Catriona Crowe is former Head of Special Projects at the National Archives of Ireland. She is Ireland's most recognisable archivist, and someone to whom all historians of modern Ireland are indebted. At the recent Seán Corcoran Series (www.seancorcoranseries.com/) we discussed archives, oral history and much more.

Clodagh Finn and John Morgan have produced an important history of the involvement of Irishmen and women in the anti-fascist movements of the Second World War. One of the most extraordinary stories they have uncovered is Catherine Crean, a woman in her sixties originally from Dublin's Moore Street. She would give everything in defence of democracy and in opposition to Hitlerism. The Irish in the Resistance is out now (Gill Books.)

This year marks four decades of the DART. Along with that, the Luas has turned twenty. These two services have radically changed how we live in Dublin, but where did they come from and how did Dublin's transport history shape them? This episode explores these things and questions of tomorrow.

Seeing the inevitable headlines on the horizon around the Wolfe Tones performing at Electric Picnic, I decided to reach out to Brian Warfield for a chat about his book, The Ramblings of an Irish Ballad Singer. Amongst other things, Brian spoke to me about his family origins, why the Tones recorded songs like 'The Sash', and the importance of the English folk music revival for his band.

(Original image: Richard Walshe, Mindfield Flickr)

The Liffey Swim is a beloved painting, and one of the most visited works in the National Gallery of Ireland. A century ago, it led to the first Olympic medal of the new Free State. With calls for the creative arts to return as a competitive dimension of the Olympics, this episode explores Jack B. Yeats and the cultural and political context of his win.

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At the Irish Museum of Modern Art, a new exhibition explores the life and work of artist Hilary Heron. Like many, I came away from it amazed that this important modernist sculptor was not better known here. Born in Dublin in 1923, her work achieved international recognition in her own lifetime. Dr. Billy Shortall is the author of an essay on Heron in the exhibition catalogue, and has done great work to bring her back to deserved prominence.

An article by Billy on Heron can be read at www.rte.ie/brainstorm/2021/0105/1187779-hilary-heron-sculptor-art-ireland/

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More than just one of Ireland's most beloved musicians, Martin Hayes is also the author of Shared Notes: A Musical Journey. In his memoir he introduces us to a host of brilliant characters, ranging from childhood friends and relations in East Clare to those who would become central to The Gloaming. One figure we meet is Tommie Potts, a Dublin firefighter from the Coombe and a fiddle player. The Liffey Banks remains a beloved record. In this excerpt from a conversation at London's Féile MOTH, Hayes discusses Potts and revisits a tune that means much to him.

Orson Welles made his stage debut in Dublin. To him, The Gate Theatre would always be a part of the story of his own life development and professional career. Later, he returned to scenes of protest against the same theatre for hosting him. In time, all was forgiven and Welles would deliver an astonishing Q and A before a packed Dublin crowd who quizzed him on everything from American politics to the future of cinema.

This year marks the 40th anniversary of Red Roses For Me, the first album from The Pogues. Borrowing its title from Sean O'Casey, it also carries literary influences like Ulysses and Brendan Behan proudly. As an exhibition on the London-Irish currently runs in Dublin's EPIC emigration museum, what better time to discuss this defining London-Irish band who still mean so much? Here Comes Everybody by James Fearnley (Faber & Faber) is available now.

We know it as 'On Raglan Road', but the journey of the song that began life as a poem tells us a lot about Bohemian Dublin in an earlier time. In the Bailey tent at the Luke Kelly Festival, playwright Jimmy Murphy takes us through the story of the Kavanagh masterpiece Luke Kelly made his own. We also get a great rendition from Fergus Whelan (with a little help from Patrick Kavanagh in the recording!).