Nowadays, said Miriam Nyhan Grey, a historian affiliated with Glucksman Ireland House at New York University, “this speaks to the difference between Ireland and the diaspora and particularly the U.S. The novelist Peter Behrens noted that “as caricatured by illustrators like Thomas Nast in magazines like Harper’s Weekly, ‘Paddy Irishman,’ low of brow and massive of jaw, was more ape than human, fists trailing on the ground when they weren’t cocked and ready for brawling.” Joshua Riff and Michael Cronin wrote in “New York City Police” (2012) that it was “also possible that ‘paddy’ was indicative of the vehicle’s padded interior walls.”īut the broader context was derogatory. White, noted in her book “You Talkin’ to Me? The Unruly History of New York English (2020) that “paddy wagon” was “probably deliberately casual about whether the ethnic slur paddy refers to the police or the prisoners.” O’Callaghan said that “paddy” took on a derogatory meaning as Irish migrants arrived in the United States in the 19th century, and that the paddy wagon “was named after drunk Irish people.” Elyse Graham, a professor at Stony Brook University who writes under the name E.J. Next month they will go up at the New York Irish Center in Long Island City, with the opening scheduled for April 12, two days after the 25th anniversary of the landmark accords known as the Good Friday Agreement, which ended decades of sectarian strife. More than 20 of O’Callaghan’s images will move outdoors tomorrow, to Pershing Square in Midtown Manhattan, through March 22. The result was “Paddy Irishman,” an exhibition that will begin with a one-day installation and the party tonight at Lume Studios, at 393 Broadway in SoHo. O’Callaghan decided to photograph men who wear the nickname proudly, including Paddy Barnes, who won bronze medals in boxing at the 20 Olympics Paddy Hill, who was wrongly convicted as one of the Birmingham Six in a 1974 pub bombing and Paddy Smyth, a gay disability activist.

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