A fiercely honest and unvarnished autobiography from Ireland's most successful and controversial living artist. Making his name as a Pop artist in the late 1960s and 70s, Robert Ballagh quickly achieved an international reputation. With little formal artistic training, he triumphed in his field despite often formidable hostility. His work was also strikingly topical and political, playing with classic images by Goya or Delacroix to express outrage about the situation in Northern Ireland. But it is his series of realistic portraits of writers, politicians and fellow artists – often searingly inquisitive and moving in equal measure – that have won him lasting fame. His subjects include Brian Friel, Seamus Heaney, Samuel Beckett, James Watson, Francis Crick, Harold Pinter and Fidel Castro. And his remarkable self-portraits unsparingly document the process of his own ageing. This memoir is also a story of Ireland over the past sixty years, its violence, hypocrisy and immobility as well as its creativity and generosity.
Oliver Lewis was champion jockey of the Kentucky Derby in 1875 with a winning race time of two minutes and 37 seconds. Jockey Willie Simms won in 1896, bringing his horse in at two minutes and seven seconds. James Winkfield was the winning jockey in both 1901 and 1902 with winning race times of two minutes and seven seconds and two minutes and eight seconds, respectively. Each of these men possessed the skill and power necessary to spur a horse to glorious victory. All are members of the small, select group of Derby-winning jockeys who were African Americans. The stakes were high: Black jockeys who won a race in the late 1700s and 1800s sometimes won freedom from slavery as well. This work examines the presence of black jockeys in the Kentucky Derby, from the first instance of slaves working as stable hands and tending their masters' horses to the first black jockey to win the prestigious Kentucky Derby in 1875 and the continued participation of black jockeys in the Kentucky Derby. Black owners and trainers in the Kentucky Derby are also discussed. Three appendices list black winning jockeys, black trainers and black owners of Kentucky Derby horses.
Despite the bewildering number of tomes devoted to the Napoleonic wars, much basic data as been hitherto unavailable to anyone other than the most ardent scholars. McGuigan and Burnham have collected a tremendous treasure trove of information in a readily accessible form. Other books may tell you how many regiments were sent on the expedition to Hanover in 1805, but The British Army against Napoleon will tell you where every single regiment in the British army was stationed, who were their honorary colonels, and give you a list of all the barracks in Britain with the number of men they were designed to hold. Where else will you find not just the pay of different ranked officers but the amount of income tax they paid, as well as all the other deductions and stoppages that reduced their actual receipts to a fraction of their nominal (and generally quite low) pay? Or pension charts for widows? There are tables that list all the recipients of the honours and awards issued, casualties in action and disease, seniority of officers of the numerous expeditions and campaigns (a matter not just of curiosity but of major significance, for the date of rank of an officer determined who commanded the force and all of its sub-units.) The material in these tables has been collected from countless primary sources and official publications such as the Army List, London Gazette, Wellington s Dispatches, regimental histories, artillery manuals, and handbooks.
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