Dublin Political History Tours Facebook page reminds us of the 20th September anniversary of the public execution on of “Bold Robert Emmet, the darling of Erin”, leader of the unsuccessful Republican insurrection in Dublin on 23rd July 1803.
Coloured drawing: The executioner holds up Robert Emmet’s head to the crowd, sections of which demonstrate their repugnance of the act and are repressed English soldiers on horseback. (Sourced: Internet)
I reproduce the Dublin Political History Tours text (reformatted for R. Breeze):
On Saturday we passed by the anniversary of the execution by the English occupation forces of Robert Emmet, United Irishman. Emmet had been condemned to death for planning an insurrection for Irish self-determination which the English Occupation called ‘treason’.
Leaving behind in Kilmainham Gaol his comrade Anne Devlin, who had endured torture and death of family members without giving the authorities any information, Emmet was taken to the front of St. Catherine’s Church.2
(This building is) on Thomas Street in Dublin’s Liberties area on the west side of the city centre. The site chosen was sending a message to the populace of the area that had nationalist and republican sympathies.
There, in front of a huge crowd and many soldiers, Emmet was hanged and then beheaded, the executioner holding up the dripping head to the crowd. His body was later returned to the Gaol before being later buried in Bully’s Acres in the grounds of the Royal Hospital Kilmainham.
Emmet’s corpse was later disinterred in secret and reburied elsewhere by friends or family and, despite a number of sites being speculated, its current location is unknown.
There is a monument to the execution inside the grounds of the St. Catherine’s building and a stone plaque on the wall outside it.
The monument inside the ground at the front of St. Catherine’s Church, Thomas Street, Dublin. (Source: Kilmainham Tales)
Robert Emmet was very popular in Ireland at the time and his memory is still. A statue in his honour stands in Dublin’s Stephens Green, a replica of another two at locations in the United States.
Anne Devlin endured three years in Kilmainham Gaol and according to Richard Madden (1798 – 5 February 1886), chronicler of the United Irishmen who sought her out, was followed everywhere in public by police.
(who were) observing anyone who she spoke to, as a result of which many were afraid to speak to her. Her body lies in Glasnevin Cemetery.
“Bold Robert Emmet” is a traditional ballad in the martyr’s honour and “Anne Devlin” also has a much more recent song in hers by Pete St.John.
(quoted passages end)
In the 1916 Proclamation of Independence, “the right of the people of Ireland to the ownership of Ireland” is proclaimed and that “six times in the past 300 years they have asserted it in arms”, probably referring to insurrections of 1641, 1689, 1798, 1803, 1848 and 1867.3
Historians have mostly dismissed the 1803 uprising as never likely to succeed but a minority have rated the preparations highly, including the innovations of signal rockets and folding pike handle for concealed personal carrying.
RH Madden, the first historian of the United Irishmen was of the opinion that the insurrection attempt was engineered by the English Occupation’s administration in Dublin Castle in order to justify continued repression of Irish republicanism and to eliminate some leaders.
Generally historians have tended not to give much credence to Madden on that issue but it is certain that the Occupation had a network of spies in operation in Ireland and that some had penetrated Emmet’s conspiracy.
Emmet on the scaffold with St. Catherine’s Church behind, the executioner beside him, the crowd in the street and many English soldiers, on foot and on horseback. The illustration was employed by Dublin Political History Tours but easily sourced on the Internet.
However it is not for the manner of the 1803 insurrection that Emmett has been fondly remembered in Ireland to this day 123 years later – and abroad for decades after his death4 – but for the calm manner in which he faced his enemies, including his executioner and for his eloquence at his trial.
Past insurrections contain lessons for us today and a serious evaluation should be attempted, perhaps with a number of submissions from historians of different opinions on the matter, to deal with questions around Emmet’s return from France and the planning of the insurrection in Ireland,.
For us today however, whether Republicans or more generally anti-colonialists and anti-imperialists, it is also necessary to revere the memory of revolutionary action for a democratic Irish Republican and to uphold his and Anne Devlin’s spirit of defiance in resistance.
End.
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Statue monument of Robert Emmet in Washington DC, a copy of which stands in St. Stephens Green, looking across the road to his erstwhile homeand other copies stand in Emmetsburg, Iowa and Golden Gate Park, San Francisco, California.Those in the USA were all cast by the artist Jerome Connor between 1916 and 1919. (Photo sourced: Internet)Statue monument in Rathfarnham dedicated to Anne Devlin from Wicklow, a member of the United Irishmen conspiracy, tortured and jailed but never gave her captors any information. Sculptor: Clodagh Emoe(Gracies, Maria, for bringing this to my attention).
FOOTNOTES
1From Emmet’s famous speech from the dock of the courthouse in Green Street that not until then should his epitaph be written. I have no doubt that Emmet meant “nation-states of the world” because Ireland was in his time more than what we would understand today from the vague term of “country” – it was clearly, though under foreign occupation, already a nation with its own unique culture and a long history. She has yet to take that place to which Emmet referred and aspired for her.
2Note that was the Anglican St. Catherine’s Church, as a Catholic St. Catherine’s is also located not far away on Meath St. The Anglican church was closed in the 1960s but later reopened and reconsecrated as an Anglican Church. The interior seems very untypical of Anglican churches. Emmet was raised in the Anglican faith.
3Believed to refer to, in sequence: the Irish and Norman Irish clans in the Confederation’s uprising, the Williamite War’s, United Irishmen’s, Robert Emmets’, Young Irelanders’, the Fenians’. Coincidentally, the large monument to uprisings in Ireland erected by the National Graves Association in the St. Paul’s section of Glasnevin Cemetery also includes only six dates but they are of Republican risings only, beginning with 1798 and ending with 1916.
4I read somewhere that even in England Radicals would read Emmet’s speech as a high point of their events including formal dinners.
An Irish punk rock band, Mongolian throat-singers, a poet and Irish folk singers all performed at Solidarity Sessions No.2 to a good crowd in the International Bar, in in Dublin City centre Wicklow Street on Wednesday 17th..
An Irish and international resistance theme in decor was presented by flags of the Starry Plough and Palestine with Saoirse don Phalaistín as stage backdrop, while flags respectively of Cumann na mBan and Basque Antifa concealed the original decor’s ubiquitous photos of Michael Collins.
Flesh B. Bugged performing (Photo: Dermo Photography)
A PFLP1 flag was also taped to a wall. Hand-written signs on the stairs leading to the basement venue, alternatively in Irish and in English, asked for quiet/ ciúnas for the performance/ racaireacht. The Irish language was present too in some of the performances to follow.
MC for the night, Jimi Cullen, himself a singer-songwriter activist told the crowd the purpose of the organising collective was “to build a community of resistance and solidarity with our struggles and with struggles around the world” through culture in a social atmosphere.
Before the crowd — a flag temporarily changing the decor. (Photo: R. Breeze)
Themes of love, nature and emigration were covered in song; however the dominant theme was resistance – to prison regimes, foreign occupation, fascism, class oppression, racial discrimination – and solidarity with the struggles of others, near and far.
Diarmuid Breatnach, singing acapella kicked off the night with a selection of songs from the Irish resistance tradition and a couple of short ones from the USA civil rights movement. Some of the melodies however, of particular interest perhaps to Back Home in Derry2, were his own originals.
Eoghan Ó Loingsigh, accompanying himself on guitar followed with more material from the same tradition, dedicating one to his late IRA father. A folk song Ó Loingsigh announced as ‘non-political’ performed acapella turned out to be very much political but on the issue of social class.
Áine Hayden followed with poems on a range of topics, from swimming in the Royal Canal during the Covid shut-down, deleting a personal relationship to a dedication to comedian and activist Mahmoud Sharab murdered with family in a “safe zone” tent by the Israeli Occupation Force.
Eoghan Ó Loingsigh performing (Photo: Dermo Photography)
The three performers were all introduced as activists as well as artists and the mostly-young crowd, apparently containing a strong representation of political and social activists, responded well to the performers with applause, yells of encouragement and often joining in on choruses.
More people arrived before, during and even after the break – including an elderly couple who had just arrived from the USA and could only pay in dollars but were admitted for free. Leaving later with thanks they promised a contribution to Palestine solidarity when they got home.
Before the crowd — a Cumann na mBan flag temporarily changing the decor. (Photo: Dermo Photography)
Also an activist, Ru O’Shea sang an Irish, Scottish, French and Italian selection, accompanied by bouzouki and guitar and performed a spoken word piece with a refrain of ‘Éire under attack’ before schooling the audience to sing the chorus of Robbie Burns’ Green Grow the Rushes Oh!
Áine Hayden performing (Photo: Dermo Photography)
Nomads were the next act. Composed of two Mongolian musicians playing violins in the style of the viola and a Dubliner modulating on a sound deck they were unusual enough but it was the amazing throat-singing of one of the Mongolians that had the audience enthralled.
It was amazing to learn that there are three different kinds of Mongolian throat-singing and then to hear them performed, one of which was a kind of whistling with a vibrating bass undertone wavering through it. The applause, particularly when they concluded, was rapturous and sustained.
Before the crowd — flags temporarily changing the decor. (Photo: R. Breeze)Ru O’Shea performing (Photo: Dermo Photography)
The evening’s entertainment concluded with Flesh B. Bugged, a punk rock Irish duo of bass guitar and drums with spoken voice pieces in Irish from the bass guitar player. Their volume and beat got some of the crowd up and dancing and the wider crowd responded well to them too.
MC Jimi Cullen went up on stage for the last time to thank venue, performers, audience, doorkeepers, poster designers Ríona and Azzy O’Connor, also Diarmuid for original artwork. At a prompt from the crowd Cullen also got a round of applause from the audience for his MCing.
The Mongolian musicians of Nomads performing (Photo: D.Breatnach)
Remarking they’d “had a great night” and encouraging his listeners to follow the organising collective on its Instagram page, Cullen told them that details of Solidarity Sessions No.3 and the collective’s decisions on recipients of donations from money raised would be posted on there.
Diarmuid Breatnach told the audience that each individual could help build a community of resistance through attending the Solidarity Sessions and encouraging others to attend. He welcomed any ‘competion’ from solidarity sessions around the country.
Bass guitarist of Flesh B. Bugged (Photo: Dermo Photography)
The downstairs area of the International Bar is not perhaps the best layout for this kind of event but it worked out well enough for the collective, audience and performers on the night. Their next event will be back at their launch venue,The Cobblestone, Smithfield on Thursday 30th October.
End.
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The Mongolian throat-singer in Nomads (Photo: Dermo Photography)
FOOTNOTES
1People’s Front for the Liberation of Palestine, one of two specifically secular armed resistance organisations in Palestine.
2Irish mega folk singer Christy Moore had organised Bobby Sands’ poem into song to the melody of The Wreck of the Edmund Fitzgerald by Gordon Lightfoot.
Dublin city centre on Saturday saw two marches scheduled to start at the same time from the Garden of Remembrance, both of which were drenched by heavy showers, as were fans attending the Robbie Williams concert in nearby Croke Park stadium.
The first march to set off was the largest, the Harvey Morrison protest, the Hunger Strike Commemoration organised by Dublin Independent Republicans waiting for the space to clear in order to assemble theirs, with pipers, band and various banners forming up.
Supporters of both marches are mingled here though the majority are there for the Harvey Morrison march. (Photo: R.Breeze)
The Harvey Morrison protest was about the long wait the named boy had for appropriate treatment from the Irish health service for his condition of spina bifada and scoliosis. As he waited, his spine continued to curve causing him pain and though underwent surgery last year died on July 29th.
It emerged last year that Harvey had been removed from Children’s Health Ireland’s (CHI) urgent scoliosis surgery waiting list, without his family being informed. In 2017 Simon Harris declared that no child would wait for more than four months for scoliosis treatment.
Apart from those requiring specialist treatment for rarer medical conditions, people with much more common complaints face many hours in A & E before being seen by a doctor or having an X-ray taken, with an average of 500 people admitted to hospital on trolleys daily awaiting beds.1
Seven different speakers addressed them at their rally on Custom House Quay, being well received by the crowd with a small exception, which was when a participant shouted ‘Traitor!’at Mary Lou Mac Donald, President of the Sinn Fein party, before being told by march stewards to keep quiet.
Calling SF (and any in Government) politicians ‘traitor’ is a frequent position of those on the Far-Right2 in the Irish State, for racist reasons. Indeed, a number of Far-Right activists were spotted among the marchers but it seems they were unable to dominate the event.
THE HUNGER STRIKE MARTYRS COMMEMORATION
A handful of fascists were also observed watching the Hunger Strike martyrs’ commemoration gather and photographing them but when some of their targets began to photograph them in turn, they walked away, presumably to go and promote themselves and their lies on social media.
Fascists who had been filming the Hunger Strike Commemoration moving off as a camera turns on them. (Photo: R.Breeze)
Irish Republicans, who are opposed to (and by) the Far-Right, also call Sinn Féin ‘traitors’ but for the reason that they consider the party has left the struggle and colludes with the neo-colonial ruling class of the state and with the English occupation in the Six Counties.
The pipers prior to setting off on the march. (Photo: R.Breeze)
Two pipers led off the Hunger Strike commemoration organised by Independent Dublin Republicans followed by a full colour party and the James Connolly Republican Flute Band, from Derry. In traditional two lines style they marched through onlooking crowds in O’Connell Street.
The march crossed the Liffey into D’Olier Street, back up O’Connell Street and after a pause at the Government-threatened GPO, into Parnell Street, then around the western and northern sides of the Square and back into the Remembrance Garden for the commemoration ceremony.
The Hunger Strike Commemoration march proceeding down from the Garden of Remembrance and just about to enter Dublin’s main thoroughfare, O’Connell Street. (Photo: R.Breeze)
And it rained – it poured down rain. Which was bad enough on the audience but much much worse on the colour party in shirt and trousers, the RFB members and those holding the portraits of the ten hunger strike martyrs and a number of banners.
Dixie Elliot was introduced as the main speaker, well-known in Republican circles, former member of the Provisional IRA, an ex-POW and ‘Blanketman’.3
(Photo: R.Breeze)
Seemingly undeterred by the pouring rain, Elliot spoke at substantial length though whether through lack of projection or faulty amplifier, much of what he said was lost to many in the audience. From snatches he could be heard going through the history of the recent three decades’ war.
The targets of his condemnation were not alone the British occupation and the Irish State’s complicity but also the leadership of the Irish Republican movement who had abandoned the struggle and become part of the colonial administration in the Six Counties.
(Photo: R.Breeze) (Photo: R.Breeze)
Expressing solidarity with the Palestinian struggle and against imperialism, Elliot also condemned the far-Right in Ireland who claim to be ‘patriots’ in order to promote their racism and he counter-posed the example of Bobby Sands’ internationalism in his poem The Rhythm of Time.
The Connolly Memorial Republican Flute Band setting out on the march from Garden of Remembrance. (Photo: R.Breeze)
Both Elliot and the Chairperson called for solidarity with Irish Republican political prisoners and the framed Craigavon Two, convicted in a no-jury political Occupation court and still in jail 16 years later.
Finally chairperson Ado Perry thanked people for their attendance, the colour party and audience stood to attention and the piper played the air to the chorus of the song generally known as Amhrán na bhFiann (and of which the chorus melody is also the ‘National Anthem’ of the Irish State).
(Photo: R.Breeze)
CROKE PARK CONCERT
The Gaelic Athletic Association stadium in Croke Park was the venue for a Robbie Williams concert in Dublin and the fans were flocking into town in rainproof macs that the marchers could have done with. The previous weekend it had been the Manchester Gallaghers, i.e. Oasis there.
The finals in Gaelic football for men and women and in hurling have been played in Croke Park in previous weekends and now it seems it’s rock concerts season.
The far-Right protested the couple of occasions that the stadium was rented to celebrate the Muslim feast day of Eid. Apparently English musicians and bands playing there are are not problematic for them. But then nor are the banks and property speculators causing the housing crisis.4
End.
(Photo: R.Breeze) (Photo: R.Breeze) (Photo: R.Breeze)Main speaker, Dixie Elliot, speaking at rally in Garden of Remembrance at end of Hunger Strike Commemoration march. (Photo: R.Breeze)
3One of the Irish Republican ‘blanket protester’ prisoners who resisted the attempt of the colonial prison service to make them wear regulation prison uniform, wearing underwear and a blanket instead. This condition degenerated into the ‘no wash’ and ‘dirty protests’ which the prisoners sought to overcome with the hunger strikes of 1980 and 1981 when 10 prisoners died.
The Irish socialist Republican group Anti-Imperialist Action today issued a call to revolution centred around a need for universal social housing to resolve the chronic housing crisis in Ireland (and in particular in Dublin).
This housing crisis has at January’s count left nearly 15,300 living on the streets or in emergency accommodation1 with another unknown number in inappropriate accommodation such as sofa-surfing with friends and relatives or in IPAS centres for refugees.
Rampant property speculation has made a handful of bankers and speculators very rich and along with the social misery of thousands, facilitated the demolition of buildings of historical and architectural importance and their replacement by usually unsightly glass and concrete.2
Well, so what of AIA’s call? Different organisations make various calls at different times but do they have any effect? However, this one has some important distinctions, one of which is that this organisation actively practised its preaching when it called for the occupation of empty properties.
In May 2022 the AIA founded a sub-group called Revolutionary Housing League that occupied empty buildings in Dublin, refused to comply with court orders3 to evacuate or, in court, to agree to bail conditions that they would desist from further building occupations.
‘James Connolly House’ in occupation by the RHL in May/ June 2022. Photo: D.Breatnach)
The first building targeted on May 1st was a former Seamen’s Institute building on Eden Quay, renamed Connolly House, metres from O’Connell Bridge, empty for years since the Salvation Army, a religion-based charity NGO, had lost government funding for its youth homeless accommodation project.
On the morning of June 9th 2022 over a hundred Gardaí, with an armed unit on standby and a helicopter overhead, stormed the building4 and arrested the only occupants, two RHL supporters. In court later that day, they were bailed without making any promise not to re-occupy buildings.5
It seemed that the State was sensitive to the dangers of creating martyrs around the housing crisis.
Instead, RHL renewed its call for mass action across the country to occupy empty buildings. And went on to occupy other buildings, including Ionad Sean Heuston near the eponymous Bridge and another in Belvidere Road, eviction here also including massive police forces and helicopter.
Seen from the north bank of the Liffey, the Starry Plough flag flying high over the ‘Ionad Sean Heuston’ occupied building. The Heuston train station is behind the photographer while the Bridge is out of frame to the right. (Photo: D.Breatnach)
Success for the RHA’s campaign depended on, if not a mass, at least a substantial take-up of its call to occupy empty buildings backed by civil disobedience to the courts. Neither happened and the AIA was far too small to carry the campaign on its own and so suspended it.
It is worth noting that though many organisations and individuals had agitated around housing, including the high-media-profile occupation of Apollo House in December 2016, backed by noted individuals,6 none had initiated the steps advocated by RHA/ AIA.
‘Homes Not Hostels’ banner on Tara Street side of occupied Apollo House in December 2016 or January 2017. The building was later demolished and numbers of homeless people continued to rise. (Photo: D.Breatnach)
Amongst a general lack of social condition agitation among the post-GFA7 Irish Republican movement, only the socialist-Republican éirigí organisation had militantly taken up the housing struggle while calling for universal social housing — but it had not led a campaign of occupations.
The electoral left and some anarchists had occupied some empty buildings but had either left when threatened by the State or been evicted by security thugs backed up by Gardaí, without a follow-up of further occupations. Nor had they contextualised housing occupations as part of revolution.
So the record of AIA is stand-alone among the Republican and Socialist Left so far and therefore, one might speculate, failed to inspire a mass movement.
I am not ashamed to say that I supported AIA’s campaign although I did not take part myself in any of the occupations. However I did not view it as an immediate cause for revolution, nor do I now. The Irish gombeen8 State, I believe, can survive the supply of universal social housing.
The ‘rack-renting’ landlords, both big and small, cannot. But the Gombeen class, closely linked to the landlords and speculators will ditch them if they are confronted – not with the suffering of the masses, about which they care not, nor protests – but with the real alternative of social revolution.
The State has access to the means to fund such a campaign of new housing construction and of renovation/ repurposing of existing empty buildings9 by local municipal authorities.
In such a radical change of the Irish neo-colonial capitalist system, people would have more disposable income and purchasing would increase dramatically, stimulating production and expansion of goods and services and raising people’s living standards (and expectations).
Property speculation would be hugely reduced in scope but would continue – in hotels and office blocks, for example and big projects such as transport networks. And possibly in sale of land to State and local authorities for housing projects.
So, essentially a reformist project, not revolutionary at all, right? No, not at all necessarily. Reformist projects fought for with revolutionary intent and energy, teach the masses their potential when they unite in struggle. It also tests their leaders before their eyes, in their experience.
I see universal social housing therefore as a social necessity for the mass of people living on the streets, in hotel-rooms, sofa-surfing, in insecure and inappropriate housing, facing eviction from debt-mortgaged housing (the cost of which has already been paid several times over).
Universal social housing is a social necessity and an urgent one and it is an objective for which all true humanity in Ireland should strive. Revolutionaries should fight for it, pointing towards the evils of the capitalist system and the need for its replacement by a socialist system.
The struggle should be fought relying on the strength and capacity of the working people and will need to embody civil disobedience and sacrifice, while at the same the movement needs to safeguard capacity for other struggles such as against fascism, imperialism and colonialism.
In that context therefore, I think we should unreservedly support the call of the AIA’s statement today and the headline of this article.
End
FOOTNOTES
SOURCES
Anti-Imperialist Action statement on Telegram 19/08/2025
Text of Anti-Imperialist Action statement 19/08/2025:
Housing is a key part of the Republican struggle for National Liberation and Socialist Revolution in Ireland.
Housing is one of the key pressure points in the class struggle in Ireland today, due to the artificial housing crisis created by those in power, designed at driving up profits for landlords and imperialist housing vultures.
Since the days of Tone, Irish Republicans have recognised that land and housing are completely tied to the fight for freedom, and today it is by showing the Republican struggle will solve the land and housing issue once and for all, to the benefit of the working class, that Republicans can mobilise our class to join the fight.
There should be no doubt about the Republican position on housing. The 1916 Proclamation stated that ‘the ownership of Ireland by the People of Ireland’. The Democratic Programme placed public right above private property and stated, It shall be the first duty of the Government of the Republic to make provision … to secure that no child shall suffer hunger or cold from lack of food, clothing, or shelter’.
Landlords and foreign imperialist housing vultures have no place in the Republican vision of a Free Ireland, where homes would be provided by the Republic to all Citizens.
AIA advocates a system of Universal Social Housing as the Republican Housing System that guarantees all citizens a home, and rents based on ability to pay. This system is the death knell for landlords and vultures and it is why the garrison class resists it.
AIA has played a leading roll in the militant housing direct actions of recent years and will continue to do so.
If you want to fight the landlords and vultures and work to bring about the conditions for a Republican system of Universal Social Housing, then join AIA!
Raise the cry of the working class: Smash Landlords and Vultures – Universal Social Housing Now!
2Taking history tour groups around Dublin I often comment that Dublin has suffered three period of architectural devastation, all in the last century: 1) the British artillery bombardment during the 1916 Rising; 2) the Irish neo-colonial State’s bombardment during its Civil War; 3) the property speculators’ rampage from the 1970s onwards. Pete St. John, in his song Dublin In the Rare Aul’ Times:
5I passed by this building recently which, three years later, appeared to be still empty.
6The occupiers eventually agreed to leave under a mixture of threat and promises and the building was demolished.
7The Good Friday Agreements of 1999, the Irish instalment of the imperialist pacification process, following South Africa’s and Palestine’s versions, later to visit Colombia and Turkish Kurdistan.
8From the Irish word gaimbín, first applied to the hustlers opportunistically buying up Irish land in the midst of the disaster of the Great Starvation (1845-1849) but now applied to the Irish comprador or foreign-dependent native capitalist class.
The Oasis rock band are performing on 16 and 17 August in Croke Park, the Gaelic sports stadium in Dublin, to a sold out capacity of 82,300. Brothers Liam and Noel Gallagher are the two leading members of the band.
Oasis-marked t-shirts and caps are being sold from stalls in the city and posters announcing the forthcoming concerts adorned shop windows and lampposts but how many fans know the Gallaghers’ background?
Liam and Noel Gallagher of Oasis (Source imag: Internet)
Liam and Noel were born in Manchester to Irish migrant parents but their mother Peggy split from her abusive husband and moved elsewhere in Manchester, taking the kids with her. Liam dedicated Stand by Me to her on Saturday night and gave a shout-out to her her birthplace in Co. Mayo.1
Ireland fed the British ‘industrial revolution’ and the Irish have a long association with Manchester. In 1845 the city’s factories were already attracting Irish workers and its farms probably also agricultural workers to replace English labourers deserting the farms for the factories.
Friedrich Engels wrote The Condition of the Working Class in England,2 published in 1845 (the first year of the Great Hunger) and mentioned the Irish migrants not too favourably. He was writing mostly about Salford, the subject of Ewan McColl’s Dirty Old Town,3 just outside the city then.
By the time Engels’ book was published, the Great Starvation was gearing up. Uncomplimentary references to the Jews can also be found in that work but whatever about that ethnic minority,4 Engels changed his mind radically about the Irish in Britain and came to admire them greatly.
Instrumental in learning about the Irish for Engels were two Irish sisters living in Manchester, Lizzie and Mary Burns, illiterate but intelligent and militant mill workers. Mary and Friedrich became life partners and, after her death, Friedrich became Lizzie’s partner thereafter.
The Irish, as the natives and diaspora of what is often referred to as “England’s first colony” were of considerable interest to the revolutionary partnership of Engels and Karl Marx and more so still as the Fenian movement, the Irish Republican Brotherhood, spread throughout Britain.5
Karl Marx and Frederick Engels, leading theoreticians and activists of the revolutionary socialist movement. (Source: Workers Liberty)
A largely proletarian movement, the Fenians were admitted to the First International Workingmen’s Association6; no doubt the Irish struggle against British domination greatly influenced the political opinions of Marx and Engels in relation to nations under colonialist rule by capitalist states.
The struggle spilled over from Ireland into the Irish diaspora, particularly that in North America, Australia and Britain. In Australia the Fenians’ role seems to have been mostly in facilitating and escaping British jails there7 while in America, they invaded the British colony of Canada.8
The charge of the Fenians (wearing green uniforms) under Colonel John O’Neill at the Battle of Ridgeway, near Niagara, Canada West, on June 2, 1866. In reality, the Fenians had their own green flags but wore a very mixed bag of Union and Confederate uniforms (if they still had them, or parts of them left over from the Civil War), or civilian garb, with strips of green as arm or hat bands to distinguish themselves. (library and archives canada, c-18737)
In Britain itself, the Fenians went to war against the ruling class with dynamite. To spy on them, Scotland Yard created the Irish Special Branch which evolved into the Special Branch, the political police in Britain and in any colony the British had since then.9
The activities of the US Fenians intersected with those of Britain-based Fenians when two of the former, Thomas J. Kelly and Timothy Deasy, American Civil War veterans, were arrested in England. On their prison van’s journey to jail it was ambushed10 and both officers spirited away.
Artists’ impression of the rescue of the Fenian prisoners. (Image source: Internet)
Unfortunately and entirely unintentionally, Constable Brett was killed during the breakout. Refusing to hand over the keys from inside the wagon, he was bending to look through the keyhole when in order to release the prisoners one of the Fenians fired at the lock, the bullet entering Brett’s brain.11
The British police swept vengefully through the Irish quarters of Manchester and Salford arresting at least 28 people but eventually sending five for trial on ‘murder’ charges. Three were hanged, all innocent of intentional killing and at least two probably not even present at the scene.
As sentence of death was passed upon them, all five cried “God save Ireland!” Although the sentences on two were commuted, Timothy Sullivan used those words for his ballad about The Manchester Martyrs, as the executed three became known among the Irish at home and abroad.
The song travelled quickly and became an unofficial national anthem of Ireland and the Irish until it was decisively supplantedafter the 1916 Rising by Peadar Kearney’s The Soldiers Song (latertranslated: Amhrán na bhFiann).12 A memorial to the three was erected in Mostyn Cemetery.
Artist’s impression of the trial of the five convicted including the three Manchester Martyrs. (Image source: Internet)
Manchester continued to be a destination for Irish migrants, for factories still, including motor car production but also post-WW2 reconstruction and motorway building.
Manchester United FC, along with a number of other British soccer teams, recruited Irish players and Irishman Liam Whelan was one of the eight players killed in the Munich air crash of 1958. Another 30 Irish have played for the club at one time or another, some quite famous.13
The city is one of a number of British cities that has a name in the Irish language; Mancunians would probably be delighted to know that their city’s name in Irish is Manchuin.
From the late 1960s to late 1990s the city was host to an active branch of the Troops Out Movement in solidarity with Ireland, also from 1980s to an active branch of the Irish in Britain Representation Group; the Special Branch was active in monitoring and, from time to time, harassing their activists.
The Provisional IRA bombed the city in 1996 as part of its campaign against the British State and — despite a 90-minute warning — 212 were injured.
Today Manchester, alongside South Asian ethnic influences, continues its Irish ethnic presence with Irish traditional cultural activities14 and no doubt the sons and daughters of Manchester’s Irish diaspora will continue to contribute to other sport and artistic culture in Britain and in the world.
8https://www.irishcentral.com/roots/history/irish-fenian-invasion-canada Unlike many other accounts easily available this one gives a reasonable assessment of the rationale for the invasion, including its potential and the reasons of its ultimate failure, the interests of the ruling class of the USA, which the Irish Republican movement should have learned from forever afterwards – but failed to do.
9Often referred to simply as ‘the Branch’ or ‘Branchmen’ (though the organisation of course also recruits women).
10The location, by an arch under a railway bridge, is still unofficially known as “Fenian Arch.”
14Manchester has a Comhaltas Ceoltóirí Éireann club (for Irish traditional music) and informal music sessions, also an Irish dancing school https://www.facebook.com/profile.php; Gaelic Athletic Association clubs including St Brendan’s, St Peter’s, Oisín, and St. Lawrence’s.
On August 1st singer Mary Black released A Mother’s Heart for Palestine, a soundtrack and video.1 The title and music built on the 1992 track by Mary Black and Eleanor McEvoy, A Woman’s Heart (title of album also).2
The voices are beautiful and the adaptations of the Arab women particularly so. Or at least, they affected me even more deeply.
Like actions by Mothers Against Genocide,3 the recording seeks to transverse borders in the mind, to represent Palestinians as humans, as human as ourselves, through the image of the mother, which almost all of us have had and which many women are or have been.
It is worth thinking about this a bit further. The image of the mother is a powerful one in all cultures for at least biological evolutionary reasons. The future of the human species depends on productive motherhood and in all cultures, in that capacity at least, pregnant women are protected.
The image is also overlain by personal affect, of ourselves nurtured (in most cases) by a mother or ourselves as a mother, nurturing in turn.
The image of the mother is also manipulated by all degrees of the Right, whether to uphold clerical control, to counter assertion of reproductive rights, or to deny the right of lesbian (and gay) sexuality. And ‘to protect ‘our women’’ from imagined migrant assault (or indeed intermarriage).
In Christian religious iconography, the Mother as Madonna is particularly prevalent and she is always passive, whether depicted serene or suffering.
A detail from the Madonna and child painting by Duccio, late 13th Century (Image sourced: on line)
The mother image is also employed by imperialists to send us to war and was crudely used for example in the UK (of which Ireland was then a part) in a WWI poster depicting a mother and child telling the man to go and fight (for them, of course – not for the imperialists, mar dhea!).
WW1 recruitment poster for Britain (Image sourced: on line)A particularly offensive recruitment poster for the British Army in WW1 given that Ireland was under British occupation and only six decades after a British genocide of Irish people through starvation. (Image sourced: on line)
But in nearly all cases it is a passive representation of womanhood and is combined in the Mothers Heart video with images of sorrow – naturally, about all the children killed or starving, soon to die — which is also a passive emotion.
Many of the visual representations of Palestinian women are in domestic roles assigned to women around the world: food preparation, washing and drying clothes and of course child care.
Mothers are uniquely women but women are also more than mothers. Slightly more than one-half the human race, they are also workers,4 cultural producers, thinkers, leaders — and fighters. Even in revolutionary iconography we rarely see the woman, never mind mother, represented armed.
This is despite the 1970s images of a Mozambican or Vietnamese woman carrying a gun and a child. Or the famous staged INLA photo of a skirted woman in the Six Counties aiming an automatic rifle. Such images are very much exceptions to the rule.5
Poster promoting the Mozambique People’s Liberation Army. (Image sourced: on line)Poster from the Vietnam War. (Image sourced: on line)
The music video shows Palestinian women, among their domestic roles, lamenting, speaking on mobile phones, presumably worried about relatives, carrying belongings, on the move, displaced. The lyrics also are of lament.
As complete counterpoint in the Arab world we have only one image that I know of, which is Leila Khaled with an automatic rifle, because her society too insists on a largely passive role for women, even though their position in that society otherwise seems very influential.
The women shown in the video accompanying the music and lyrics are apparently Arab, Arab-Irish and mostly Irish. On the Palestine solidarity marches here my impression is that born women are the majority over born males and many have taken militant action, for which some are facing prosecution.
Women, in particular Arab women, often lead these marches, calling out the chants for others to respond.
Newsreels show Palestinian and other Arab women abroad marching, shouting slogans, clenched fists in the air. I have seen them denouncing ‘Israeli’ soldiers for invasion and occupation, for mistreatment of children, for demolition of houses, one slapping an armed Israeli soldier in the face.
In our own history (as distinct from mythology and legend) we had few female figures of armed action and Pearse mythologised Gráinne Ní Mháille6 in song to epitomise resistance when he had her represent the nation. But compare that to his poem The Mother!
In recent years Markievicz, Skinnider7 and to a degree Farrell8 have part-emerged from history’s shadows bearing weapons but there is still a long way to go in changing the image of women (through all their biological phases) in the struggle.
This song for all that it affects me emotionally does not do that nor is it expected to and, more to the point, I fear will be used to reinforce passivity in the assigned role of women in struggles — fortitude and solidarity in suffering no doubt, but passivity none the less.
It seems to me that social democrats and liberals perpetuate the mother aspect of the woman manipulatively in order to promote pacifism and much as I appreciate this cultural production, it will be used in that way.
While enjoying cultural productions visually, in sound or in print, we need also to be aware of the social packages they carry and their effects upon us, intended or otherwise.
4Industrial, agricultural, municipal, health services, technical and scientific services.
5There was some coverage of armed Kurdish women in Syria fighting ISIS (I wrote about some myself) but it is now clear that was in the context of NATO coordination in the war to overthrow the non-western aligned regime.
6A 17th Century female chief of the Uí Máille clan in Mayo who led attacks on her enemies by land and sea. Pearse adapted the ancient bride-welcoming song to bid her welcome with armed warriors to reclaim her land and disperse the English occupiers.
7Both Markievicz (nee Gore-Booth) and Skinnider were members of the Irish Citizen Army and both carried and fired weapons in the 1916 Rising.
8Though unarmed, she was part of an Active Service Unit of the IRA when she and her two comrades were gunned down in the British colony of Gibraltar on 6th March 1988.
4Industrial, agricultural, municipal, health services, technical and scientific services.
5There was some coverage of armed Kurdish women in Syria fighting ISIS (I wrote about some myself) but it is now clear that was in the context of NATO coordination in the war to overthrow the non-western aligned regime.
6A 17th Century female chief of the Uí Máille clan in Mayo who led attacks on her enemies by land and sea. Pearse adapted the ancient bride-welcoming song to bid her welcome with armed warriors to reclaim her land and disperse the English occupiers.
7Both Markievicz (nee Gore-Booth) and Skinnider were members of the Irish Citizen Army and both carried and fired weapons in the 1916 Rising.
8Though unarmed, she was part of an Active Service Unit of the IRA when she and her two comrades were gunned down in the British colony of Gibraltar on 6th March 1988.
Around 80 people attended a concert in the back room of Dublin’s Cobblestone pub launching an initiative to “build a community of solidarity and resistance through culture”. Flags of Irish and other struggles around the world decorated the venue.
The evening’s entertainment consisted of five musical acts and one of poetry. The MC for the evening, Diarmuid Breatnach, told the audience that Irish struggles had always found an expression in culture and that culture itself encouraged further resistance.
He gave the example of Thomas Davis who founded with others the patriotic newspaper The Nation in the mid-1800s, publishing contributed songs and poems and his own, including The West’s Awake and A Nation Once Again, songs still sung in Ireland nearly two centuries later.
The first act of the evening was the folk duo The Yearners, specialising in harmonies around renditions of song covers and their own song about the Mary of the New Testament, as a woman pressured to bear a child because “How can you say no to God?
The audience joining in on Pearse’s Gráinne Mhaol was followed by some songs with hard satirical edges like the Kinky Boots song from the Irish Republican repertoire and their own Save A Landlord.
The Yearners during their performance. (Photo credit with thanks: Dermo Photography)Dúlamban during their performance. (Photo credit with thanks: Dermo Photography)
The MC introduced another all-female duo, Dúlamban, recently formed from two individual singer-musicians. Among their material, Sinéad on violin played two compositions of her own while Aisling sang her adaptation and translation of the Rising of the Moon: Ar Éirí na Geallaigh.
The one poet of the evening, Barry Currivan, performed a number of shorter and longer pieces of his repertoire. He was particularly applauded for his “anti-othering” piece Those People and his humorous concluding piece comparing himself to a good cup of tea or coffee.
After the break, the MC spent a few minutes outlining the Solidarity Sessions collective’s project and encouraging the audience to take part in it by spreading word of its events and supporting them in person, in addition to stepping forward to assist in organisation and in poster design.
Barry Currivan during his poetry performance at the Solidarity Sessions launch. (Photo credit with thanks: Dermo Photography)Section of the audience presumably during Currivan’s performance. (Photo credit with thanks: Dermo Photography)
Another female duo took the stage, Sage Against the Machine on guitar accompanied by Ríona on violin, performing a number of love pop covers and SAM’s own song against patriarchy.
Some remarks about Bob Dylan’s Zionism followed in Sage’s introduction of the former’s Masters of War which she performed with great feeling and followed with El Gallo Rojo, an anti-fascist song from the Spanish ‘Civil War’.
Sage Against the Marchine (right) and Ríona during their performance. (Photo credit with thanks: Dermo Photography)Jimi Cullen during his performance at the Solidarity Sessions launch. (Photo credit with thanks: Dermo Photography)
Breatnach then introduced Jimi Cullen who he said has been hosting a weekly musical protest picket for an hour on Wednesdays (2-3 pm) outside the US Embassy for a great many weeks, in which the MC had sometimes accompanied him amidst the solidarity beeping of passing traffic.
Jimi accompanied himself singing his Housing for All and Guthrie’s You Fascists Bound to Lose, then commenting on Bob Marley’s Zionism while introducing the latter’s One Love song, saying that love above all is what binds humanity together, a theme also of his We Are All Palestinians.
His monologue The Genocide Will Be Televised was much sharper and renewed an earlier Death, death to the IDF!1 chant from the audience.
Trad Sabbath during their performance. (Photo credit with thanks: Dermo Photography)
There was much irreverent comment about the name of the band to conclude the evening, Trad Sabbath, a four-piece band of guitars, banjo, bodhrán and fiddle, apparently in the context of the very recent death of the Black Sabbath band’s lead vocalist, Ozzie Osbourne.
Sardonic cries about “his poor widow”, Sharon Osbourne2 were also heard, a Zionist personality star in a ‘reality’ TV show about the late Ozzie’s family. To fill in the delay in their setting up with the sound engineer, Breatnach sang Kearney’s Down by the Glenside ballad.
The band concluded the evening with traditional melodies and some songs from Eoghan and Hat with others backing on choruses.
Poster advertising the event (Design: Ríona and D.Breatnach)
The MC thanked all for their attendance, performances and technical support before reiterating the Solidarity Sessions’ objective and encouraging participation. His comment that “Repression is here and more is coming down the road” was underlined by the presence there of a prominent victim.
In the audience was Richard Medhurst, the Britain-based journalist specialising in Middle Eastern coverage who was recently detained under anti-terror (sic) legislation and charged by British police as he returned from abroad and again later detained though not actually charged by Austrian police.
Richard Medhurst’s tweet during the evening at the event.
End.
FOOTNOTES
1Made famous by the Bob Vylan duo at Glastonbuy getting the audience chanting the slogan. The IDF is what the Israeli Occupation Forces call themselves.
2Who had called for the banning of the the Irish rap group Kneecap.
(Reformatted entire for publishing in Rebel Breeze from article of same title in his Substack)
(Reading time: 8 mins.)
Kneecap’s music is not really my thing. I am perhaps too old, or maybe my musical tastes are more conservative. But I do love their politics and their stance on Palestine.
I don’t think much of Hezbollah, but I do think waving their flag is not a criminal offence.
The BBC think otherwise as evidenced by their decision to not broadcast Kneecaps’s performance at the Glastonbury festival. The only reason for this was their support for Palestine. There was no other reason.
Though, it didn’t work out well for the BBC as Bob Vylan who was broadcast live got the crowd to chant Death to the IDF!, one of the noblest of chants ever to be heard at Glastonbury.
But there is a long history to the BBC and other British media censoring musicians. The BBC in its statement said:
Whilst the BBC doesn’t ban artists, our plans ensure that our programming meets our editorial guidelines.
We don’t always livestream every act from the main stages and look to make an on-demand version of Kneecap’s performance available on our digital platforms, alongside more than 90 other sets.[1]
In other words, the BBC does ban artists.
The rapper trio under the band name of Kneecap (Image sourced: on line)
It is not like this is the first time they have banned some of them. Following the Bloody Sunday massacre by the British Army in Derry in 1972, Paul McCartney, penned a song titled Give Ireland Back to the Irish.[2] It was the debut single of Wings.
It was instantly banned in Britain by the BBC but managed to get to No. 16 in the British charts nonetheless and got to No. 1 in Ireland.
They banned songs that mentioned sex, even Shirley Bassie’s Burn My Candle[3] and they banned songs that were considered more political such as The Sex Pistols’ Anarchy in the UK,[4] a song that wasn’t really political at all.
Not surprisingly they banned the then relatively unknown Heaven 17’s debut (We Don’t Need This) Fascist Groove Thang,[5] over concerns it might upset the then recently-elected US president Ronald Reagan.
This was a man whose government through the CIA went on to support deaths squads in Latin America and set up cocaine smuggling networks to finance them through his loyal servant Oliver North.[6] Reagan of course is referred to in the song.
Democrats are out of power Across that great wide ocean Reagan’s president elect Fascist god in motion
That wasn’t the last of it either. The BBC went on to ban a song by The Police, Invisible Sun[7] because of a possible slight on the British Army contained in the lyrics and of course the official video to the song.
I don’t want to spend the rest of my life Looking at the barrel of an Armalite I don’t want to spend the rest of my days Keeping out of trouble like the soldiers say
I don’t want to spend my time in hell Looking at the walls of a prison cell I don’t ever want to play the part Of a statistic on a government chart
The BBC would, during the 1st Gulf War ban a total of 67 songs for the duration of the war, amongst them songs by such establishment figures as Elton John whose song Act of War[8] recorded in 1985 with Millie Jackson was put on the list.
As was Pat Benatar’s Love is a Battlefield,[9] recorded even earlier in 1983. It takes little to upset the BBC it would seem.
The former Irish Taoiseach (Prime Minister) Leo Varadkar criticised Keir Starmer’s call for Kneecap to be not allowed play at Glastonbury stating that
It’s not great for politicians to get into deciding which artists should be allowed to perform where or not.
To me, that’s illiberalism. Part of the whole point of art and music and literature is to be inappropriate, is to be challenging, is often to be anti-establishment,” he said.
We’ve had a situation now for quite some time in Ireland and in Europe and Britain, where politicians didn’t get into the space of saying who should be allowed to perform, who shouldn’t, what books you should be allowed to read, and I hope we don’t slip back into doing that under the guise of national security and anti-terrorism when it isn’t really about that.[10]
Varadkar tut tuts the BBC and Starmer. Sounds great, except his party and the Irish state in general does not have a great record in the matter.
The state broadcaster took an insidious approach to censorship with songs rarely being banned outright. Rather they were just not simply played on the radio station. Hint hint, nudge nudge. A very Irish way of doing things.
The Irish group The Wolfe Tones released many songs over the years about the conflict in the north of Ireland and got little to no airtime. Such was the situation that they even recorded a song about it, called Radio Toor I Li Ay (sometimes called They Don’t Play Our Songs on the Radio) [11].
The lyrics are pertinent to Kneecap and Starmer and sum up exactly what the Establishment are about.
You don’t play our songs on radio You say they’re too political! Who controls the mind, where’s the mind’s control? For the music on the airwaves Follows empty minds, those empty heads Play songs of sex and drugs instead Don’t tell them how it really is
Won’t MI5 look after you, control your thoughts Feed information to your hearts and minds To save you all from thinkin’, thinkin’, thinkin’, thinkin’
It is a fact that RTE didn’t give them much airtime and still don’t. So much so that in 2024, Derek Warfield the lead singer with the group said it was time to end the ban on them.[12] It still hasn’t happened, nor will it.
In fact, the Irish women’s football team got into trouble for singing one of their songs, Celtic Melody,[13] and were excoriated by British sports journalists, who are not renowned for their knowledge of music, politics, history or much else aside from who ran how fast and where.
Not exactly intellectual heavyweights. Nonetheless these idiots led to the Irish women’s team being eventually fined €20,000 for singing the song.[14]
The Irish singer Christy Moore found himself on the wrong end of state repression in Ireland on many occasions and his songs, like those of The Wolfe Tones were not banned per se, but they never received much airplay.
Except those that were considered to be humorous and non-political, such as Don’t Forget Your Shovel.[15]
But other songs of his were censored on the radio without the need for an official ban, such as Ninety Miles From Dublin,[16] which was about the IRA and INLA prisoners on the Blanket and Dirty Protests in the H-Blocks of Long Kesh.
Likewise, other songs he recorded about the prisoners and later on about the Hunger Strikers equally received no airplay. There was one brief exception to this.
Patsy O’ Hara (INLA) died on hunger strike on May 21st 1981 after 61 days. His mother Peggy O’Hara was initially adamant that she would not let her son die and that when he lapsed into a coma she would intervene and give the doctors the order to break his strike with an intravenous drip.
However, in her last conversation with her son, he said to her that he was sorry they had not won and asked her to let the fight go on, before lapsing back into unconsciousness. Christy Moore wrote a song about that exchange called The Time Has Come.[17]
It was well received and got airplay and praise. Then someone informed the ignorant and arrogant mandarins at RTE what the song was about and suddenly it got no more airplay. Listening to the song, it is obvious what it is about.
The gentle clasp that holds my hand Must loosen and let go Please help me through the door Though instinct tells you no
Our vow it is eternal And will bring you dreadful pain But if our demands aren’t recognized Don’t call me back again
Ironically Christy Moore would record another song that got no airplay. It was called Section 31,[18] a reference to the article of the Broadcasting Authority Act (1960) that gave the minister power to ban interviews with members of Sinn Féin and proscribed organisations such as the IRA.
But in effect it led to RTE’s scant reporting of or carrying out of few interviews that were critical of state policy on the conflict. The song explained exactly why some issues are censored.
Who are they to decide what we should hear? Who are they to decide what we should see? What do they think we can’t comprehend here? What do they fear that our reaction might be, might be?
The Kneecap trio with friends at the Sundance Festival in January. (Photo sourced: RTÉ)
It is always about silencing the opposition and preventing a reaction to their repression and in this case genocide.
So back to Kneecap. They stand in a long line of artists who have put their money where their mouths are. They stand side by side with giants from other musical genres such as Woody Guthrie and Pete Seeger who were repressed by the McCarthyite wave in the US in the 1950s.
The BBC for its part continues to be the propaganda arm of the British Empire, or what is left of it, covering up, lying about or justifying murder, massacre, torture and plunder from India to Kenya, Ireland and now Palestine.
Woody Guthrie had the words This Machine Kills Fascists carved into his guitar, a slogan that might earn him a jail sentence nowadays.
It was meant more in the sense that his music was part of the struggle against fascism, carrying political messages to workers, Dustbowl refugees and migrants.
It didn’t literally kill anyone, though in his song Ludlow Massacre,[19] Guthrie celebrated the workers taking up arms to kill the scab thugs that came to shoot them.
Scabs at the behest of the Colorado Fuel and Iron Company, owned by the infamous Rockefeller family murdered 26 people, mainly the wives and children of the striking miners.
However, the massacre was just one large incident, the Baldwin-Felts Detective Agency had harried and harassed the striking miners, murdering them in ones and twos.
The detective agencies celebrated in comics and films were what would later become known in Latin America and elsewhere as death squads. The miners fought back and Guthrie celebrated this in his song. Resistance, including armed resistance was legitimate.
The state soldiers jumped us in a wire fence corners, They did not know we had these guns, And the Red-neck Miners mowed down these troopers, You should have seen those poor boys run.
The press, at the time, described the striking miners as savages.
Any similarity to the current media onslaught on Palestine is not a coincidence, it shows the class interests of the media moguls and the western states. Working class people, foreign resistance movements will always be savages to the media.
And the use of armed masked thugs by the state is not new either. Before ICE, there were the detective agencies. Most of the dead at Ludlow were migrant workers. The final death toll according to Howard Zinn’s People’s History of the US was sixty six men women and children.
Kneecap have contributed to the fight against fascism and Bob Vylan’s chant Death to the IDF! should be on everyone’s lips. There is no reforming the IDF, just like there was no reforming Hitler’s SS. Only the complete destruction of the IDF will bring any change.
Can their music, like Guthrie’s be said to kill fascists? I don’t know, time will tell, but from the reception they got at Glastonbury it is looking good.[20] What I do know is Keir Starmer and Trump finance fascists.
Starmer like a fascist wants to ban Palestine Action. The BBC covers up for fascists, praises them and censors those who stand up to fascists. I know who is on the right side of history.
NB: Edited by Rebel Breeze for formatting purposes
(Reading time: 6 mins.)
Kneecap, the Belfast Irish language rap group, have found themselves at the centre of what is an artificially contrived furore dreamt up by people with little sense of real moral outrage.
The basics of the story are well known. They finished off their act at the Coachella event projecting pro-Palestinian statements. Given the band’s history and well-known politics, it could hardly have come as a surprise. Perhaps it was more that the fans welcomed it that upset some.
They were denounced by the non-entity known as Sharon Osbourne, a reality star famous for being the wife of Black Sabbath lead singer Ozzy Osbourne and also the mother of another reality star, her daughter Kelly Osbourne.
Kelly to her credit did carve out a brief musical career on the back of her reality tv exposure.
Sharon as part of the wider Zionist attempt to silence all those who criticise the genocide called for their visas to be cancelled, which in effect happened following the decision by their promoter and sponsor to drop them.
She also called for them to be more like Bono. Kneecap responded with a humorously devastating comeback that they would rather be Rangers fans than emulate Bono.
Bono still has some credibility in certain parts, mainly where they haven’t a clue about the man’s actual politics and obviously amongst the clueless, witless, gutless glitterati like Sharon Osbourne. But what would it mean to be like Bono?
Is he actually some sort of reasonable counterweight to Kneecap?
Well, first of all, in relation to Palestine, Bono is a Zionist, so even before the genocide began, he, unlike them, was already on the wrong side of history. Not for the first time, mind you. Bono has a habit of cropping up where he is not wanted like an ugly cold sore (my apologies to the virus).
He has, as Harry Browne, the author of The Frontman: Bono in the name of power, pointed out dedicated a lifetime to the service of imperialism and was rewarded with a Presidential Medal of Freedom from Genocide Joe.[1]
I am sure it will go well on his mantle piece alongside his KBE (Knight Commander of the Most Excellent Order of the British Empire), for which he was fulsome in his praise of Her Majesty’s Ambassador, as he put it, and grinned like a cheshire cat during the ceremony.[2]
The claims made by Blair and others about Bono’s achievements were exaggerated, of course. But he is, if nothing, an equal opportunities imperialist and will get around to doing his bit for the others.
The idea that Kneecap would prostrate themselves before the British king is laughable and they wouldn’t be the first artists to reject one, were the Brits ever to mistakenly consider them for it.
The late black poet Benjamin Zephaniah was offered the lesser award of OBE (Order of the British Empire) by the same Tony Blair. He turned it down stating:
I get angry when I hear that word “empire”; it reminds me of slavery, it reminds of thousands of years of brutality, it reminds me of how my foremothers were raped and my forefathers brutalised…
Benjamin Zephaniah OBE – no way Mr Blair, no way Mrs Queen. I am profoundly anti-empire…
If they want to give me one of these empire things, why can’t they give me one for my work in animal rights? Why can’t they give me one for my struggle against racism? What about giving me one for all the letters I write to innocent people in prisons who have been framed? I may just consider accepting some kind of award for my services on behalf of the millions of people who have stood up against the war in Iraq. It’s such hard work – much harder than writing poems.[3]
He also referred to his brother’s death in police custody and to Lizzie II as Mrs Queen, not Her Majesty. A display of dignity.
He pointed out that those who accept such awards, the Queen’s Shilling, though he didn’t use that archaic military expression for those who enlist in the British armed forces to put down uppity types in the colonies, always sell out.
However, calling Bono a sell-out, presumes he was ever anything other than a fan of empire. He tied his mast to the pro-British politics of the Irish chattering classes in the 1980s.
His song Sunday Bloody Sunday was always introduced with the line This is not a rebel song, lest someone think Bono actually had something interesting to say.
The song is quite vacuous though clear in saying he “won’t join the battle cry,” i.e. denounce those who had massacred 14 people on the streets of Derry. The British army is not mentioned once in the song.
You wouldn’t know who had done what, but you know not to point the finger “Cause tonight we can be as one”. John Lennon on the other hand, shortly after the massacre did not hold back.
Is there any one among you Dare to blame it on the kids? Not a soldier boy was bleeding When they nailed the coffin lids![4]
Bono couldn’t bring himself to condemn the British army for a televised massacre, so it comes as no surprise that he has little to say about a live-streamed genocide.
He hobknobbed with neoliberals such as Jeffrey Sachs, various presidents of the World Bank, promoted pharmaceutical companies in Africa and of course was on the side of Bush in the Iraq War, at least in practice and helped whitewash the reputations of many of those involved.
He hedged his bets a bit on Iraq, not wanting to seem too hawkish, saying the war was justified but the US should get UN backing for it. He then went on to endorse Clinton and Blair time and again. Jim Kerr from the Scottish band Simple Minds put it succinctly at the time.
How can Bono, having graced concert stages for over two decades, draped in the white flag of peace and screaming ‘No More War’ [sic] at the top of his lungs contemplate praising and back slapping Tony Blair? … I can’t believe that anyone could fail to identify that no matter what gesture Blair may make towards African debt relief, his slippery hands are currently dripping in the fresh warm blood of Iraqi men, women and children.[5]
Bono of course, could and did, and wined and dined with such hawks as Senator McCain. There were no depths to which he would not plummet, which brings us to Palestine.
Shortly after October 7th he endorsed the Zionist genocide by changing the lyrics of his song about Martin Luther King, Pride (In the name of love)[6]to “Early morning, Oct 7, the sun is rising in the desert sky… Stars of David, they took your life but they could not take your pride.”[7]
As part of the introduction to the reworked song he state “our prayers have always been for peace and for non-violence… But our hearts and our anger, you know where that’s pointed.” Not at the Zionist occupiers was the answer. Roger Waters lambasted him for it.[8]
Not only that, he was criticised by Irish singer Mary Coughlan for his links to Israeli companies.[9] He did not fly out to Gaza as he had done in Ukraine, nor did he have much to say.
When he eventually did mention Gaza, he was always careful to lay the blame on Hamas for starting it all, ignoring history since the Nakba in 1948.
A good example of that is his piece in The Atlantic after receiving his Medal of Freedom from Genocide Joe.[10] An exercise in saying nothing, whilst attempting to sound profound, something Ireland’s most famous poisonous dwarf never pulls off.
Kneecap on the other hand have been clear from the word go about their support for the Palestinian cause. It didn’t take a genocide for them to take note. They have consistently been on the side of the oppressed, in this case the Palestinians, against the oppressor the Zionists.
So, Sharon Osbourne should probably stick to what she knows best, which is precious little.
As for Bono, as Harry Browne points out, perhaps nothing sums him up quite so succinctly as a piece of graffiti in Dublin that appeared following the scandal when they moved one of their companies to the Netherlands for tax purposes, “Bono is a poxbottle”.
We need more like Kneecap who stand with the oppressed, and a lot less of Bono and the likes who can’t condemn the powerful ever.
At best you can expect some “We are all guilty type” of fudge, which was the preferred slogan of the Irish trade union bureaucracy when the British or their proxies in the UVF or UDA ever did anything, coming as no surprise that they have also done next to nothing on Palestine other than issue the occasional banal statements.
I fully expect them to turn up with Bono somewhere to chastise Kneecap.
An Irish Republican Easter Rising commemoration conducted on Sunday 20th April followed tradition in some aspects but departed in others. The event in Glasnevin Cemetery was organised by the Anti-Imperialist Action group.
As the 1916 Rising commenced on Easter Monday it is traditionally commemorated on various days around the Easter weekend. The actual date however was 24th April which a now-deceased socialist Republican activist publicly celebrated every year as Republic Day in front of the GPO.1
Taken from near rear of the marching columns approaching Cross Guns Bridge. (Photo: R.Breeze)
Among the commemorations organised by Irish Republicans around the past weekend was that by the AIA group on Sunday, rallying by the Phibsboro shopping parade for 1pm, before marching out to Glasnevin cemetry along the Phibsboro Road in two parallel separate lines.
This gathering in the past has been marred by the Special Branch, the political plainclothes police, harassing and attempting to intimidate those present, demanding their names and addresses under anti-terrorist (sic) special legislation. This time they were there but did not approach.2
Just after passing Crossguns Bridge over the Royal Canal, a flare was lit and the march stopped in the street.3
After a short pause the march resumed, led by the colour party,4 six men and women, each carrying a different flag with the Tricolour and Starry Plough in the lead, all dressed in black trousers, white shirts, black berets, sunglasses and lower face masked.
The images of each of the Seven Signatories of the 1916 Proclamation, all shot by British firing squads were on large placards were carried among the marchers: Tom Clarke, James Connolly, Patrick Pearse, Seán Mac Diarmada, Joseph Plunkett, Thomas McDonagh, Eamonn Ceannt.
(Photo: R.Breeze)
A variety of flags were also flown among the marchers, including the green and gold Starry Plough,5 Palestinian flag, Basque Ikurrina and red flags (with gold hammer and sickle emblem on at least one).6 The AIA banner carried at the front bore a quotation from Bobby Sands in Irish.
The march soon passed the main gates of Glasnevin Cemetery to their right but continued before turning leftward to then cross over the pedestrian railway bridge to the newer part of Glasnevin Cemetery and up to the monument to the Six armed struggles referred to in the Proclamation.7
Formed in two lines the attendance was welcomed in Irish and English by the event’s MC, calling also for the reading of the Proclamation of Independence, which a man stepped forward to do. The MC recommended a careful reading of the still-relevant document to attendees from abroad.
Section on the left of the attendance at the commemoration rally with another section to the right out of shot. (Photo: R.Breeze)
Following the reading, the MC commented on the important role of culture in the 1916 Rising8and called on an activist who he said has done much to promote traditional and folk Irish song, who proceed to sing Patrick Galvin’s Where Oh Where Is Our James Connolly? “with some changes”.
Next the call was given for those who wished to lay floral tributes while the colour party lowered their flags in homage to the fallen to commands in Irish, then slowly raised them again before responding to the command in Irish to stand ‘at ease’.
(Photo: R.Breeze)
Another activist was called to read the 1915 statement on the Irish Citizen Army by James Connolly in which the revolutionary leader outlined the police violence during the 1913 Lockout that created the need for the ICA and how it had gone beyond defence in assertiveness.
The statement declared its class allegiance and origins “Hitherto the workers of Ireland have fought as parts of the armies led by their masters, never as members of an army officered, trained, and inspired by men of their own class.”
Reading Connolly’s “To the Irish Citizen Army” (Photo: R.Breeze)
The PA amplification failed on the reader but she carried on in a strong voice reading Connolly’s words that the ICA sought alliance with all progressive forces but remained independent, not to be bound by the limits others set themselves and going further on their own if necessary.9
Another singer was called to perform Erin Go Bragh10 specifically about the 1916 Rising (by Dominic Behan, originally called A Row in the Town).
Singing Erin Go Bragh at the Monument (Photo: R.Breeze)
It is traditional for organisations to deliver a keynote message or statement of aims at 1916 commemorations and a statement was read on behalf of the Irish Socialist Republican Movement (of which the AIA is a part) restating the objectives of national independence and socialism.
In that context the struggles against the Irish ruling class putting the State into imperialist alliance and against the British occupation of the nation, also a NATO member, were greatly important and the Gardaí had broken a comrade’s foot in that struggle.
(Photo: R.Breeze)
Referring to the international context of the 1916 Rising and the international connections of the revolutionary movement in 1916, the MC read out a fraternal message to AIA from the People’s Front for the Liberation of Palestine,11 declaring that the struggles of both peoples are one.
The event concluded at around 2.45pm with a singer performing Amhrán na bhFiann12 (first verse and chorus) followed by an announcement or reminder of a public meeting organised by the AIA titled Rebuilding the Republic to take place at 4pm at a venue not very far distant.
End. Footnotes
1Easter is a religious festival and its date varies from year to year according to computations based on the lunar and solar calendars and cannot fall on the same date annually in the Gregorian calendar (or the Julian one). After the insurrectionary forces had taken possession of the building, Patrick Pearse with James Connolly by his side read the Proclamation outside the General Post Office (GPO) building on the first day of the Rising (after its rescheduling from the previous day, Sunday): 24 April 1916. Tom Stokes tried for years to have the date adopted as Republic Day and annually organised an event outside the GPO on that date. After his death others carried on commemorating the date but rather than outside the GPO, at Arbour Hill. The Republican movement continues to hold its 1916 commemoration events over the Easter weekend.
2Possibly because the dust has not yet settled on the Gardaí’s recent violent arrests on 23 peaceful activists in three different events over four days (See Rebel Breeze’s IrishState Ramps Up Repression) recently.
3This spot has a 1916 history: A group of Irish Volunteers walked from Maynooth on Easter Monday along the banks of the Royal Canal, meeting two Irish Volunteers guarding the bridge and that night slept in Glasnevin Cemetery. The following morning they continued their journey to the city centre. Later, as the Rising was being suppressed, the British soldiers placed a barrier on the Bridge and prevented most people from passing through. A local man who had been deaf from birth failed to heed the soldiers’ challenge and they shot him dead.
4The ‘colour party’ carries the ‘colours’, i.e the flags and usually marches at the front. The number and type of flags varies but Irish Republican colour parties always carry the Tricolour among them, usually followed by the Starry Plough of which for many years the white stars on a blue background version was the most common. Often a flag of each of the four provinces would also carried and the Gal Gréine (or Sunburst) of the Fianna and of the Fenians would be carried too. The Harp on a Green background was another flag that was often carried by Colour Parties.
5The original design of the flag of the first workers’ army in the world, the Irish Citizen Army, created in 1914. It is a plough following the form of the Ursa Mayor constellation with a sword replacing the ploughshare.
6This is usually considered a symbol inherited from the Bolsheviks, the sickle representing the agricultural workers and the hammer, the industrial workers, their conjunction symbolising unity of peasants and industrial proletariat.
71798 and 1803 (United Irishmen), 1848 (Young Irelanders), 1867 (Fenians), 1882 (Invincibles group within the Fenians), 1916 (IRB, Irish Volunteers, Irish Citizen Army, Cumann na mBan, Fianna Éireann)
8Irish language revival, national theatre groups, national sports, poetry, music and song all contributed to an atmosphere conducive to resistance and uprising.
9However it may be for others, for us of the Citizen Army there is but one ideal – an Ireland ruled, and owned, by Irish men and women, sovereign and independent from the centre to the sea, and flying its own flag outward over all the oceans. We cannot be swerved from our course by honeyed words, lulled into carelessness by freedom to parade and strut in uniforms, nor betrayed by high-sounding phrases.
The Irish Citizen Army will only co-operate in a forward movement. The moment that forward movement ceases it reserves to itself the right to step out of the alignment, and advance by itself if needs be, in an effort to plant the banner of freedom one reach further towards its goal. https://www.marxists.org/archive/connolly/1915/10/forca.htm
10The slogan Éirinn (or Éire) go brách (“Ireland for ever”) was rendered in English spelling as Erin go bragh.
11 A socialist and secular resistance Palestinian resistance organisation; its armed wing is Brigades of the Martyr Abu Ali Mustafa which has been part of the armed resistance throughout the period, often in coordination with other groups.
12In a reversal of the usual sequence, the lyrics of this song by Peadar Kearney and Patrick Heeney were first composed in English but later translated to Irish, that being the most popular version of the chorus today.
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