, opposite Liza Goddard. But from the late 1950s onwards, he often appears in such British TV programs as The Avengers, Z-Cars and The Wednesday Play.
In 1968, Donnelly records an album of Irish songs, Take the Name of Donnelly, which is arranged, produced and conducted by Tony Meehan formerly of the Shadows.
Donnelly, who is a heavy smoker all his life, dies from cancer at the age of 78 in Chicago, Illinois, on January 4, 2010. He is survived by his wife, Patricia ‘Patsy’ Porter, a former dancer he met working on Finian’s Rainbow, and two sons, Jonathan and Damian. Their only daughter, Maryanne, predeceases him after being killed in a riding accident. A brother, Michael Donnelly, is a Fianna Fáil senator and councillor, and Lord Mayor of Dublin (1990–91).
Patrick Anthony HennessyRHA, Irish realist painter known for his highly finished still lifes, landscapes and trompe-l’œil paintings, is born in Cork, County Cork, on August 28, 1915. The hallmark of his style is his carefully observed realism and his highly finished surfaces, the result of a virtuoso painting technique.
Hennessy is the son of John Hennessy an army sergeant major from County Kerry and Bridget Hennessy from Cork. His father is killed in World War I at the Battle of Passchendaele in 1917. In 1921, when he is five years old, his mother remarries in Cork. Her second husband is a Scot named John Duncan and shortly afterwards the whole family moves to Arbroath, Scotland, where Duncan has relatives.
Hennessy is educated in Arbroath at St. Thomas RC Primary School followed by secondary education at Arbroath High School, where he begins to show an aptitude for art, leaving in 1933 with the Dux for Art and an accompanying medal. In the autumn of 1933 he enrolls at the Dundee of Jordanstone College of Art & Design, for a four-year Diploma course in Drawing and Painting under James McIntosh Patrick and Edward Baird. Here he meets Harry Robertson Craig who becomes his lifelong companion. He plays a full part in the social activities of the college, winning a fancy-dress award at the Christmas revels in 1935 and producing a ballet “Paradise Lost” the following year. He gains a First-Class Pass in each year of the course along with winning first prize in 1934 and 1936 for work done during the summer vacation. He graduates with a First-Class Distinction in 1937.
Having gained a scholarship, Hennessy continues his studies at the Dundee of Jordanstone College of Art & Design for a further year by doing a Post-Graduate Diploma course in Drawing and Painting. Within a month of gaining his Post-Graduate Diploma he holds his first joint exhibition at the Art Galleries in Arbroath. In June 1938 he is awarded the Annual Travelling Scholarship for further studies in Paris and Italy. In Paris he meets up with the artists Robert Colquhoun and Robert MacBryde, whom he had met the previous year, the three travelling south together to Marseilles towards the end of that year. On his return to Scotland he is selected for the residential summer school course at Hospitalfield House near Arbroath under James Cowie. Two of his paintings, a still life and a self-portrait, are accepted that year by the Royal Scottish Academy for their Annual Exhibition. However, by the autumn of 1939 with war looming and feeling somewhat disenchanted on his return to Scotland, he decides to return to Ireland.
On arrival in Dublin Hennessy is offered an exhibition in December 1939 at the Country Shop on St. Stephen’s Green which is opened by Mainie Jellett. This attracts favourable attention. During the early 1940s he lives at various addresses in and around Dublin with frequent trips to Cork. In 1940 he is invited to join the Society of Dublin Painters and holds regular annual exhibitions of his work there during the 1940s and early 1950s. These exhibitions are supplemented by an eclectic mix of commissions, mostly portraits which he undertakes during this period. In 1941 he has three of his paintings accepted by the Royal Hibernian Academy (RHA) for their annual exhibition. This is the beginning of a long relationship with the RHA. He exhibits there virtually every year from 1941 until 1979, the year before his death.
From the early 1940s onwards, Hennessey’s work sometimes incorporates a homosexual visual subtext. He re-unites with Harry Robertson Craig in 1946 and soon after they move to Crosshaven, County Cork, and later to Cobh. In 1947, Time magazine selects him as one of Ireland’s outstanding painters, in recognition of the important position he has then attained in the art world. In 1948 he has an exhibition at the Victor Waddington Gallery, Dublin, and that same year is elected an associate of the Royal Hibernian Academy and a full member the following year. In 1950 his painting De Profundis is selected for the Contemporary Irish Painting exhibition that tours North America. As a result of this tour, the American public and critics begin to take notice of his work. In 1951 he visits Italy, taking in Venice and Sicily and returning to Dublin with many of his canvases painted abroad. One of these paintings, Bronze Horses of St. Marks, is exhibited at the Royal Academy of Arts in London in 1954.
In 1956, a friend of Hennessy, David Hendriks, opens the Ritchie Hendriks Gallery on St. Stephen’s Green, Dublin and it is this gallery that is to be the main outlet for his work over the following 22 years. In October 1956 the Thomas Agnew Gallery in London holds an exhibition of his work comprising 38 of his paintings. However, during the winter of 1959 he becomes seriously ill with pneumonia. As a consequence of this, in the autumn of that year he and Craig decide to winter in Morocco. This is the beginning of a new era in both their lives. They would never again spend a full year in Ireland. His exhibitions at the Ritchie Hendriks Gallery had for many years enjoyed favourable reviews from the art critics but in the 1960s this changes with critics claiming his paintings to be dull, repetitive and suggest he needs to explore new areas. Despite the barrage of criticism, in 1965 the Guildhall Gallery in Chicago offers him a major exhibition. Shortly after this exhibition takes place in 1966, he becomes one of the artists on permanent display at the gallery with an annual exhibition. The North American market is extremely lucrative for him and by the end of the decade he is selling more of his work in the United States than in Ireland. In 1968 he finally moves to Tangier, Morocco on a permanent basis and in 1970 sells his studio on Raglan Lane, Dublin.
In Morocco, Hennessy paints prolifically for nine years to keep up with demand from the Hendriks Gallery and Guildhall Gallery along with the RHA. In 1975 the Guildhall Gallery mounts a highly successful Retrospective of his work. In 1978 he has his last exhibition in Dublin at the Hendriks Gallery. By this time he has moved to the Algarve, Portugal and is beginning to have health problems.
In November 1980, with his health deteriorating, Craig brings Hennessy to a hospital in London for treatment. However, on December 30, 1980 he dies from cancer. Following cremation his ashes are buried in nearby Golders Green Crematorium. He leaves his entire estate to Harry Robertson Craig with the proviso that on Craig’s death the Royal Hibernian Academy should be the beneficiary. This legacy has been used to set up the annual Hennessy Craig Scholarship for aspiring artists.
Hennessy falls into the category of painter who develops a distinctive personal style, labelled at various times in his life as a Traditional Realist, Romantic, Photo Realist, Illusionary and Surrealist. However, he always remains intrinsically himself. His subjects range from still life and interiors to landscapes and portraits.
seamus dubhghaill 