Patrick J. Killoran, Irish traditional fiddle player, bandleader and recording artist is born on September 21, 1903, in Emlaghgissan (also spelled “Emlagation”), a townland in the civil parish of Emlaghfad near the town of Ballymote, County Sligo. He is regarded, along with James Morrison and Michael Coleman, as one of the finest exponents of the south Sligo fiddle style in the “golden age” of the ethnic recording industry of the 1920s and 1930s.
Killoran’s father Patrick plays the flute and his mother Mary the concertina, but he is also influenced by local fiddle master Philip O’Beirne, who had earlier tutored Michael Coleman. As a teenager, he is a volunteer with the Ballymote-based 3rd Battalion of the south Sligo Brigade of the Irish Republican Army (IRA) during the Irish War of Independence.
In 1925, Killoran emigrates to New York City, arriving on May 19 on the Cunard liner Scythia. Within a few months, he officially declares his intention to become a citizen of the United States, listing his address as 227 East 126th Street in east Harlem and his occupation as “laborer.” He later lodges with fellow Sligo fiddler James Morrison in a Columbus Avenue apartment on Manhattan‘s Upper West Side. A 1927 newspaper ad for “Morrison’s Orchestra” offers “Irish music by P. Killoran and J. Morrison, celebrated violinists,” giving 507 West 133d Street in west Harlem as the contact address. He soon launches his own career as a soloist and bandleader. A publicity photo of his quartet c. 1928 includes button accordionist D. Casey, tenor banjo player Richard Curran and second fiddler Denis Murphy. By the next year, he is performing on a weekly radio program sponsored by the Pride of Erin Ballrooms, located at the corner of Bedford and Atlantic Avenues in Brooklyn. He also tries another side occupation as his 1931 naturalization petition lists his occupation as “Music store owner.”
At the Pride of Erin, and later at the Sligo Ballroom at 125th Street and St. Nicholas Avenue in Harlem, Killoran’s “Irish Orchestra” provides music for Irish dancing, while Jack Healy, another Ballymote native, leads a group for “American” dancing. Healy, as a singer and tenor saxophone player, also performs and records with Killoran’s group, the membership of which over the course of the 1930s includes fiddler Paddy Sweeney, another Sligo native, fiddle and clarinet player Paul Ryan, Ryan’s brother Jim on the C Melody saxophone, pianists Eileen O’Shea, Edmund Tucker and Jim McGinn, drummer Mickey Murphy, button accordionists Tommy Flanagan and William McElligott and tenor banjo/tenor guitar player Michael “Whitey” Andrews.
Killoran’s band is variously billed as his “Pride of Erin Orchestra,” “Radio Dance Orchestra,” “Sligo Ballroom Orchestra,” “Lakes of Sligo Orchestra” and “Irish Barn Dance Boys.” The group is a popular choice for county association functions, particularly those of Sligo and Roscommon. In 1932, he leads a band that accompanies CardinalWilliam Henry O’Connell of Boston to the Eucharistic Congress in Ireland and briefly bills his group as the “Pride of Erin Eucharistic Congress Orchestra.” He regularly performs at Irish beach resorts on the Rockaway peninsula and in East Durham in the Catskill Mountains.
Uniquely among the major New York Irish musicians of the pre-World War II era, Killoran continues his musical career through the 1950s. He issues new recordings, including duets with flute player Mike Flynn and some fiddle-and-viola sides with Paul Ryan, and leads an active dance band. Age and illness eventually force him to retire, and in 1962 he turns over leadership of the band, a fixture at the City Center Ballroom, to button accordionist Joe Madden, father of Cherish the Ladies flute player Joanie Madden.
In 1956, Killoran is a co-founder of the Dublin Recording Company, later better known simply as Dublin Records, which is organized to record new Irish discs in New York.
Killoran is a founding member of the Emerald Irish Musicians Benevolent Society, a group that stages “Night of Shamrocks” concerts to raise money for the benefit of sick and deceased Irish musicians in New York. He is also a member of the Irish Musicians Association of America, and a New York branch of that organization, which later merges with Comhaltas Ceoltóirí Eireann, is named for him.
In addition to the 1932 trip to the Eucharistic Congress, Killoran returns to Ireland at least twice. In 1949, he plays on a Radio Éireann program hosted by piper and folklorist Séamus Ennis. Some selections from that broadcast are recorded on a private disc and are later released on CD. On a 1960 visit, he visits Sligo and Clare and performs at a concert in County Longford.
Killoran is married twice. His first wife, Anna Gorman, a native of County Roscommon, dies in 1935. His second wife is Betty (Bridget) Hayes, an immigrant from Shanaway West, County Clare, who survives him. He dies in New York City on April 24, 1965.
A “Paddy Killoran Traditional Festival” is celebrated in the third week of June in Ballymote, where a monument in Killoran’s honor is erected in 2012.
Living in the nationalist Beechmount neighbourhood of the Falls, he stands for the Falls as a candidate for the Dock Labour Party in a city council by-election in 1956, but loses to Paddy Devlin of the Irish Labour Party, who later becomes his close ally. In 1958, he is elected to Belfast City Council as a member of the Irish Labour Party.
Many sympathetic British Members of Parliament (MPs) are present at a civil rights march in Derry on October 5, 1968, when Fitt and others are beaten by the Royal Ulster Constabulary. Fitt also supports the 1969 candidacy of Bernadette Devlin in the Mid Ulster by-election who runs as an anti-abstentionist ‘Unity‘ candidate. Devlin’s success greatly increases the authority of Fitt in the eyes of many British commentators, particularly as it produces a second voice on the floor of the British House of Commons who challenge the Unionist viewpoint at a time when Harold Wilson and other British ministers are beginning to take notice.
In August 1970, Fitt becomes the first leader of a coalition of civil rights and nationalist leaders who create the Social Democratic and Labour Party (SDLP). By this time Northern Ireland is charging headlong towards near-civil war and the majority of unionists remain hostile.
After the collapse of Stormont in 1972 and the establishment of the Northern Ireland Assembly in 1973 Fitt becomes deputy chief executive of the short-lived Power-Sharing Executive created by the Sunningdale Agreement.
Fitt becomes increasingly detached from both his own party and also becomes more outspoken in his condemnation of the Provisional Irish Republican Army. He becomes a target for republican sympathisers in 1976 when they attack his home. He becomes disillusioned with the handling of Northern Ireland by the British government. In 1979, he abstains from a crucial vote in the House of Commons which brings down the Labour government, citing the way that the government had failed to help the nationalist population and tried to form a deal with the Ulster Unionist Party.
In 1979, Fitt is replaced by John Hume as leader of the SDLP and he leaves the party altogether after he agrees to constitutional talks with British Secretary of StateHumphrey Atkins without any provision for an ‘Irish dimension’ and then sees his decision overturned by the SDLP party conference. Like Paddy Devlin before him, he claims the SDLP has ceased to be a socialist force.
In 1981, he opposes the hunger strikes in the Maze prison in Belfast. His seat in Westminster is targeted by Sinn Féin as well as by the SDLP. In June 1983, he loses his seat in Belfast West to Gerry Adams, in part due to competition from an SDLP candidate. The following month, on October 14, 1983, he is created a UK life peer as Baron Fitt, of Bell’s Hill in County Down. His Belfast home is firebombed a month later and he moves to London.
Gerry Fitt dies in London on August 26, 2005, at the age of 79, after a long history of heart disease.
Geraldine Dorothy Cummins, spiritualist medium, novelist and playwright, dies in Cork, County Cork, on August 24, 1969. She begins her career as a creative writer, but increasingly concentrates on mediumship and “channelled” writings, mostly about the lives of Jesus and Saint Paul, though she also publishes on a range of other topics. Her novels and plays typically document Irish life in a naturalist manner, often exploring the pathos of everyday life.
Cummins is born in Cork, on January 24, 1890, the daughter of the physician Ashley Cummins, professor of medicine at the National University of Ireland and sister to Mary Hearn and Iris Cummins. In her youth she is an athlete, becoming a member of the Irish Women’s International Hockey Team. She is also active as a suffragette. Her desire to follow her father in a medical career is vetoed by her mother, so she begins a literary career as a journalist and creative writer. From 1913 to 1917 she writes three plays for the Abbey Theatre in collaboration with Suzanne R. Day, the most successful of which is the comedy Fox and Geese (1917). She publishes the novel The Land they Loved in 1919, a naturalistic study of working class Irish life.
As she concentrates on mediumship, Cummins’s literary work tails off. However, she continues to publish creative literature in her later years. Her solo-written play, Till Yesterday Comes Again, is produced by the Chanticleer Theatre, London, in 1938. She also publishes another novel, Fires of Beltane (1936) and a short-story collection Variety Show (1959).
Literary critic Alexander G. Gonzalez says that Cummins work tries to encompass the full range of Irish social life, from the aristocracy to the lower classes. In this respect she is influenced by Somerville and Ross. Gonzalez considers her short story The Tragedy of Eight Pence to be the “finest” of her writings, the tale of a “happily married woman trying to shield her ill husband from the knowledge that his death will leave her penniless.”
Cummins begins to work as a medium following prompting from Hester Dowden and E. B. Gibbes. She receives alleged messages from her spirit-guide “Astor” and is an exponent of automatic writing. Her books are based on these communications. In 1928 she publishes The Scripts of Cleophas, which provides channelled material on early Christian history complementing Acts of the Apostles and St. Paul’s writings, supposed to have been communicated by the spirit of Cleophas, one of Paul’s followers. This is later supplemented by Paul in Athens (1930) and The Great Days of Ephesus (1933).
Cummins’s next work describes human progress through spiritual enlightenment. The Road to Immortality (1932) provides a glowing vision of the afterlife. Its contents are purportedly communicated from the “other side” by the psychologist and psychic researcher Frederic W. H. Myers. Unseen Adventures (1951) is a spiritual autobiography. She also publishes several books of spiritually-derived knowledge about details of the life of Jesus.
During World War II Cummins allegedly works as a British agent, using her personal contacts to identify pro-Nazi factions within the Irish Republican movement. She also employs her psychic activities to support the Allied cause, sending channelled messages from sympathetic spirits to Allied leaders to support the war effort. This includes information from Theodore Roosevelt, Arthur Balfour and Sara Roosevelt, Franklin D. Roosevelt‘s mother.
In the 1940s and 50s Cummins works with psychiatrists to develop a model for using spiritualism to treat mental illness, ideas she explores in Perceptive Healing (1945) and Healing the Mind (1957). She collaborates with a psychiatrist who uses the pseudonym R. Connell on both books. Their method is for her to “read” an object associated with the patient and thus identify either childhood traumas or experiences of ancestors which have created the problem. This includes treating a patient who is concerned about his homosexual desires by discovering that this derives from the fact that his Huguenot ancestors were humiliated by Catholics in the 18th century.
Cummins’s biography of writer and spiritualist Edith Somerville is published in 1952. She also writes The Fate of Colonel Fawcett (1955) which offers her psychic insights into the disappearance of the explorer Percy Fawcett in Brazil in 1925. She claims she had received psychic messages from Fawcett in 1936. He was still alive at that time, informing her that he had found relics of Atlantis in the jungle, but was ill. In 1948 she has a message from Fawcett’s spirit reporting his death. Her last book is an account of her conversations with the spirit of Winifred Coombe Tennant, Swan on a Black Sea; a Study in Automatic Writing; the Cummins-Willett Scripts (1965).
The automatic writing and alleged channeled material from Cummins have been examined and have been described by some psychical researchers to be the product of her own subconscious. For example, Harry Price, who studies various mental mediums including Cummins, writes that “there is no question that most of the automatic writing which has been published is the product of the subconscious.” Paranormal researcher Hilary Evans notes that unlike most spiritualists, Cummins does not accept the phenomena at face value and questions the source of the material.
According to the psychical researcher Eric Dingwall information published in Cummins’ scripts allegedly from Winifred Coombe Tennant are discovered to be erroneous. Biographer Rodger Anderson writes that although spiritualists consider Cummins completely honest “some suspected that she occasionally augmented her store of knowledge about deceased persons by normal means if by doing so she could bring comfort to the bereaved.”
Cummins’ book The Fate of Colonel Fawcett (1955), contains her automatist scripts allegedly from the spirit of Colonel Fawcett. Spiritualists claim the scripts are evidence for survival. However, the psychical researcher Simeon Edmunds notes that before his disappearance Fawcett had written articles for The Occult Review. Cummins also contributes articles to the same review and Edmunds suggests it is likely she had read the work of Fawcett. Edmunds concludes the scripts are a case of subliminal memory and unconscious dramatization.
Other researchers such as Mary Rose Barrington have suspected fraud as Cummins had long standing connections with friends and families of the deceased that she claimed to have contacted and could have easily obtained information by natural means. The classical scholar E. R. Dodds writes that Cummins worked as a cataloguer at the National Library of Ireland and could have taken information from various books that would appear in her automatic writings about ancient history. Her writings were heavily influenced by literature and religious texts. Dodds also studies her book Swan on a Black Sea which was supposed to be an account of spirit conversation but writes there is evidence suggestive of fraud as Cummins had received some of the information by natural means.
Brooke is born on June 9, 1888, at Colebrooke Park, his family’s neo-Classicalancestral seat on what is then the several-thousand-acre Colebrooke Estate, just outside Brookeborough, a village near Lisnaskea in County Fermanagh. He is the eldest son of Sir Arthur Douglas Brooke, 4th Baronet, whom he succeeds as 5th Baronet when his father dies in 1907. His mother is Gertrude Isabella Batson. He is a nephew of Field MarshalAlan Brooke, 1st Viscount Alanbrooke, Chief of the Imperial General Staff (CIGS) during World War II, who is only five years his senior. His sister Sheelah marries Sir Henry Mulholland, Speaker of the Stormont House of Commons and son of Lord Dunleath. He is educated for five years at St. George’s School in Pau, France, and then at Winchester College (1901–05).
Brooke is a very active Ulster Unionist Party member and ally of Edward Carson. He founds his own paramilitary group, Brooke’s Fermanagh Vigilance, from men returning from the war front in 1918. Although the umbrella Ulster Volunteers had been quiescent during the war, it is not defunct. It re-emerges strongly in 1920, subsuming groups like Brooke’s.
In 1920, having reached the rank of captain, Brooke leaves the British Army to farm the Colebrooke Estate, the family estate in west Ulster, at which point he turns toward a career in politics.
Brooke has a very long political career. When he resigns the Premiership of Northern Ireland in March 1963, he is Northern Ireland’s longest-serving prime minister, having held office for two months short of 20 years. He also establishes a United Kingdom record by holding government office continuously for 33 years.
On May 2, 1943, Brooke succeeds John M. Andrews as Prime Minister of Northern Ireland. In 1952, while Prime Minister, was raised to the peerage as Viscount Brookeborough, the title taken from the village named after the Brookes. Although a peer, he retained his seat in the House of Commons at Stormont and remained Prime Minister for another decade.
As the Northern Ireland economy begins to de-industrialise in the mid-1950s, leading to high unemployment amongst the Protestant working classes, Brooke faces increasing disenchantment amongst UUP backbenchers for what is regarded as his indifferent and ineffectual approach to mounting economic problems. As this disenchantment grows, British civil servants and some members of the UUP combine to exert discreet and ultimately effective pressure on Brooke to resign to make way for Captain Terence O’Neill, who is Minister of Finance.
Brooke is noted for his casual style toward his ministerial duties. Terence O’Neill later writes of him, “he was good company and a good raconteur, and those who met him imagined that he was relaxing away from his desk. However, they did not realise that there was no desk.”
In his retirement Brooke develops commercial interests as chairman of Carreras (Northern Ireland), a director of Devenish Trade, and president of the Northern Ireland Institute of Directors. He is also made an honorary LL.D. of Queen’s University Belfast.
From 1970 to 1973, years in which the Stormont institution comes under its greatest strain and eventually crumbles, Brooke makes only occasional forays into political life. In 1972, he appears next to William Craig MP on the balcony of Parliament Buildings at Stormont, a diminutive figure beside the leader of the Vanguard Unionist Progressive Party (VUPP) who is rallying right-wing Unionists against the Government of Northern Ireland. He opposes the Westminsterwhite paper on the future of Northern Ireland and causes some embarrassment to his son, Captain John Brooke, the UUP Chief Whip and an ally of Brian Faulkner, by speaking against the Faulkner ministry‘s proposals.
Brooke dies at his home, Colebrooke Park, on the Colebrooke Estate, on August 18, 1973. His remains are cremated at Roselawn Cemetery, East Belfast, three days later, and, in accordance with his wishes, his ashes are scattered on the demesne surrounding his beloved Colebrooke Park.
Henry is born Emily Grace Mitchell at Kirktown St. Fergus, near Peterhead, Aberdeenshire, Scotland, on February 10, 1868. She is the ninth of ten children of the Rev. John Mitchell and Jane Mitchell (née Gardner). Lord Byron is a cousin of her maternal grandmother. She is educated at home, spending time at the family’s home in Piccadilly, where she experiences London society. After the death of her father, and the reduced circumstances she finds herself in, she leaves home in 1895 to pursue a career as an artist. The first record of her work being exhibited is with the Aberdeen Artists Society in 1896 and 1898. These paintings have not been traced since. In 1899, she leaves Scotland for the continent, visiting Holland and Belgium, studying at the Blanc‐Guerrins Academy in Brussels. She goes on to attend the Delacluze Academy in Paris. While in Paris, she meets Paul Henry, an Irish artist. The couple marries in September 1903 in London.
The Henrys live at a few different residences outside London until 1910. A small number of her works are known from this time, such as The Girl in White, which is in the collections of the Hugh Lane Gallery. This piece shows the influence of fellow artist James Abbott McNeill Whistler, whom she meets in Paris through her husband. The couple travels to Achill Island for the first time in 1910, intending to stay two-weeks, but going on to live there until 1919. During this time, she paints numerous night scenes, including Achill Cottages (Hugh Lane Gallery). One of her well-known works is Top of the Hill, on display in the Limerick City Gallery of Art, which shows a group of island women. The period spent on the island places a strain on the Henrys marriage, as she is not as happy living there.
The couple returns to Dublin in 1919 and are founding members of the Society of Dublin Painters in 1920 alongside Letitia Marion Hamilton, Mary Swanzy, and Jack Butler Yeats. The Society offers an outlet for younger Irish artists to exhibit. Five of Henry’s works are featured at the Irish Exhibition in Paris in 1922, and at a similar exhibition in Brussels in 1930.
Around 1920, Henry has a romantic association with Stephen Gwynn who is an important political, cultural and literary figure from the lost world of late-nineteenth and early-twentieth century Ireland. During this period, she travels with Gwynn in France and Italy and later paints a number of portraits of him. Invariably, during this time, the Henrys’ marriage continues to have problems, with the couple breaking up in 1924. Her affair with Gwynn, who she depicts in two known oil paintings including The Orange Man (Limerick City Gallery of Art) and Portrait of a Man, which depicts a much more distinguished Gwynn in later life, contribute to the breakup. The couple legally separates in 1930.
Henry develops her own style through the 1920s and 1930s, spending time in France and Italy. From 1924 to 1925, she studies with André Lhote, a cubist painter who also works with Mainie Jellett, Evie Hone, and Mary Swanzy. She goes on to display little of his influence in her work. She paints in Venice and in the environs of the Italian lakes, painting with the fauvist style, with free brushwork and vibrant colours. She also experiments with expressionism, which can be seen in Spring in Winter. Upon the outbreak of World War II, she returns to Ireland. She does not have a permanent residence during this period, instead stayed with friends or living in hotels. She also experiences periods of melancholy during these later years, though she continues to exhibit. Her work is regularly displayed at the Royal Hibernian Academy (RHA), and she has solo shows at the Waddington and Dawson galleries. She is made an honorary member of the RHA in 1949.
Henry dies in Dublin on August 11, 1953, and is buried at Mount Jerome Cemetery. During her career, and for a number of years after her death, she is largely overshadowed by her husband, sometimes being referred to as “Mrs. Paul Henry.” She is even omitted from Paul Henry’s two-volume autobiography. Her body of work is re-examined in the 1970s, which leads to wider public recognition and her inclusion in a number of exhibitions such as The Paintings of Paul and Grace Henry at the Hugh Lane Gallery in 1991. She is deemed to be a much bolder painter than her husband, incorporating more elements of the modernist movement, as evident in The Long Grey Road of Disting (1915). Her popularity has been growing since her rediscovery.
(Pictured: “Road to Destiny,” oil on board by Grace Henry)
John Havelock Nelson, composer and conductor, dies in Belfast, Northern Ireland, on August 5, 1996. He makes an immense contribution to the development of the cultural life of the province – and beyond – over the second half of the 20th century.
Nelson is born of middle-class parents in Cork, County Cork, on May 25, 1917, his distinctive forename being taken from a cousin of his mother who lost his life in World War I. Despite his birthplace, both his parents’ ancestral roots lie firmly in Northern Ireland.
Nelson’s father Robert comes from Larne, County Antrim, where he was raised. However, the early years of his mother Grace are quite eventful. She is born in the Belgian Congo on account of her father’s placement there as a missionary in the latter years of the 19th century (his family hail from Tobermore, County Londonderry). She is eventually sent home at an early age, due to the threat of malaria, and is raised in Belfast by an aunt and uncle who have no family of their own. It appears that Nelson inherits his musical genes from both parents. Although his father is trained as a chartered accountant, he is a capable baritone singer who studies in the early 1900s with C. J. Brennan, later to become the organist and choirmaster at St. Anne’s Cathedral, Belfast). Meanwhile, his mother shows talent as a pianist during her upbringing in her adopted city and by her early 20s is offering her services as an accompanist.
By chance, this is how his parents meet. They marry in 1916, shortly before their arrival in Cork where Robert takes up his first accountancy job. Within a month of Nelson’s birth, the family moves to Dublin where his father has secured a better post, eventually settling near Dún Laoghaire, just south of the capital city. From the age of five, now the eldest of four brothers born a year apart, he starts piano lessons and makes such rapid progress that, by the age of ten, he is able to play in a piano trio and to accompany his father in informal concerts. By the age of twelve, he wins a scholarship to the Royal Irish Academy of Music, Dublin, giving him the opportunity to study piano and theory and helping him to establish his core musical skills. Soon he adds conducting and organ lessons to his study programme.
As far as Nelson’s general education is concerned, this is completed at St. Andrew’s College, Dublin, where he excels in English, history and the sciences. By his late teens, he is determined to pursue a professional career as a musician. His father, however, exercises caution in this regard, advising him to take a science degree in the first instance. Consequently, he gains entry to Trinity College Dublin (TCD) in 1935 to read Natural Science, then makes a decision the following year to change to Medical Science. By 1939, he completes his primary degree in Medical Science, leading to doctoral research in bacteriology. At the same time, he begins a 4-year music degree at TCD while remaining musically active outside the university in relation to his piano studies, and also co-founds and conducts the Dublin Orchestral Players, a body that continues to provide an invaluable platform for amateur performers. He completes his university studies in 1943, graduating with a PhD in Medical Science and a primary Music degree. Seven years later he also completes a doctorate in Music from the same university.
His university career now behind him, like many fellow Irishmen, Nelson feels a desire to contribute to the World War II effort and applies for a commission in the medical branch of the Royal Air Force (RAF) in 1944. Eventually, he is called up and located at RAF Halton, Buckinghamshire, where he remains until after the end of the War, only returning to Dublin for his marriage in 1945. By nature, an outgoing, sociable person, he wastes no time in immersing himself in music-making activities when off duty, both inside and outside his RAF base. It is during this immediate post-war period that he becomes convinced that he wants to pursue a career in music. By chance, his attention is drawn to a BBC advertisement regarding a number of regional posts for staff accompanists, including Northern Ireland. His application is successful, and he reports for duty at BBC Northern Ireland in March 1947, where he remains for the next 30 years. In his new post, his main role is to play and accompany on the piano. To this end, he becomes involved in a number of new radio programmes, notably Children’s Hour. Elsewhere, he composes and arranges music for adult dramas and serials, the best known being The McCooeys. Another responsibility is to assist in auditioning local musicians for broadcasting opportunities, a process that uncovers much local talent, including a young James Galway. While his activities revolve around radio work in the 1950s, the next 20 years embrace opportunities arising from the new medium of television, including the popular Songs of Praise which involve him as conductor.
Nelson’s decision to retire from the BBC in 1977 enables him to focus fully on his free-lance career which had been running parallel, up until then, with his broadcasting work. In this capacity he is able to give full rein to his diverse range of musical skills as choral and orchestral conductor, chamber musician, music-festival adjudicator, composer and arranger. One should not overlook his role as animateur in founding the Studio Symphony Orchestra (1947) and the Studio Opera Group (1950). Both became integral parts of the local cultural scene during Nelson’s lifetime. His contribution as a festival adjudicator is an important activity, notably when undertaking tours abroad, including to Canada and the Caribbean. His visits to the latter area lead him to form the Trinidad and Tobago Opera Company shortly after his BBC retirement. In his busy lifestyle, he makes time to satisfy his creative energy as a composer and arranger. In total he publishes over 100 pieces, many inspired by his love of Irish traditional song and are of short duration and scored for a variety of vocal combinations. His enjoyment of his reputation as a piano accompanist of international standing is confirmed by his association with some of the leading Irish and British professional singers of the period, including Bernadette Greevy (soprano), Margaret Marshall (soprano), Peter Pears (tenor) and Ian Wallace (bass-baritone).
During his lifetime, Nelson’s outstanding services to music, both inside and outside the province, are recognised by a number of awards. The first of these is an OBE in 1966, followed in the latter part of his life by four honorary doctorates, three from local universities. A gifted and versatile musician, his personality is described by one colleague as “magnetic”- he has the unique ability to reach out to everybody irrespective of their age, status and position in life in whatever role he performs. In his best-known role as a conductor, a critic says of him that, “Dr. Nelson has a remarkable touch in getting people to do what he wants in the pleasantest way possible.” His vision and determination help to establish a vibrant music culture throughout Northern Ireland, an achievement that will remain his lasting legacy.
Nelson is survived by his three children and eight grandchildren; his wife Hazel having predeceased him in 1983.
Charles Brady, American-born painter who spends most of his life in Ireland, dies in Dublin on August 1, 1997.
Brady is born on July 27, 1926, in New York City, the son of Arthur Brady, an industrial hardware merchant. He is best known for small-scale paintings of still life and landscape. At the end of World War II, while serving with the United States Navy, he suffers an accident which results in his discharge. As a result of this, he has the opportunity of pursuing further study. In 1948, he enrolls at the Art Students League of New York. Founded in 1875 and distinguished by its progressive approach to art education, it is one of the most important art schools in the United States in the early twentieth century.
Initially, Brady studies design and fashion before studying fine art under John Groth and Morris Kantor. In 1949, he becomes Groth’s assistant. In 1950, his work is included in the exhibition “American Painting 1950,” held at the Metropolitan Museum of Art, New York, where he is employed as a guard at the time. Around this time, he meets artists associated with abstract expressionism such as Franz Kline, Willem de Kooning, and Jackson Pollock, and exhibits with them in exhibitions such as the “9th Street Show” (1951). Four years later, his first solo exhibition is held at the Urban Gallery, New York. By this time, his father, mother, and a younger brother have all died. In 1956 he decides to leave New York and spend some time in Ireland.
On his arrival, Brady bases himself in Lismore, County Waterford, where the landscapes he begins to paint are in contrast to the abstract style he had developed in New York. In May 1956, he joins his aunt and uncle on a tour that include London and Paris. He remains in Ireland until early in 1958 and during this time becomes acquainted with such figures as Camille Souter, Frank Morris and Desmond McAvock. Though he spends the next year in the United States, he soon decides to return to Ireland. In 1959 he is living in Dublin, where, along with artists such as Noel Sheridan and Patrick Pye, he is involved in founding the Independent Artists group. His work is included in the group’s first exhibition in 1960.
Also in 1960, Brady marries Eelagh Noonan, and the couple go to live in Spain. On their return to Ireland in 1961, they settle in Dún Laoghaire, where he begins to produce still lifes of objects such as envelopes and boxes painted in muted tones. Though figurative, the painterly quality of these works and the way in which they assert the flat nature of the picture plane suggest something of his experience of postwar American abstract art. Soft, hazy light, another key characteristic of his work, can also be seen in his paintings of Sandymount Strand, which might be compared with the work of Nathaniel Hone the Younger, whose work Brady had seen on his first trip to Ireland. He also works in other media, producing lithographs and, from the mid-1980s, small bronzes of such mundane objects as discarded bus tickets.
From 1976 to 1983 Brady lectures in painting at the National College of Art and Design. In 1981 he becomes a member of Aosdána and in 1994 he is elected an honorary member of the Royal Hibernian Academy (RHA). He exhibits regularly in Ireland at venues such as the RHA. He receives a number of awards including the P. J. Carroll award at the Irish Exhibition of Living Art as well as the Douglas Hyde Gold Medal and the landscape award at the Oireachtas exhibitions of 1973 and 1989 respectively.
(From: “Brady, Charles” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Charles Brady, 1967,” oil on board by Koert Delmonte)
Mannock was born on May 24, 1887, to an English father, Edward Mannock, and an Irish mother, Julia Sullivan. His father serves in the British Army and in 1893, deeply in debt and exasperated with civilian life, he re-enlists, and the family moves to Meerut, India when he is five years old. In his early years, he is sickly and develops several ailments. Soon after arriving in Asia, he contracts malaria, narrowly avoiding death. Upon his return to England, he becomes a fervent supporter of Irish nationalism and the Irish Home Rule movement but becomes a member of the Independent Labour Party (ILP).
In 1914, Mannock is working as a telephone engineer in Turkey. After the Ottoman Empire‘s entry into the war on the side of the Central Powers he is interned. Poorly fed and cared for, his health rapidly declines in prison. Dysentery racks his intestines, and he is confined to a small cell. Turkish authorities repatriate him to Britain believing him to be unfit for war service. He recovers and joins the Royal Engineers (RE) and then the Royal Army Medical Corps (RAMC). He moves services again and in 1916 joins Royal Flying Corps (RFC). After completing his training, he is assigned to No. 40 Squadron RFC. He goes into combat on the Western Front, participating in three separate combat tours. After a slow start he begins to prove himself as an exceptional pilot, scoring his first victory on May 7, 1917.
By February 1918, Mannock has achieved sixteen victories and is appointed a Flight Commander in No. 74 Squadron. He amasses thirty-six more victories from April 12 — June 17, 1918. After returning from leave he is appointed commanding officer of No. 85 Squadron in July 1918, and scores nine more victories that month.
On July 26, Major Mannock offers to help a new arrival, Lt. Donald C. Inglis from New Zealand, obtain his first victory. After shooting down an enemy LVG two-seater behind the German front-line, Mannock is believed to have dived to the crash site to view the wreckage, seemingly breaking one of the unwritten rules of fellow pilots about the hazards of flying low into ground fire. In consequence, while crossing the trenches the fighters are met with a massive volley of ground fire. The engine of his aircraft is hit and immediately catches fire, and shortly thereafter the plane crashes behind German lines. His body is believed to have been found, though this is unproven, about 250 yards (250m) from the wreck of his plane, perhaps thrown, perhaps jumped. The body shows no gunshot wounds although he had vowed to shoot himself if shot down in flames.
The exact cause of Mannock’s death remains uncertain. A year later, after intensive lobbying by Ira Jones and many of his former comrades, he is awarded the Victoria Cross (VC).
Mannock’s name is listed on the Wellingborough War Memorial with the other fallen men from the town and the local Air Training Corps (ATC) unit bears his name – 378 (Mannock) Squadron. Additionally, Mannock Road, a residential street in Wellingborough, is named after him.
On June 24, 1988, a plaque is unveiled at 183 Mill Road, Wellingborough, by top scoring World War II British fighter pilot Air Vice-MarshalJohnnie Johnson. Mannock had lived at that address prior to the war after being befriended by the Eyles family.
Keating is the youngest of six surviving children of Michael Keating, baker, and his wife Johanna, a native of County Kerry. He was educated at a local school and was an active member of the Gaelic Athletic Association (GAA), playing football and hurling. After the 1916 Easter Rising, he leaves school at the age of thirteen to join the Irish Volunteers, which later becomes the IRA, serving in the 4th Cork Brigade. He is arrested by British troops in November 1920 and badly beaten. He spends a month in the Cork jail and is then interned for a year in Ballykinlar internment camp until December 1921. While interned he participates in several hunger strikes and makes several escape attempts. Following his release, he opposes the Anglo-Irish Treaty and serves in the Fianna Cork 4th Brigade on the Republican side under Seán Moylan during the Irish Civil War.
Keating emigrates to New York City in 1927 and becomes involved in Irish cultural organizations and Democratic party politics. He is a founder of American Friends of Irish Neutrality, which opposes Irish involvement in World War II, ostensibly fearing it will result in British re-occupation of Ireland.
Following World War II, Keating is chairman of the executive council of the 1947 Irish Race Convention and president of the American League for an Undivided Ireland, lobbying in support of the Fogarty Amendment, which unsuccessfully attempts to tie the release of Marshall Plan funds to British withdrawal from Northern Ireland.
Between the 1940s and 1960s, Keating serves as president of the County Corkmen Association, president of the United Irish Counties Association, and president of the Irish Institute. In 1956, he serves as Grand Marshal of the New York City St. Patrick’s Day Parade.
Keating serves in various positions under New York City mayors William O’Dwyer, Vincent R. Impellitteri, and Robert F. Wagner, Jr., rising to the position of Deputy Mayor, under Wagner. He is reportedly the first to publicly introduce future President Kennedy as “the next President of the United States” at an Irish Institute event in 1957. He is appointed Regional Director of the United States Postal Service by President Kennedy and serves in that position from 1961 until his retirement in 1966.
In retirement, Keating returns to Kanturk and continues to advocate for the reunification of Ireland. Keating dies at his home in Kanturk on July 2, 1976, and is buried in a local cemetery with military honors. He represents an emigrant political and social milieu which is often treated dismissively by later, more cosmopolitan Irish commentators, but his career reflects not only his own considerable talents but the ways in which this milieu sustains a generation of immigrants, and the contribution of Irish America to Irish development in the post-war decades.
Mac Aonghusa is the son of Criostóir Mac Aonghusa, a writer and Irish language activist, and Mairéad Ní Lupain, a nurse and native Irish speaker. The eldest of four siblings, he grows up speaking Irish as his first language and allegedly does not learn English until the age of eleven. His parents are left-wing Irish republicans who support Fianna Fáil and associate with the like-minded Máirtín Ó Cadhain and Peadar O’Donnell. His parents split when he is ten years of age. His mother takes his siblings away to Dublin while he and his father remain in Rosmuc, a remote village and part of the Galway Gaeltacht. As a teenager he is educated at Coláiste Iognáid (also known as St. Ignatius College), a bilingual school in Galway.
Upon leaving school, Mac Aonghusa first works as an actor at the Abbey Theatre in Dublin, performing in Irish language productions. In 1952, he becomes involved in Radio Éireann, first as an actor but later as a reader of short stories before advancing to becoming a newsreader, presenter and interviewer. As he advances his career, he works for RTÉ, UTV and BBC television from the 1960s. In 1962, he begins presenting An Fear agus An Sceal (The Man & his Story) on RTÉ television, an Irish language show which sees him interviewing a different guest of note about their life each episode. That same year he wins a Jacob’s Award for An Fear agus an Sceal, which he continues to host until 1964.
As well as attracting awards, An Fear agus an Sceal also brings controversy. Two interviews, one with Máirtín Ó Cadhain, one with Con Lehane, both criticise the measures practised by the Fianna Fáil government during World War II to suppress and imprison Irish republicans. In response, the Fianna Fáil government intervenes with RTÉ, and those episodes are not aired. This is not to be Mac Aonghusa’s only run-in with the Fianna Fáil government. After he recorded a programme in which he questioned the effectiveness of Ireland’s civil defence measures in the face of nuclear war, then Minister for DefenceKevin Boland has the episode suppressed. He once again runs afoul of the Fianna Fáil government when, after criticising the party in his anonymous weekly political gossip column in the Sunday Independent, then Minister for AgricultureNeil Blaney sees to it that the column is dropped. He is not deterred and returns anonymously as “Gulliver” in The Sunday Press and a gossip column on the back page of The Hibernia Magazine.
The latter half of Mac Aonghusa’s 1960s/70s broadcasting career is primarily associated with the Irish language current events show Féach, which he both presents and edits. He resigns from Féach in 1972 following a bitter dispute with the broadcaster and commentator Eoghan Harris.
In 1959, Mac Aonghusa writes a series of six articles for The Irish Times in which he vehemently opposes the Fianna Fáil government’s proposal to abolish single transferable vote in Ireland in favour of first-past-the-post voting. He contends that first-past-the-post voting gives too much influence to party bosses, while proportional representation gives even small minorities representation, preventing them from feeling excluded by the state such as nationalists in Northern Ireland. In the referendum held on the matter on June 17, 1959, voters reject first past the vote by a margin of 2%. Fianna Fáil attempts to repeal proportional representation again in the late 60s, at which point Mac Aonghusa once again throws himself into the fight, leading a group called “Citizens for PR.” In the referendum of 1968, voters reject the first past the post system by over 20%. He later recalls that his defence of proportional representation his greatest achievement in politics.
In the 1960s, both Mac Aonghusa and his wife, Catherine, join the Sean Connolly branch of the Labour Party in Dublin. The branch had established a reputation as a haven for intellectuals who want a branch to themselves away from the many other Labour branches dominated by trade unionists. The branch comes to advocate for expressly socialist policies combined with on-the-ground grass-roots campaigning. Through the Sean Connolly Branch, both he and his wife begin to develop significant influence over the leader of the Labour party Brendan Corish.
In the 1965 Irish general election, Mac Aonghusa stands on behalf of the Labour party in the Louth constituency but is not elected. In 1966, he publishes a book of speeches by Corish, the speeches themselves mostly having been ghostwritten by his wife Catherine. The introduction of the book proclaims that Corish had developed a “brand of democratic republican socialism … broadened by experience and built firmly on Irish‐Ireland roots” and had rid the party of “do‐nothing backwoodsmen”, thereby becoming the “first plausible and respected Labour leader in Ireland”. It is at this same time that he is elevated to vice-chairman of the party. As vice-chair, he tries to convince Corish to stand in the 1966 Irish presidential election. When he fails to do so, he supports Fine Gael‘s Tom O’Higgins in his bid for the presidency. O’Higgins comes within 0.5% of beating the incumbent, an ageing Éamon de Valera.
It was around this same time that Mac Aonghusa becomes active in the Wolfe Tone Societies, a republican organisation linked almost directly to Sinn Féin. He suggests that republicans with “progressive views” should join the Labour party. In 1966, alongside Máirtín Ó Cadhain and other Gaeilgeoirí, he counter-protests and disrupts the Language Freedom Movement, an organisation seeking the abolition of compulsory Irish in the education system. For this, he and his allies are criticised as acting illiberally, while he maintains that those who oppose the Irish language are “slaves” unworthy of tolerance.
Mac Aonghusa’s open disdain for the conservative and trade union wings of the Labour, as well as his open embrace of republican sensibilities and tendency to make pronouncements on Labour policy without first consulting the party’s structures, bring him many internal enemies. An attempt is made to censure him for backing breakaway trade unions, but he is able to survive this. In 1966, he encourages the formation of the Young Labour League, an unofficial youth wing of the party led by Brian Og O’Higgins, son of former Sinn Féin president Brian O’Higgins. Mirroring his own position, the Youth League are Corish loyalists that openly rebel against the views of Labour’s conservative deputy leader James Tully. When the youth league begins publishing their own weekly newsletter, Labour’s administrative council condemns it after discovering material which is “violently” critical of Tully and other Labour conservatives. An ensuing investigation into the newsletter leads to Mac Aonghusa admitting that he had financed it and written some of the content, but not the anti-Tully material. After he refuses to co-operate with further investigations into the matter, he is expelled on January 12, 1967 for “activities injurious” to the party. In the aftermath, he portrays himself a left-wing martyr purged by a right-wing “Star chamber,” a tactic that garners him sympathy. Nevertheless, his expulsion is confirmed at the October 1967 party conference, despite one last appeal. His wife leaves the party alongside him.
In the aftermath of his expulsion from Labour, Mac Aonghusa expresses an interest in the social democratic wing of Fine Gael, which had been developing under Declan Costello since the mid-1960s. However, he does not join the party and instead runs as an independent candidate in the 1969 Irish general election in Dún Laoghaire–Rathdown. When he is not elected, he begins to refocus on the revival of the Irish language and with nationalist politics rather than being elected himself.
Upon the onset of the Troubles, Mac Aonghusa is initially supportive of Official Sinn Féin, however by 1972 he comes to resent them and, through the Ned Stapleton Cumann, their secret influence over RTÉ. During the Arms Crisis in 1970, he supports Charles Haughey and Neil Blaney, who stand accused of arranging to supply weapons to the Provisional IRA, in the pages of the New Statesman and other left‐wing journals. In this time period, he warns editors not to reprint his material in the Republic of Ireland as there is a de facto ban on him, and indeed, official attempts are made to block the transmission of his telexed reports.
Despite his earlier famed stark criticism of Fianna Fáil, Mac Aonghusa’s defence of Haughey leads to a friendship between the two men which results in him becoming one of Haughey’s loudest defenders throughout the rest of his career. His columns in The Sunday Press and Irish language paper Anois are accused of descending into self-parody in their stringent defences of Haughey.
During the 1970s, Mac Aonghusa writes a number of books covering significant figures in Irish republicanism. In order, he releases books on James Connolly, Patrick Pearse, Wolfe Tone and Éamon de Valera. In his work on De Valera, he emphasises what he perceives as the more radical aspects of the Fianna Fáil founder. During 1974 and 1975, he works as a United Nations Special Representative to the Southern Africa region with Seán MacBride, where they involve themselves in the South African Border War, and during which time Mac Aonghusa becomes involved in setting up a radio station in Namibia, linked to the South West Africa People’s Organisation (SWAPO) nationalist party.
In the 1980s, Haughey twice appoints Mac Aonghusa to the Arts Council as well as naming him president of Bord na Gaeilge (1989-93). This is an issue as Mac Aonghusa is already president of Conradh na Gaeilge. Being head of the main Irish language lobbying body as well as the state body responsible for the Irish language has an obvious conflict of interest. In 1991, following the announcement by Haughey that the government is to fund the creation of an Irish-language television station (launched in 1996 as Teilifís na Gaeilge), an elated Mac Aonghusa suggests that Haughey would be “remembered among the families of the Gael as long as the Gaelic nation shall survive.”
In 1992 there are calls for Mac Aonghusa to step down from Bord na Gaeilge after he pronounces that “every respectable nationalist” in West Belfast should vote for Sinn Féin’s Gerry Adams over the Social Democratic and Labour Party (SDLP) candidate Joe Hendron in the 1992 United Kingdom general election as he considers a defeat for Adams “a victory for British imperialism.” Nevertheless, he simultaneously advises voters in South Down to vote for the SDLP’s Eddie McGrady over Sinn Féin. He rails against his detractors at the Conradh na Gaeilge ardfheis that year, declaring that “The mind of the slave, of the slíomadóir, of the hireling and the vagabond is still fairly dominant in Ireland.”
As of 1995, Mac Aonghusa continues to label himself a socialist. In the foreword to the book, he writes about James Connolly that is released that year, he declares that “the abolition of capitalism is essential if the great mass of the people in all parts of the globe are to be emancipated.”
However, with the recent collapse of the Soviet Union in mind, Mac Aonghusa declares that the Stalinist regimes of Eastern Europe have not been socialist and argues that the social democracies of Scandinavia are what James Connolly had envisioned as the desired socialist society. In the same text, he accuses the Irish education system as well as Ireland’s media of obfuscating Connolly’s views on socialism and nationalism.
Mac Aonghusa battles through ill health in his final years but remains able to continue writing a number of books. His last publication, Súil Tharam (2001), comes just two years before his death in Dublin on September 28, 2003.
In 1955, Mac Aonghusa marries Catherine Ellis, a member of the Church of Ireland from Belfast. For her married name, she chooses to use “McGuinness,” the English language equivalent of Mac Aonghusa. Catherine McGuinness goes on to become a Senator and a Judge of the Circuit Court, High Court and Supreme Court over the course of her legal career. Together they have three children together.
seamus dubhghaill 