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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 Harry Clarke, Stained-Glass Artist & Illustrator

Henry Patrick (Harry) Clarke, Irish stained-glass artist and book illustrator, dies on January 6, 1931, in Chur, Switzerland. He is a leading figure in the Irish Arts and Crafts movement.

Clarke is born in Dublin on March 17, 1889, the younger son and third child of Joshua Clarke and Brigid Clarke (née MacGonigal). Church decorator Joshua Clarke moves to Dublin from Leeds, West Yorkshire, England, in 1877 and starts a decorating business, Joshua Clarke & Sons, which later incorporates a stained-glass division. Through his work with his father, Clarke is exposed to many schools of art but Art Nouveau in particular.

Clarke is educated at the Model School in Marlborough Street, Dublin, and Belvedere College, which he leaves in 1905. After his mother’s death in 1903, he is apprenticed into his father’s studio and attends evening classes in the Metropolitan College of Art and Design. His The Consecration of St. Mel, Bishop of Longford, by St. Patrick wins the gold medal for stained-glass work in the 1910 Board of Education National Competition. At the art school in Dublin, he meets fellow artist and teacher Margaret Crilley. They marry on October 31, 1914.

Clarke moves to London to seek work as a book illustrator. Picked up by London publisher George G. Harrap and Co., he starts with two commissions which are never completed. Difficulties with these projects makes Fairy Tales by Hans Christian Andersen his first printed work, in 1916. It includes 16 colour plates and more than 24 halftone illustrations. This is followed by illustrations for an edition of Edgar Allan Poe‘s Tales of Mystery and Imagination, the second version of which, published in 1923, makes his reputation as a book illustrator. His work can be compared to that of Aubrey Beardsley, Kay Nielsen, and Edmund Dulac. His final book, Selected Poems of Algernon Charles Swinburne, is published in 1928.

Clarke also continues to work in stained-glass, producing more than 130 windows. His glass is distinguished by the finesse of its drawing and his use of rich colours. He is especially fond of deep blues. His use of heavy lines in his black-and-white book illustrations echoes his glass techniques.

Clarke’s stained-glass work includes many religious windows, including the windows of the Honan Chapel in University College Cork. He also produces much secular stained-glass such as a window illustrating John Keats‘ The Eve of St. Agnes (now in the Hugh Lane Gallery in Dublin) and the Geneva Window, (now in the Wolfsonian Museum, Miami Beach, Florida). Perhaps his most seen works are the windows he creates for Bewley’s on Dublin’s Grafton Street.

Clarke is plagued with ill health, in particular respiratory problems. He is diagnosed with tuberculosis in 1929 and goes to a sanatorium in Davos, Switzerland. Fearing that he will die abroad, he begins his journey back to Dublin in 1931, but dies on this journey on January 6, 1931, in Chur where he is buried. A headstone is erected but local law requires that the family pledge to maintain the grave 15 years after the death. This is not explained to the Clarke family and Harry Clarke’s remains are disinterred in 1946 and reburied in a communal grave.


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The Eden Quay & Sackville Place Bombings

Four paramilitary bombings take place in the centre of Dublin between November 26, 1972, and January 20, 1973. On December 1, 1972, two separate car bombs explode within a 20-minute period in Eden Quay and Sackville Place. The bombings occur at the end of what is the bloodiest year in the entire 30-year-old religious-political conflict known as the Troubles, which had erupted at the end of the 1960s.

The first of the four bombs had exploded on November 26, 1972, in the laneway connecting Burgh Quay with Leinster Market outside the rear exit door of the Film Centre Cinema.

On Friday, December 1, 1972, at 7:58 p.m., a blue Hillman Avenger, registration number OGX 782 K, explodes at 29 Eden Quay close to Liberty Hall tower block. The blast blows the Avenger apart and what remains of the vehicle is catapulted 18 feet away to rest outside an optician’s office. A wall of flame shoots up which is visible to people across the River Liffey on the opposite Burgh Quay. Six cars parked in the vicinity of the Avenger are set on fire and piled on top of each other. Most of the windows of Liberty Hall and other nearby buildings implode and the edifices are damaged. Although a number of people suffer injuries – some horrific – nobody is killed. One of the injured is a pregnant woman. Customers inside the quayside Liffey Bar, near the explosion’s epicentre, are hurt by flying glass and some have open head wounds. Following the explosion, a huge crowd of people hurries to the scene where police and ambulances have already arrived.

At exactly the same time the carbomb detonates in Eden Quay, the Belfast News Letter receives a telephone call from a man using a coin box speaking with a Belfast English type of accent. He issues a warning that two bombs will explode in Dublin. He gives the locations as Liberty Hall and Abbey Street behind Clerys department store. The newspaper immediately phones the Royal Ulster Constabulary (RUC), who in turn relay the warnings to the Garda Control Room at Dublin Castle at 8:08 p.m. A team of Gardaí are sent to investigate the area around Sackville Place and Earl Street.

A policeman runs into a CIÉ company canteen in Earl Place warning the employees inside to clear the building as there is a bomb scare. Just after the building is evacuated, at 8:16 p.m., a silver-grey Ford Escort, registration number 955 1VZ, explodes in Sackville Place forty feet away from its intersection with Marlborough Street, throwing people up in the air and in all directions, killing two CIÉ employees who moments before had left the canteen. The victims are George Bradshaw (30), a bus driver and Thomas Duffy (23), a bus conductor. Both men are married with children. Bradshaw, whose body is rendered unrecognisable by the effects of the blast, dies of severe head injuries and Duffy is killed by a flying metal fragment which lacerates his aorta. Henry Kilduff, a CIÉ bus driver, later tells Gardaí that he had seen Bradshaw and Duffy en to twenty yards away walking down Sackville Place towards Marlborough Street when the carbomb exploded beside them.

Denis Gibney, another co-worker, informs police that Bradshaw had been headed in the direction of Liberty Hall after hearing that a bomb had gone off near there. Bradshaw is found lying badly mangled beside a damaged car and is carried into a ruined shop front where a priest performs last rites. As at Eden Quay, the Sackville Place bombing causes considerable damage to buildings and vehicles near the blast’s epicentre. Sackville Place is a narrow street off O’Connell Street, Dublin’s main thoroughfare. There is further panic amongst the survivors when the petrol tank inside the burning bomb car explodes. A total of 131 people are injured in both explosions.

The two bombings have immediate political ramifications. Just as the bombs are exploding in the city centre, Dáil Éireann is debating the controversial bill to amend the Offences Against the State Act, which would enact stricter measures against the Provisional Irish Republican Army (IRA) and other paramilitary groups. As a result of the two attacks, the Dáil votes for the amendment which introduces special emergency powers to combat the IRA. In particular this means that a member of the IRA or any other paramilitary group can be sentenced on the sworn evidence of a senior Garda officer in front of three judges. Before the bombings, many commentators had actually believed the bill, considered by some to be ‘draconian,’ would be defeated. It is believed that the November 26 and December 1 bombings are executed to influence the outcome of the voting.

Thirteen days after the double-bombing, three incendiary devices are found in Dublin – one inside Clerys department store and the other two in the toilets of the Premier Bar in Sackville Place. The devices had failed to explode. According to journalists Jim Cusack and Henry McDonald, the devices were planted by the same Ulster Volunteer Force (UVF) bomb unit that was responsible for the Eden Quay and Sackville Place car bombs.

Irish Supreme Court Justice Henry Barron commissions an official inquiry into the bombings. The findings are published in a report in November 2004. The Inquiry concludes that it “seemed more likely than not” that the bombing of the Film Centre Cinema on November 26, 1972, was “carried out by Republican subversives as a response to a Government ‘crackdown’ on the IRA and their associates” and to influence the outcome of the voting in the Dáil regarding the passage of the controversial amendment to the Offences Against the State Acts. Regarding December 1, 1972, and January 20, 1973, carbombings, the Inquiry concludes that confidential information obtained by the Gardaí indicates the three attacks were perpetrated by the UVF, “but no evidence was ever found to confirm this. Nor was there any evidence to suggest the involvement of members of the security forces in the attacks.”

The Dublin City Coroner’s Court holds an inquest in February 2005 into the deaths of George Bradshaw, Thomas Duffy, and Thomas Douglas. The jury of three men and four women returns a verdict of unlawful killing by persons or persons unknown for the three dead men.

The UVF has never admitted responsibility for the bombings.

(Pictured: The scene of destruction at Sackville Place, off O’Connell Street, Dublin, following the explosion. Photograph credit: Paddy Whelan)


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Birth of Artist & Illustrator Harry Clarke

harry-clarke

Henry Patrick (Harry) Clarke, Irish stained-glass artist and book illustrator, is born in Dublin on March 17, 1889. He is a leading figure in the Irish Arts and Crafts movement.

Clarke is the younger son and third child of Joshua Clarke and Brigid Clarke (née MacGonigal). Church decorator Joshua Clarke moves to Dublin from Leeds in 1877 and starts a decorating business, Joshua Clarke & Sons, which later incorporates a stained-glass division. Through his work with his father, Clarke is exposed to many schools of art but Art Nouveau in particular.

Clarke is educated at the Model School in Marlborough Street, Dublin and Belvedere College, which he leaves in 1905. After his mother’s death in 1903, he is apprenticed into his father’s studio and attends evening classes in the Metropolitan College of Art and Design. His The Consecration of St. Mel, Bishop of Longford, by St. Patrick wins the gold medal for stained glass work in the 1910 Board of Education National Competition. At the art school in Dublin, he meets fellow artist and teacher Margaret Crilley. They marry on October 31, 1914.

Clarke moves to London to seek work as a book illustrator. Picked up by London publisher George G. Harrap and Co., he starts with two commissions which are never completed. Difficulties with these projects makes Fairy Tales by Hans Christian Andersen his first printed work, in 1916. It includes 16 colour plates and more than 24 halftone illustrations. This is followed by illustrations for an edition of Edgar Allan Poe‘s Tales of Mystery and Imagination, the second version of which, published in 1923, makes his reputation as a book illustrator. His work can be compared to that of Aubrey Beardsley, Kay Nielsen, and Edmund Dulac. His final book, Selected Poems of Algernon Charles Swinburne, is published in 1928.

Clarke also continues to work in stained-glass, producing more than 130 windows. His glass is distinguished by the finesse of its drawing and his use of rich colours. He is especially fond of deep blues. His use of heavy lines in his black-and-white book illustrations echoes his glass techniques.

Clarke’s stained-glass work includes many religious windows, including the windows of the Honan Chapel in University College Cork. He also produces much secular stained glass such as a window illustrating John Keats‘ The Eve of St. Agnes (now in the Hugh Lane Gallery in Dublin) and the Geneva Window, (now in the Wolfsonian Museum, Miami Beach, Florida). Perhaps his most seen works are the windows he creates for Bewley’s on Dublin’s Grafton Street.

Clarke is plagued with ill health, in particular respiratory problems. He is diagnosed with tuberculosis in 1929 and goes to a sanatorium in Davos, Switzerland. Fearing that he will die abroad, he begins his journey back to Dublin in 1931, but dies on this journey on January 6, 1931, in Chur where he is buried. A headstone is erected but local law requires that the family pledge to maintain the grave 15 years after the death. This is not explained to the Clarke family and Harry Clarke’s remains are disinterred in 1946 and reburied in a communal grave.