Catherine Coll is born on December 21, 1856, in Bruree, County Limerick and emigrates to New York City in 1879. She first takes a job with a wealthy French family that is living in Manhattan. This is where she allegedly meets Juan Vivion de Valera (born 1854), a Spanish sculptor who comes to the home of her employers to give music lessons to the children.
It is alleged that Vivion de Valera, always in poor health, leaves his young family behind in 1885 and travels to Colorado, hoping that perhaps the healthier air will help him out only to die within a few months.
Though Éamon de Valera’s official biography (Longford/O’Neill, Hutchinson, London, 1970) states that his parents were married at St. Patrick’s Church on September 19, 1881, the parish records show no record of any Coll–de Valera wedding either at St. Patrick’s or any church, nor were any civil records found, in the vicinity during the period from 1875 to 1887. Also, initially de Valera is not registered in his father’s name.
However, not merely is there no record of the wedding. No record exists of the existence of a “Juan Vivion de Valera” anywhere in the United States: no birth certificate, no baptismal certificate (if he was a Catholic), no marriage certificate and no death certificate. While it is possible that he was born abroad and so either had a foreign birth certificate or was not registered, the absence of a death certificate for someone stated definitely in Éamon de Valera’s family history to have died in the United States has puzzled researchers. Some scholars have questioned whether Juan Vivion de Valera ever existed.
There has been a mischievous suggestion that he was related to the French painter Achille Devéria as Éamon de Valera “was known to be particularly fond of his works.” This claim is hardly likely given that Devéria was a painter of erotica, and de Valera nothing if not a prude. It should also be noted that Devéria died in 1857, at least 20 years before Éamon de Valera was born.
It has also been alleged by some that Catherine Coll invented Juan de Valera to give her son legitimacy.
(Pictured: Irish republican leader and founder of Fianna Fail, Éamon de Valera, with his mother Catherine Coll, April 01, 1927)
Born in New York City on April 23, 1926, to Irish immigrants Margaret and Patrick Donleavy, Donleavy receives his education at various schools in the United States. He declares himself to be an atheist at the age of 14. He serves in the United States Navy during World War II. After the war ends, he moves to Ireland. In 1946 he begins studying at Trinity College, Dublin, but leaves in 1949 before taking a degree. Also in 1946, he marries Valerie Heron, and the couple has two children: Philip (born 1951) and Karen (born 1955). They divorce in 1969 and he remarries in 1970 to Mary Wilson Price. That union also ends in divorce in 1989.
Donleavy’s first published work is a short story entitled A Party on Saturday Afternoon, which appears in the Dublin literary periodical, Envoy, A Review of Literature and Art in 1950. He gains critical acclaim with his first novel, The Ginger Man (1955), which is one of the Modern Library 100 best novels. The novel, of which his friend and fellow writer Brendan Behan is the first person to read the completed manuscript, is banned in Ireland and the United States by reason of obscenity. Lead character Sebastian Dangerfield is in part based on Trinity College companion Gainor Crist, an American Navy veteran also studying at Trinity College on the G.I. Bill, whom Donleavy once describes in an interview as a “saint,” though of a Rabelaisian kind.
In 2011, it is reported that Donleavy had not fathered his two children with Mary Wilson Price. A DNA test in the early 1990s confirms that Rebecca is the daughter of brewing scion Kieran Guinness, and Rory is the son of Kieran’s older brother Finn, whom Price marries after her divorce from Donleavy. “My interest is only to look after the welfare of the child,” Donleavy tells The Times, “And after a certain stage, you can’t worry about their parentage.”
J.P. Donleavy dies of an apparent stroke in Mullingar, County Westmeath on September 11, 2017, at the aged of 91.
Burke’s parents, though in moderate circumstances, gave him a good education. He studies at first under the care of the Patrician Brothers and is afterwards sent to a private school. An attack of typhoid fever when he is fourteen years old, and the famine year of 1847 have a sobering effect. Toward the end of that year, he asks to be received into the Order of Preachers and is sent to Perugia in Italy to make his novitiate. On December 29, he is clothed there in the habit of St. Dominic and receives the name of Thomas.
Shortly afterward Burke is sent to Rome to begin his studies at the College of St. Thomas, the future Pontifical University of Saint Thomas Aquinas, where he is a student of philosophy and theology. He passes thence to the Roman convent of Santa Sabina. His superiors send him, while yet a student, as novice-master to Woodchester, the novitiate of the resuscitated English Province. He is ordained into the priesthood on March 26, 1853. On August 3, 1854, he defends publicly the theses in universâ theologiâ. He is made lector at the College of St. Thomas in 1854.
Early in the following year Burke is recalled to Ireland to found the novitiate of the Irish Province at Tallaght, near Dublin. In 1859 he preaches his first notable sermon on “Church Music.” It immediately lifts him into fame.
Elected Prior of Tallaght in 1863, Burke goes to Rome the following year as Rector of the Dominican Convent of San Clemente and attracts great attention by his preaching. He returns to Ireland in 1867 and delivers his oration on Daniel O’Connell at Glasnevin before fifty thousand people.
Bishop Leahy takes him as his theologian to the First Vatican Council in 1870, and the following year he is sent as Visitor to the Dominican convents in America. He is besieged with invitations to preach and lecture. The seats are filled hours before he appears, and his audiences overflow the churches and halls in which he lectures. In New York City he delivers the discourses in refutation of the English historian James Anthony Froude.
In an eighteen-month period Burke gives four hundred lectures, exclusive of sermons, with the proceeds amounting to nearly $400,000. His mission is a triumph, but the triumph is dearly won. When he arrives in Ireland on March 7, 1873, he is spent and broken.
During the next decade Burke preaches in Ireland, England, and Scotland. He begins the erection of the church in Tallaght in 1883, and the following May preaches a series of sermons in the new Dominican church, London. In June he returns to Tallaght in a dying condition and preaches his last sermon in the Jesuit church, Dublin, in aid of the starving children of Donegal. A few days afterwards, on July 2, 1882, he dies. He is buried in the church of Tallaght, now a memorial to him.
(Pictured: Statue of Thomas Nicholas Burke by John Francis Kavanagh by Nimmo’s Pier in Galway)
O’Riordan is the youngest of nine children, two of whom die in infancy. Her father, Terence Patrick “Terry” O’Riordan (1937–2011), is a farm labourer who is left unable to work due to brain damage caused by a motorbike accident in 1968. Her mother, Eileen, is a school caterer. She attends Laurel Hill Coláiste FCJ school in Limerick. She leaves school without any qualifications.
In 1989, brothers Mike and Noel Hogan form The Cranberry Saw Us with drummer Fergal Lawler and singer Niall Quinn, in Limerick. Less than a year later, Quinn leaves the band. The remaining band members then place an advertisement for a female singer. O’Riordan responds to the advertisement and auditions by writing lyrics and melodies to some existing demos. When she returns with a rough version of “Linger,” she is hired, and they record Nothing Left At All, a three-track EP released on tape by local record label Xeric Records, which sells 300 copies. The group changes their name to “The Cranberries.” The owner of Xeric Studios, Pearse Gilmore, becomes their manager and provides the group with studio time to complete another demo tape, which he produces. It features early versions of “Linger” and “Dreams,” which are sent to record companies throughout the United Kingdom (UK).
Are You Listening? is released in Ireland on May 4, 2007, in Europe on May 7, and in North America on May 15. In 2008, O’Riordan wins a European Border Breakers Award (EBBA) which is presented annually to recognize the success of ten emerging artists or groups who reach audiences outside their own countries with their first internationally released album in the past year. Her second album, No Baggage, featuring eleven tracks, is released in August 2009.
In January 2009, the University Philosophical Society at Trinity College, Dublin invites The Cranberries to reunite for a concert celebrating O’Riordan’s appointment as an honorary member of the Society, which leads the band members to consider reuniting for a tour and a recording session. On August 25, 2009, while promoting her solo album No Baggage in New York City on 101.9 RXP radio, O’Riordan announces the reunion of the Cranberries for a world tour. The tour begins in North America in mid-November, followed by South America in mid-January 2010 and Europe in March 2010. She remains in the band until her unexpected death.
She appears as a judge on RTÉ‘s The Voice of Ireland during the 2013–2014 season. In April 2014, O’Riordan joins and begins recording new material with the trio D.A.R.K.
On January 15, 2018, at the age of 46, while in London for a recording session, O’Riordan dies suddenly at the London Hilton on Park Lane hotel in Mayfair. The cause of death is not immediately made public. Police say it is not being treated as suspicious. The coroner’s office says the results of its inquiry would not be released until April 3 at the earliest. On April 3 the inquest is cancelled with no new date announced.
A three-day memorial in her hometown, with O’Riordan lying in repose, lasts from January 20-22 at St. Joseph’s church. On January 23, she is buried after a service at Saint Ailbe’s Roman Catholic Church, Ballybricken, County Limerick. It begins with the studio recording of “Ave Maria” as sung by O’Riordan and Luciano Pavarotti. She is buried alongside her father.
Irish Press Ltd. is officially registered on September 4, 1928, three years before the paper is first published, to create a newspaper independent of the existing media where the Independent Newspapers group is seen as supporting Cumann na nGaedheal/Fine Gael, and The Irish Times being pro-union, and with a mainly middle-class or Protestant readership.
The paper’s first issue is published on the eve of the 1931 All-Ireland Senior Hurling Championship Final between Cork and Kilkenny. Other newspapers do not cover GAA sports in any detail at the time. Margaret Pearse, the mother of Patrick and Willie Pearse, presses the button to start the printing presses. The initial aim of its publisher is to achieve a circulation of 100,000 which it quickly accomplishes. It goes on to list 200,000 subscribers at its peak.
The money to launch the Irish Press is raised in the United States during the Irish War of Independence by a bond drive to finance the First Dáil. Five million dollars is raised; however, 60 percent of this money is left in various banks in New York City. No one knows why de Valera ordered the bulk of the money to be left in New York when he returned to Ireland in late 1920.
In 1927, as a result of legal action between the Irish Free State government and de Valera, a court in New York orders that the bond holders be paid back outstanding money due to them. However, de Valera’s legal team has anticipated the ruling and has prepared for the outcome. A number of circulars are sent to the bond holders asking them to sign over their holdings to de Valera. The bond holders are paid 58 cents to the dollar. This money is then used as startup capital to launch the Irish Press. Following the 1933 Irish General Election, de Valera uses his Dáil Éireann majority to pass a measure allowing the bond holders to be paid the remaining 42 percent of the money still owed.
In December 1931, editor Frank Gallagher is prosecuted by an Irish Free State military tribunal for publishing articles alleging that Garda Síochána had mistreated the Anti-Treaty republicans of the Irish Free State government. This is facilitated by Amendment 17 of the Constitution of the Irish Free State and Gallagher is convicted and fined £50. An example of animosity from those who support Independent Newspapers and the Free State government is that the Irish Press is excluded from the special train which delivers newspapers from Dublin to the countryside. As a result, it is circulated throughout Ireland by a specially rented train.
The Irish Press sustains itself with its own resources until The Sunday Press is founded in 1949. In its heyday, the Irish Press has a number of first-rate reporters and columnists. One notable section, New Irish Writing is edited by David Marcus.
In the 1970s, the Minister for Posts and Telegraphs, Conor Cruise O’Brien, tries to use and amend The Emergency Powers Act and Section 31 of the Broadcasting Authority Act, to censor coverage of the Troubles in Northern Ireland. The Irish Press editor, Tim Pat Coogan, publishes editorials attacking the Bill. The Fine Gael/Labour Coalition Government tries to prosecute the Irish Press for its coverage of the maltreatment of republican prisoners by the Garda “Heavy Gang,” with the paper winning the case.
The Irish Press starts two further newspapers, the Evening Press (1954), and The Sunday Press. The Evening Press is aimed at an urban readership and achieves a daily circulation of 100,000. The new newspapers subsidise the Irish Press when its circulation sags. Its adoption of a tabloid format does not rescue its declining circulation.
The final issue of the Irish Press and Evening Press is on Thursday, May 25, 1995. The newspapers close because of a bizarre industrial dispute over the sacking of the group business editor, Colm Rapple. The group has not been in a healthy financial state for several years. When it eventually closes, with indebtedness of £20 million, 600 people lose their jobs.
(Pictured: Cover of last ever edition of the Irish Press from May 25, 1995)
Francis O’Neill, Irish-born American police officer and collector of Irish traditional music, is born in Tralibane, near Bantry, County Cork on August 28, 1848. His biographer Nicholas Carolan refers to him as “the greatest individual influence on the evolution of Irish traditional dance music in the twentieth century.”
At an early age O’Neill 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 vessel. On a voyage to New York, he meets Anna Rogers, a young emigrant whom he later marries in Bloomington, Illinois. The O’Neills move to Chicago, and in 1873 he becomes a policeman with the Chicago Police Department. He rises through the ranks quickly, eventually serving 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 twice 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. He dies in Chicago, at the age of 87, on January 28, 1936.
In 2000, a life-size monument of Francis O’Neill playing a flute is unveiled next to the O’Neill family homestead in Tralibane, County Cork. The monument, and a commemorative wall are erected through the efforts of the Captain Francis O’Neill Memorial Company.
In 2008, Northwestern University Press issues Captain O’Neill’s Sketchy Recollections of an Eventful Life in Chicago, a non-musical memoir edited by Ellen Skerrett and Mary Lesch, O’Neill’s great-granddaughter, 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.
In August 2013, the inaugural Chief O’Neill Traditional Music Festival takes place in Bantry, County Cork, just a few miles from Tralibane. The 2013 event marks the centenary of the publication of O’Neill’s Irish Minstrels and Musicians. The event has taken place annually since.
Cousins produces several books of poetry while in Ireland as well as acting in the first production of Cathleen ní Houlihan, under the stage name of H. Sproule, with the famous Irish revolutionary and beauty Maud Gonne in the title role. His plays are produced in the first years of the twentieth century in the Abbey Theatre, the most famous being “the Racing Lug”. After a dispute with W.B. Yeats, who objects to “too much Cousins,” the Irish National Theatre movement splits with two-thirds of the actors and writers siding with Cousins against Yeats.
Cousins also writes widely on the subject of Theosophy and in 1915 travels to India with the voyage fees paid for by Annie Besant, the President of the Theosophical Society. He spends most of the rest of his life in the sub-continent, apart from a year as Professor of English Literature at Keio University in Tokyo and another lecturing in New York. Toward the end of his life, he converts to Hinduism. At the core of Cousins’s engagement with Indian culture is a firm belief in the “shared sensibilities between Celtic and Oriental peoples.”
In his The Future PoetrySri Aurobindo acclaims Cousins’ New Ways in English Literature as “literary criticism, which is of the first order, at once discerning and suggestive, criticism which forces us both to see and think.” He also acknowledges that he learned to intuit deeper being alerted by Cousins’ criticisms of his poems. In 1920 Cousins comes to Pondicherry to meet the Mother and Sri Aurobindo.
In the early years of his career Olcott sings in minstrel shows, before studying singing in London during the 1880s. Lillian Russell plays a major role in helping make him a Broadway star. When the producer Augustus Pitou approaches him in 1893 to succeed William J. Scanlan as the leading tenor in sentimental operettas on Irish themes, Olcott accepts and performs pseudo-Irish roles for the remainder of his career.
Olcott combines the roles of tenor, actor, lyricist and composer in many productions. He writes the complete scores to Irish musicals such as Sweet Inniscara (1897), A Romance of Athlone (1899), Garrett O’Magh (1901), and Old Limerick Town (1902). For other productions he collaborates with Ernest Ball and George Graff, Jr. in works such as The Irish Artist (1894), Barry of Ballymore (1910), Macushla (1912), and The Isle o’ Dreams (1913). There are some twenty such works between 1894 and 1920.
Olcott is a good songwriter who captures the mood of his Irish American audience by combining melodic and rhythmic phrases from traditional Irish music with melancholy sentiment. Some numbers from his musicals become very popular, such as “My Wild Irish Rose” from A Romance of Athlone, “Mother Machree” from Barry of Ballymore, and “When Irish Eyes Are Smiling” from The Isle o’ Dreams. Sometimes he uses tunes from others, such as that of the title song from Macushla from Irish composer Dermot Macmurrough (pseudonym of Harold R. White) or Too Ra Loo Ra Loo Ral (Irish Lullaby) by James Royce Shannon for his production Shameen Dhu (1914).
MacNeven is born on March 21, 1763, at Ballinahown, Aughrim, County Galway. The eldest of four sons, at the age of 12 MacNeven is sent by his uncle Baron MacNeven to receive his education abroad as the Penal Laws render education impossible for Catholics in Ireland. He makes his collegiate studies in Prague. His medical studies are made in Vienna where he is a pupil of Pestel and takes his degree in 1784. He returns to Dublin in the same year to practise.
In 1807, he delivers a course of lectures on clinical medicine in the recently established College of Physicians and Surgeons. Here in 1808, he receives the appointment of professor of midwifery. In 1810, at the reorganization of the school, he becomes the professor of chemistry, and in 1816 is appointed to the chair of materia medica. In 1826 with six of his colleagues, he resigns his professorship because of a misunderstanding with the New York Board of Regents and accepts the chair of materia medica at Rutgers Medical College, a branch of the New Jersey institution of that name, established in New York as a rival to the College of Physicians and Surgeons. The school at once becomes popular because of its faculty, but after four years is closed by legislative enactment on account of interstate difficulties. The attempt to create a school independent of the regents results in a reorganization of the University of the State of New York.
MacNeven, affectionately known as “The Father of American Chemistry,” dies in New York City on July 12, 1841. He is buried on the Riker Farm in the Astoria section of Queens, New York.
One of the oldest obelisks in New York City is dedicated to him in the Trinity Church, located between Wall Street and Broadway, New York. The obelisk is opposite to another commemorated for his friend Thomas Emmet. MacNeven’s monument features a lengthy inscription in Irish, one of the oldest existent dedications of this kind in the Americas.
seamus dubhghaill 