Warden is born in the townland of Ballycastle, near Newtownards in County Down, the eldest among three sons of Robert Warden, tenant farmer, and Elizabeth Warden (née Bailie). Educated locally, he studies for the Presbyterian ministry, despite being told by a clergyman that he is a “blockhead.” Entering the University of Glasgow, he wins a silver medal for his work on barometers, receives a certificate in midwifery, and graduates MA in April 1797. Returning to Ireland, he accepts a provisional license to preach from the Presbytery of Bangor, County Down, and becomes a popular preacher in the region. A patriot in politics, he joins the United Irishmen. Because of this a warrant was issued for his arrest in 1798 and he surrenders himself to the government. Banished from Ireland, he decides to emigrate to the United States and writes a pamphlet explaining his decision, A farewell address to the junto of the presbytery of Bangor, in which he accuses the church leaders of “meanness, injustice and cruelty.”
On his arrival in New York City in 1799, Warden decides to abandon his career as a clergyman and become a teacher. Interested in mathematics, science and literature, he becomes principal of the Columbia Academy in Kinderhook, New York, and is appointed in 1801 the head tutor at Kingston Academy in Ulster County, New York. Employed by General John Armstrong, Jr. to teach his children, he makes useful connections in American society. He becomes a citizen in 1804 and is asked to accompany Armstrong to France when he is appointed ambassador. Arriving in Paris in 1806, he gives strong support to Armstrong and defends him from criticism in the American press. He is appointed acting consul in 1808, and serves as head of the legation on two occasions when Armstrong is absent. Surprisingly, despite their ties of friendship, Armstrong does not recommend Warden to succeed him permanently, and advises President Thomas Jefferson that although “honest and amiable” he is “not well qualified for business.” Stung by these comments, Warden reacts angrily and his friendship with Armstrong ends acrimoniously. As a result he is swiftly recalled from Paris.
Once back in America, Warden lobbies vigorously to be appointed French consul. Supported by Jefferson, now out of office, he returns to Paris in August 1811 having convinced the government of his credentials. Befriending the new ambassador, Joel Barlow, he soon allows pride to get the better of him. Arrogantly styling himself “consul general” after Barlow dies in December 1812, he provokes much anger and is dismissed from office on June 10, 1814. He never holds a diplomatic appointment again.
Deciding to remain in France, he resumes his scholarly activities and publishes his first book, On the Origin, Nature, Progress and Influence of Consular Establishments in 1813. A friend of many of the leading French writers and intellectuals, he also offers assistance to visiting scholars from America, providing a bridge between the European and American intellectual communities. His reputation increases with the publication of Chorographical and Statistical Description of the District of Columbia (1816) and A Statistical, Political and Historical Account of the United States of North America (3 vols., 1819). The publishers of a series, L’art de vérifier les dates, commissions him to research the volumes on North and South America in 1821. These run to ten volumes and are written over thirteen years.
Beset by financial difficulties, Warden is twice forced to sell part of his vast library to raise money. He dies on October 9, 1845, in Paris, after a long illness. He never marries.
(From: “Warden, David Bailie” by Patrick M. Geoghegan, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
She is the fifth child and youngest daughter of pork butcher and grocer, John Kearney (1854–97), and his wife Kathleen Kearney (née McGuinness) (1860–1907). She has four brothers and two sisters. Her father is from Rosybrook, County Louth and her mother is from Rathmaiden, Slane, County Meath, both coming from prosperous farming families. Her father has a business on Lower Dorset Street, with a grocery, pub and a row of houses. Owing to his own poor management, by the time she is born he has a smaller business on Dolphin’s Barn Lane. Following his death in 1897, she and her sisters are placed in the Goldenbridge orphanage at Inchicore by their mother. She is there from 1898 to 1904 where she becomes an avid reader. When she leaves, she rejoins her family in a one-room tenement flat on Gloucester Street.
Her oldest sibling, Peadar Kearney, is an ardent republican who writes the lyrics to the song that becomes the Irish national anthem, ”Amhrán na bhFiann”(English: “The Soldier’s Song”). It is through him that she meets a printer’s compositor and member of the Irish Volunteers, Jack Furlong. They marry in 1916. She is an active member of Cumann na mBan, and serves as a courier to the General Post Office, Dublin and other outposts during the 1916 Easter Rising. At the same time, Furlong fights in the Jacob’s factory garrison. The couple has two sons: Roger Casement (Rory) Furlong (1917–87) and Sean Furlong (born March 1919). Sean is born six month’s after she is widowed when Furlong dies in the Spanish flu epidemic of 1918. She lives with her mother-in-law, who is also a republican and seamstress who makes Irish Volunteer uniforms. She is arrested for running an Irish Republican Army (IRA) safe house. She works for a short time for Maud Gonne as a housekeeper, where she meets W. B. Yeats and Sarah Purser. A study painted of her by Purser (above) is now in the National Gallery of Ireland entitled The Sad Girl. From 1918 to 1922 she works as a clerk in the Dublin Corporation, while also a caretaker in the Harcourt Street branch of the Irish White Cross republican aid association.
In 1922 she marries Stephen Behan, house painter, trade unionist and fellow republican. The couple has four sons and one daughter: Brendan (b. 1923), Seamus (b. 1925), Brian (b. 1926), Dominic (b. 1928), and Carmel (b. 1932). Brendan is born while his father is imprisoned during the Irish Civil War, and Behan claims that Michael Collins gives her money while she is pregnant. Stephen’s mother owns three slum tenements, so the Behans live rent-free in a one-room basement flat at 14 Russell Street. Owing to her disdain at gossiping on the house steps, she is nicknamed “Lady Behan” by her neighbours. When Stephen’s mother dies in 1936, the Behans moved to a newly built council house in Crumlin, living at 70 Kildare Road. The family finds the new house far from work and school, and the local area devoid of community.
The family experiences extreme poverty frequently, owing to Stephen’s unemployment and during the nine month long building strike of 1936. Behan attempts to claim a pension as her first husband had served in 1916, but her application is rejected. She had said the exposure to flour had effected Furlong’s lungs negatively. It is declined as she had remarried before the enactment of the Army Pensions Act 1923. Despite their circumstances, the house attracts conversation, music, books and politics. The Behan’s republican, socialist, labour activist and anti-clericalism have a strong effect on their sons, particularly Brendan and Dominic. Such is the volume of radical meetings that take place at the Behan home, it is dubbed “the Kremlin” by their neighbours, and a “madhouse” by Stephen. During The Emergency of 1939 to 1945 she fights against local shopkeepers who ignore price controls, and is labelled as “red” for her anti-Franco and pro-Stalin sympathies. Her reply to the branding of her as such is “I’m not red, I’m scarlet.”
From the 1950s onwards, Behan shares international fame with her sons Dominic and Brendan. She often travels to London to see their plays, eventually appearing on British and Irish television and cultivating her own following. She is badly injured when she is struck by a motorcycle, a day before Stephen’s death in 1967. Owing to the effect of these injuries, she moves in 1970 to the Sacred Heart Residence of the Little Sisters of the Poor, Sybil Hill, Raheny.
In 1981, she records an album When All the World Was Young. Taped conversations of her reminiscences are made into an autobiographic book, Mother of all the Behans, by her son Brian in 1984. A one-woman stage adaptation of the book by Peter Sheridan and starring Rosaleen Linehan is acclaimed in Ireland, Britain and North America.
Guevara is the eldest of five children in a middle-class family of Spanish-Irish descent and leftist leanings. Although suffering from asthma, he excels as an athlete and a scholar, completing his medical studies in 1953. He spends many of his holidays traveling in Latin America, and his observations of the great poverty of the masses contributes to his eventual conclusion that the only solution lay in violent revolution. He comes to look upon Latin America not as a collection of separate nations but as a cultural and economic entity, the liberation of which would require an intercontinental strategy.
In particular, Guevara’s worldview is changed by a nine-month journey he begins in December 1951, while on hiatus from medical school, with his friend Alberto Granado. That trip, which begins on a motorcycle they call “the Powerful” (which breaks down and is abandoned early in the journey), takes them from Argentina through Chile, Peru, Colombia, and on to Venezuela, from which Guevara travels alone on to Miami, returning to Argentina by plane. During the trip he keeps a journal that is posthumously published under his family’s guidance as The Motorcycle Diaries: Notes on a Latin American Journey (2003) and adapted to film as The Motorcycle Diaries (2004).
In 1953 Guevara goes to Guatemala, where Jacobo Árbenz heads a progressive regime that is attempting to bring about a social revolution. It is about this time he acquires his nickname, from a verbal mannerism of Argentines who punctuate their speech with the interjection “che.” The overthrow of the Árbenz regime in 1954 in a coup supported by the United StatesCentral Intelligence Agency (CIA) persuades him that the United States will always oppose progressive leftist governments. This becomes the cornerstone of his plans to bring about socialism by means of a worldwide revolution. It is in Guatemala that he becomes a dedicated Marxist.
Guevara leaves Guatemala for Mexico, where he meets the Cuban brothers Fidel and Raúl Castro, political exiles who are preparing an attempt to overthrow the dictatorship of Fulgencio Batista in Cuba. He joins Fidel Castro’s 26th of July Movement, which lands a force of 81 men (including Guevara) in the Cuban Oriente Province on December 2, 1956. Immediately detected by Batista’s army, they are almost wiped out. The few survivors, including the wounded Guevara, reach the Sierra Maestra, where they become the nucleus of a guerrilla army. The rebels slowly gain in strength, seizing weapons from Batista’s forces and winning support and new recruits. Guevara had initially come along as the force’s doctor, but he has also trained in weapons use, and he becomes one of Castro’s most-trusted aides. Indeed, the complex Guevara, though trained as a healer, also, on occasion, acts as the executioner (or orders the execution) of suspected traitors and deserters.
After Castro’s victorious troops enter Havana on January 8, 1959, Guevara serves for several months at La Cabaña prison, where he oversees the executions of individuals deemed to be enemies of the revolution. He becomes a Cuban citizen, as prominent in the newly established Marxist government as he had been in the revolutionary army, representing Cuba on many commercial missions. He also becomes well known in the West for his opposition to all forms of imperialism and neocolonialism and for his attacks on U.S. foreign policy. He serves as chief of the Industrial Department of the National Institute of Agrarian Reform, president of the National Bank of Cuba (famously demonstrating his disdain for capitalism by signing currency simply “Che”), and Minister of Industries.
During the early 1960s, Guevara defines Cuba’s policies and his own views in many speeches and writings, notably “El socialismo y el hombre en Cuba” (1965; “Man and Socialism in Cuba,” 1967), an examination of Cuba’s new brand of communism, and a highly influential manual, La guerra de guerrillas (1960; Guerrilla Warfare, 1961). The last book includes his delineation of his foco theory (foquismo), a doctrine of revolution in Latin America drawn from the experience of the Cuban Revolution and predicated on three main tenets: 1) guerrilla forces are capable of defeating the army; 2) all the conditions for making a revolution do not have to be in place to begin a revolution, because the rebellion itself can bring them about; and 3) the countryside of underdeveloped Latin America is suited for armed combat.
Guevara expounds a vision of a new socialist citizen who would work for the good of society rather than for personal profit, a notion he embodies through his own hard work. Often he sleeps in his office, and, in support of the volunteer labour program he had organized, he spends his day off working in a sugarcane field. He grows increasingly disheartened, however, as Cuba becomes a client state of the Soviet Union, and he feels betrayed by the Soviets when they remove their missiles from the island without consulting the Cuban leadership during the Cuban Missile Crisis of 1962. He begins looking to the People’s Republic of China and its leader Mao Zedong for support and as an example.
In December 1964 Guevara travels to New York City, where he condemns U.S. intervention in Cuban affairs and incursions into Cuban airspace in an address to the United Nations General Assembly. Back in Cuba, increasingly disillusioned with the direction of the Cuban social experiment and its reliance on the Soviets, he begins focusing his attention on fostering revolution elsewhere. After April 1965 he drops out of public life. His movements and whereabouts for the next two years remain secret. It is later learned that he had traveled to what is now the Democratic Republic of the Congo with other Cuban guerrilla fighters in what proved to be a futile attempt to help the Patrice Lumumba battalion, which was fighting a civil war there. During that period he resigns his ministerial position in the Cuban government and renounces his Cuban citizenship. After the failure of his efforts in the Congo, he flees first to Tanzania and then to a safe house in a village near Prague.
In the autumn of 1966 Guevara goes to Bolivia, incognito (beardless and bald), to create and lead a guerrilla group in the region of Santa Cruz. After some initial combat successes, he and his guerrilla band find themselves constantly on the run from the Bolivian army. On October 9, 1967, the group is almost annihilated by a special detachment of the Bolivian army aided by CIA advisers. Guevara, who is wounded in the attack, is captured and shot. Before his body disappears to be secretly buried, his hands are cut off. They are preserved in formaldehyde so that his fingerprints can be used to confirm his identity.
In 1995 one of Guevara’s biographers, Jon Lee Anderson, announces that he had learned that Guevara and several of his comrades had been buried in a mass grave near the town of Vallegrande in central Bolivia. In 1997 a skeleton that is believed be that of the revolutionary and the remains of his six comrades are disinterred and transported to Cuba to be interred in a massive memorial and monument in Santa Clara on the 30th anniversary of Guevara’s death. In 2007, a French and a Spanish journalist make a case that the body brought to Cuba is not actually Guevara’s. The Cuban government refutes the claim, citing scientific evidence from 1997 that, it says, proves that the remains are those of Guevara.
Guevara would live on as a powerful symbol, bigger in some ways in death than in life. He is almost always referenced simply as Che — like Elvis Presley, so popular an icon that his first name alone is identifier enough. Many on the political right condemn him as brutal, cruel, murderous, and all too willing to employ violence to reach revolutionary ends. On the other hand, his romanticized image as a revolutionary looms especially large for the generation of young leftist radicals in Western Europe and North America in the turbulent 1960s. Almost from the time of his death, his whiskered face adorns T-shirts and posters. Framed by a red-star-studded beret and long hair, his face frozen in a resolute expression, the iconic image is derived from a photo taken by Cuban photographer Alberto Korda on March 5, 1960, at a ceremony for those killed when a ship that had brought arms to Havana exploded. At first the image of Che is worn as a statement of rebellion, then as the epitome of radical chic, and, with the passage of time, as a kind of abstract logo whose original significance may even have been lost on its wearer, though for some he remains an enduring inspiration for revolutionary action.
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.
Ferguson is the son of a farmer. In 1902, he goes to work with his brother, Joe, in his bicycle and car repair business. While working there as a mechanic, he develops an interest in aviation, visiting air shows abroad. In 1904, he begins to race motorcycles.
The first person to accomplish powered flight in the UK is Alliot Verdon Roe in June 1908, who also flies an aeroplane of his own design, but this has not yet been achieved in Ireland. Ferguson begins to develop a keen interest in the mechanics of flying and travels to several air shows, including exhibitions in 1909 at Blackpool and Rheims where he takes notes of the design of early aircraft. He convinces his brother that they should attempt to build an aircraft at their Belfast workshop and, working from his notes, they work on the design of a plane, the Ferguson monoplane.
After making many changes and improvements, they transport their new aircraft by towing it behind a car through the streets of Belfast up to Hillsborough Park to make their first attempt at flight. They are at first thwarted by propeller trouble but continue to make technical alterations to the plane. After a delay of nearly a week caused by bad weather, the Ferguson monoplane finally takes off from Hillsborough on December 31, 1909. Ferguson becomes the first Irishman to fly and the first Irishman to build and fly his own aeroplane.
After falling out with his brother over the safety and future of aviation, Ferguson decides to go it alone, and in 1911 founds a company selling Maxwell, Star and Vauxhall cars and Overtime Tractors. He sees at first hand the weakness of having tractor and plough as separate articulated units, and in 1917 he devises a plough that can be rigidly attached to a Ford Model T car — the Eros, which becomes a limited success, competing with the Fordson Model F.
In 1917 Ferguson meets Charles E. Sorensen while Sorensen is in England scouting production sites for the Fordson tractor. They discuss methods of hitching the implement to the tractor to make them a unit. In 1920 and 1921 he demonstrates early versions of his three-point linkage on Fordson tractors at Cork and at Dearborn, Michigan. He and Henry Ford discuss putting the Ferguson system of hitch and implements onto Fordson tractors at the factory, but no deal is struck. At the time the hitch is mechanical. Ferguson and his team of longtime colleagues, including Willie Sands and Archie Greer, soon develop a hydraulic version, which is patented in 1926. After one or two false starts, he eventually founds the Ferguson-Sherman Inc., with Eber and George Sherman.
The new enterprise manufactures the Ferguson plough, incorporating the patented “Duplex” hitch system mainly intended for the Fordson “F” tractor. Following several more years of development, Ferguson’s new hydraulic version of the three-point linkage is first seen on his prototype “Ferguson Black” or ‘Irish tractor’ as he calls it, now in the Science Museum, South Kensington, London. A production version of the “Black” is introduced in May 1936, made at one of the David Brown Engineering Ltd. factories in Huddersfield, West Yorkshire, and designated Ferguson Model A tractor.
In October 1938, Ferguson demonstrates his latest tractor to Henry Ford at Dearborn, and they make the famous “handshake agreement.” He takes with him his latest patents covering future improvements to the Ferguson tractor and it is these that lead to the Ford-Ferguson 9N introduction to the world on June 29, 1939.
Henry Ford II, Ford’s grandson, ends the handshake agreement on June 30, 1947, following unsuccessful negotiations with Ferguson, but continues to produce a tractor, the 8N, incorporating Ferguson’s inventions, the patents on almost all of which have not yet expired, and Ferguson is left without a tractor to sell in North America. His reaction is a lawsuit demanding compensation for damage to his business and for Ford’s illegal use of his designs. The case is settled out of court in April 1952 for just over $9 million. The court case costs him about half of that and a great deal of stress and ill health.
By 1952, most of the important Ferguson patents have expired, and this allows Henry Ford II to claim that the case had not restricted Ford’s activities too much. It follows that all the world’s other tractor manufacturers can also use Ferguson’s inventions, which they do. A year later Ferguson merges with Massey-Harris Limited to become Massey-Harris-Ferguson Co., later Massey Ferguson.
Ferguson dies at his home at Stow-on-the-Wold, Gloucestershire, England, on October 25, 1960, as the result of a barbiturate overdose. The inquest is unable to conclude whether his death had been accidental or not.
A blue plaque commemorating Ferguson is mounted on the Ulster Bank building in Donegall Square, Belfast, the former site of his showroom. A granite memorial has been erected to Ferguson’s pioneering flight on the North Promenade, Newcastle, County Down, and a full-scale replica of the Ferguson monoplane and an early Ferguson tractor and plough can be seen at the Ulster Folk and Transport Museum at Cultra, County Down. Today his name lives on in the name of the Massey Ferguson company.
Siobhan Maire Fahey, Irish singer and founding member of the British girl group Bananarama, who have ten top-10 hits including the U.S. number one hit single “Venus,” is born on September 10, 1958, in County Meath. She is the first Irish-born woman to have written two number one singles on the Irish charts. She later forms the musical act Shakespears Sister, who have a UK number one hit with the 1992 single “Stay.” She joins the other original members of Bananarama for a 2017 UK tour, and, in 2018, a North America and Europe tour.
Fahey is the daughter of Helen and Joseph Fahey, both from County Tipperary. She has two younger sisters, Maire (who plays Eileen in the video of the 1982 song “Come On Eileen,” a hit for Dexys Midnight Runners) and Niamh, a producer and editor. She lives in Ireland for several years before her father joins the British Army and the family moves to England, then to Germany for several years, and back to England when she is nine years old. When she is 14, she and her family move to Harpenden, Hertfordshire, and, two years later, she leaves home for London and becomes involved in the punk scene of the late 1970s.
In 1988, frustrated with the direction she feels Bananarama is heading, Fahey leaves the group and forms Shakespears Sister. Initially, she effectively is Shakespears Sister, though American singer/songwriter Marcella Detroit later becomes an official member, making the outfit a duo. Their 1992 single “Stay” spends eight weeks at number one on the UK Singles Chart and wins the 1993 Brit Award for Best British Video. At the 1993 Ivor Novello Awards, she, Detroit, and Dave Stewart receive the award for Outstanding Contemporary Song Collection. She often appears in the band’s music videos and on-stage as a vampish glam figure. After two successful albums, tensions begin to rise between Fahey and Detroit and they split up in 1993. That year, Fahey admits herself into a psychiatric unit with severe depression.
In 1996, Fahey continues as Shakespears Sister by herself and releases the single “I Can Drive.” Intended as the first single from Shakespears Sister’s third album and her first record since her split with Marcella Detroit, the single performs disappointingly (UK number 30), which prompts London Records not to release the album. Following this, she leaves the label and, after a lengthy battle, finally obtains the rights to release the album (entitled #3) independently through her own website in 2004.
Fahey briefly re-joins Bananarama in 1998 to record a cover version of ABBA‘s “Waterloo” for the Channel 4 Eurovision special A Song for Eurotrash. She reteams with Bananarama again in 2002 for a “last ever” reunion at the band’s 20th-anniversary concert at G-A-Y in London. The trio performs “Venus” and “Waterloo.”
Fahey continues to make music into the new millennium. In 2005, she independently releases The MGA Sessions, an album recorded with frequent collaborator Sophie Muller in the mid-1990s. Her most recent single under her own name, “Bad Blood,” is released on October 17, 2005.
Fahey’s track “Bitter Pill” is partially covered by the pop band The Pussycat Dolls on their 2005 debut album PCD. The verses, which were slightly altered, and the overall sound of the song are from “Bitter Pill,” but added in is the chorus of Donna Summer‘s “Hot Stuff.” The song is renamed “Hot Stuff (I Want You Back)” and a remix is included as a B-side to their hit single “Beep.”
In 2008, Fahey appears in the Chris Ward-written and directed short film What Shall We Do with the Drunken Sailor, based on the life of artist/model Nina Hamnett, self-styled “Queen of Bohemia,” with Fahey playing the role of Hamnett opposite actor Clive Arrindel, Donny Tourette, frontman with punk band Towers of London, and Honey Bane, former vocalist of the punk band Fatal Microbes.
In 2009, Fahey decides to resurrect the Shakespears Sister name and releases a new album. Entitled Songs from the Red Room, it is released on her own record label, SF Records, and includes various singles she had released under her own name in recent years. She performs her first live show in almost 15 years as Shakespears Sister in Hoxton, London, on November 20, 2009. In 2014 she joins the line-up of Dexys Midnight Runners for some shows, including at Glastonbury Festival.
In 2017, it is announced that Fahey has joined her former Bananarama bandmates for an upcoming UK tour. This is the first live tour she has done as a member of Bananarama.
In 2019, Fahey reunites with Marcella Detroit for Shakespears Sister dates, commencing with an appearance on BBC One‘s The Graham Norton Show on May 10, 2019.
Fahey marries Dave Stewart of Eurythmics in 1987; the couple divorces in 1996. They have two sons, Samuel (born November 26, 1987) and Django James (born 1991). The two brothers form a musical band called Nightmare and the Cat. As an infant, Samuel Stewart appears in early Shakespears Sister videos for “Heroine” and “You’re History.” Django Stewart is also an actor. Samuel is currently the guitarist for the American indie rock band Lo Moon.
Ernest Bernard (Ernie) O’Malley, Irish republican revolutionary and writer, is born on May 26, 1897, in Ellison Street, Castlebar, County Mayo, the second child among nine sons and two daughters of Luke Malley, solicitor’s clerk, of County Mayo, and Marion Malley (née Kearney) of County Roscommon. Christened Ernest Bernard Malley, his adoption of variations on this name reflects his enthusiasm for a distinctively Irish identity – an enthusiasm that lay at the heart of his republican career and outlook.
In 1906, O’Malley’s family moves to Dublin, where he attends the Christian Brothers‘ School, North Richmond Street. In 1915, he begins to study medicine at University College Dublin (UCD). Having initially intended to follow his older brother into the British Army, he rather joins the Irish Volunteers in the wake of the 1916 Easter Rising, as a member of F Company, 1st Battalion, Dublin Brigade. He becomes a leading figure in the Irish Republican Army (IRA) during the Irish War of Independence which the Easter Rising helps to occasion. In 1918, having twice failed his second-year university examination, he leaves home to commit himself to the republican cause. He is initially a Volunteer organiser with the rank of second lieutenant, under the instruction of Richard Mulcahy, operating in Counties Tyrone, Offaly, Roscommon, and Donegal. His work in 1918 involves the reorganisation, or new establishment, of Volunteer groups in the localities.
In August 1918, O’Malley is sent to London by Michael Collins to buy arms. During 1919 he works as an IRA staff captain attached to General Headquarters (GHQ) in Dublin, and also trains and organises Volunteers in Counties Clare, Tipperary, and Dublin. He has a notable military record with the IRA during the Irish War of Independence and is a leading figure in attacks on Hollyford barracks in County Tipperary (May 1920), Drangan barracks in County Kilkenny (June 1920), and Rearcross barracks in County Tipperary (July 1920). His IRA days thus involve him with comrades such as Dan Breen, Séumas Robinson, and Seán Treacy. In December 1920, he is captured in County Kilkenny by Crown forces. He escapes from Dublin’s Kilmainham Gaol in February 1921, to take command of the IRA’s 2nd Southern Division, holding the rank of commandant-general.
O’Malley’s republican commitment has political roots in his conviction that Ireland should properly be fully independent of Britain, and that violence is a necessary means to achieve this end. But the causes underlying his revolutionism are layered. Family expectations of respectable, professional employment combined with a religious background and an enthusiasm for soldiering provide some of the foundations for his IRA career. As an IRA officer he enjoys professional, military expression for a visceral CatholicIrish nationalism. He also finds excitement, liberation from the frequent dullness of his life at home, defiant rebellion against his non-republican parents, an alternative to his stalled undergraduate career, and, in political and cultural Irish separatism, a decisive resolution of the profound tension between his anglocentrism and his anglophobia.
O’Malley rejects the 1921 Anglo–Irish Treaty as an unacceptable compromise. He spends the 1921 truce period training IRA officers in his divisional area, in preparation for a possible renewal of fighting. He is, in the event, to be a leading anti-treatyite in the 1922–23 Irish Civil War. In the Four Courts in 1922, at the start of the latter conflict, he is captured on the republicans’ capitulation on June 30 but then manages to escape from captivity. Subsequently he is appointed assistant Chief of Staff of the anti-Treaty IRA and also becomes part of a five-man anti-Treaty army council, along with Liam Lynch, Liam Deasy, Frank Aiken and Thomas Derrig.
O’Malley is dramatically captured and badly wounded by Free State forces in Dublin in November 1922. Imprisoned until July 1924, he is during the period of his incarceration elected as a TD for Dublin North in the 1923 Irish general election and is also a forty-one-day participant in the republican hunger strike later that year. Following release from prison, he returns home to live with his parents in Dublin. He decides not to focus his post-revolutionary energy on a political career. During 1926–28 and 1935–37 he unsuccessfully tries to complete his medical degree at UCD, but increasingly his post-1924 efforts are directed toward life as a Bohemian traveler and writer. He spends much of 1924–26 on a recuperative journey through France, Spain, and Italy; and 1928–35 traveling widely in North America. During 1929–32 he spends time in New Mexico and Mexico City. In Taos, New Mexico, he mixes with, and is influenced by, writers and artists as he works on what are to become classic autobiographies of the Irish revolution: On Another Man’s Wound (1936) and The Singing Flame (1978).
O’Malley meets Helen Hooker, daughter of Elon and Blanche Hooker, in Connecticut in 1933. They marry in London in 1935, each rejecting something of their prior lives in the process: he, his Irish republicanism, through marriage to somebody entirely unconnected with that world; she, her wealthy and respectable upbringing, through liaison with a Catholic, Irish, unemployed, bohemian ex-revolutionary. They settle first in Dublin then, from 1938 onward, primarily in County Mayo. Burrishoole Lodge, near Newport, is his main base until 1954, when he moves to Dublin. Three children are born to the O’Malleys: Cahal (1936), Etáin (1940), and Cormac (1942). Sharing enthusiasm for the arts, he and Helen enjoy several years of intimacy. However, by the mid-1940s their relationship has frayed. In 1950, Helen kidnaps (the word is used by both parents and by all three children) the couple’s elder two children and takes them to the United States. From there she divorces O’Malley in 1952. Cormac remains with his father.
O’Malley’s post-American years are devoted to a number of projects. He writes extensively, including work for The Bell and Horizon. He is involved with the film director John Ford in the making of his Irish films, including The Quiet Man (1952). He gives radio broadcasts on Mexican painting for BBC Third Programme (1947), and on his IRA adventures for Radio Éireann (1953). In the latter year he suffers a heart attack, and his remaining years are scarred by ill health. He dies of heart failure on March 25, 1957, in Howth, County Dublin, at the house of his sister Kathleen. Two days later he is given a state funeral with full military honours. He is buried in the Malley family plot in Glasnevin Cemetery, Dublin.
O’Malley exemplifies some important themes in modern Irish political and intellectual history. His powerful memoirs form part of a tradition of writing absorbedly about Ireland, while under idiosyncratic emigrant influences which lend the writing much of its distinctiveness. His aggressive republicanism exemplifies a persistent but ultimately unrealisable tradition of uncompromising IRA politics. His unflinching single-mindedness is the condition for much courageous and striking activity, but also lay behind his infliction and his suffering of much pain. Literary, intellectual, and defiantly dissident, he is the classic bohemian revolutionary. His historical significance lies in his having been both a leading Irish revolutionary and the author of compelling autobiographical accounts of those years. His memoirs are distinguished from their rivals on the shelf by subtlety, self-consciousness, and literary ambition. In particular, his preparedness to identify motives for Irish revolutionary action, beyond the terms of ostensible republican purpose, renders his writing of great value to historians. Similarly, the large body of archival material left in his name (especially, perhaps, the papers held in UCD archives, and those in the private possession of his children) leaves scholars in his debt. The most striking and evocative visual images of O’Malley are, arguably, the set of photographic portraits taken in 1929 by Edward Weston and held at the University of Arizona‘s Center for Creative Photography (CCP). These capture with precision his reflective concentration, his piercing earnestness, and his troubled intensity.
(From: “O’Malley, Ernest Bernard (‘Ernie’)” by Richard English, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: Photograph of Ernie O’Malley taken by Helen Hooker, New York City, 1934)
Shiels is born on June 24, 1881, in Milltown, Ballybrakes, near Ballymoney, County Antrim, one of seven sons of Robert Shiels, a railway worker, and Eliza Shiels (née Sweeney), who also has one daughter. The family soon moves to Castle Street, Ballymoney, where he attends the local Roman Catholicnational school. His elder brothers emigrate to the United States when young. With there being no chance of further schooling even if he wanted it, he leaves Ireland when he is 19 years old. He works as a casual labourer in many places in western North America: as a farmworker and miner in Idaho and Montana, and as a lumber camp worker in British Columbia, Canada. In 1904 he is employed by the Canadian Pacific Railway to supervise a gang of workers who are building a stretch of railway in Saskatchewan. In a serious accident, he is badly injured. Despite surgery on his back, he is never able to walk again, and he receives a disability pension from the railway company.
After a long convalescence in Canada, Shiels returns to his mother’s house in Ballymoney around 1908. He sets up in business in Main Street as a shipping agent and as an agent for the Canadian Pacific Railway, taking bookings from intending emigrants. He is encouraged by his parish priest, Fr. John Hasson, by a local solicitor, Jack Pinkerton, and by James Pettigrew, a teacher, to write short stories. To try to preserve anonymity in a small community, he at first uses the pseudonym “George Morshiel,” and is successful with Western stories and other short fiction. His friends urge him to try writing dramas, and in 1918 Away from the Moss is produced by the Ulster Literary Theatre in Belfast.
After further success there with two short plays in which Shiels is learning his craft, the Abbey Theatre in Dublin accepts a one-act play, Bedmates, which is performed in January 1921. With great regularity for the next twenty years, he writes twenty-two plays for the Abbey Theatre. His work forms the basis of the repertoire in the 1920s and 1930s and attracts large audiences. Plays such as The New Gossoon (1930) provide Dublin theatregoers with entertainment, but also help form the style of acting and production which for many years characterises the Abbey and its actors. Three of his plays, Paul Twyning (1922), Professor Tim (1925) and The New Gossoon, are later performed in theatres in London and are also published in a 1945 volume, which is twice reprinted. Professor Tim, produced by the touring Abbey Theatre, receives enthusiastic reviews in Philadelphia, and The New Gossoon appears successfully on Broadway in New York City in 1932, 1934, and 1937.
Shiels’s earlier work is perhaps easiest for audiences to enjoy. Comedies such as Moodie in Manitoba (1918) portray characters so realistic that north Antrim people believe with some alarm that it might be possible to identify who Shiels had in mind when he created them, and he is at first somewhat less than popular in Ballymoney. He superbly reproduces local language and thoroughly understands the local way of life. Plays he writes late in his career are first performed by the Group Theatre in Belfast, and in these productions (and in the radio versions broadcast by the BBC) his work becomes widely known, almost beloved, in the north of Ireland. During the first half of the twentieth century amateur drama groups throughout Ireland are much more important in local life than they have been since the advent of television. Probably all such societies have at some time staged a Shiels play, and this tradition continues. His plays contain amusing dialogue, carefully crafted plots, and usually more or less happy endings.
However, Shiels’s later works, notably The Passing Day (1936), first broadcast as a radio play, and The Rugged Path (1940), which breaks all records at the Abbey Theatre in a run of three months, tackle darker subject matter and feature characters still less sympathetic even than the rogues and hypocrites of the earlier work. In The Rugged Path and its sequel, The Summit (1941), he explores the moral crisis facing Ireland after the political changes of the 1920s. One critic sees in it an allegory for the contemporary struggle against Adolf Hitler. His view of life in the small towns and farms of Ireland is never in the slightest rosy-tinted, but in the symbolism of The Passing Day, he achieves “bitter intensity” (The Irish Times review, quoted by Casey).
Shiels’s modesty leads him to refuse an honorary doctorate from Queen’s University Belfast (QUB), in 1931. He is reticent about his experiences and beliefs and does little to foster his own reputation. In one early interview he expresses the belief that Ulster theatre needs dramatic material that reflects the psychology and setting of the region. His own work, at its best, achieves this and more. The very qualities which make his work popular in the north of Ireland permit some metropolitan literary critics to dismiss his plays as “kitchen comedies.” However, with the passage of time, his importance as a chronicler of a vanishing way of life can be set alongside the recognition due to him as a prolific and gifted dramatist.
Shiels suffers from a lengthy illness, and though he undergoes an operation in Ballymoney in 1949, dies soon afterwards at his house, New Lodge, in Carnlough, County Antrim, on September 19, 1949. He is buried in the graveyard of Our Lady and St. Patrick in Ballymoney. In the month that he dies, the Group Theatre and Garvagh Young Farmers’ Club are both rehearsing Shiels plays, and there have since been many productions of his plays in the north and elsewhere. Ballymoney Drama Festival presents a portrait of Shiels to the Abbey Theatre, and a new production of The Passing Day is staged there to celebrate his centenary in 1981.
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 