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members of small illegal, largely Roman Catholic, peasant bands in 18th-century Ireland. First organized (c.1759) in protest against the large-scale enclosure of common lands and other causes of agrarian distress, they were so called because on their nocturnal raids they often wore white disguises. They were heavily suppressed (1765), but outbreaks of similar activity recurred during periods of extreme agricultural hardship. Hostility (1775–85) was largely aimed at tithe collectors. There were similar, although shortlived, Protestant groups in Ulster, the Oakboys (1763) and the Steelboys (1770). Terrorist activity hastened the establishment of the Irish Parliament (1782), in which Henry GrattanGrattan, Henry
, 1746–1820, Irish statesman. A lawyer, he entered (1775) the Irish Parliament and soon became known as a brilliant orator. Aided by Britain's preoccupation with the American Revolution and its fear of the revolutionary potential of the Irish volunteer army
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 attempted to reform the system of tithes. Although the Whiteboys were suppressed, they set a pattern for agrarian unrest that continued under various names and later became politicized.
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To compound matters the local Whiteboys joined in the fray and deaths were the result on both sides.
Jennie of Midlothian followed Whiteboys, and then the theatre went dark until 9 June.
The part about "run[ning] a hand through your hair like the whiteboys," for example, suggests an awareness of how much racial or ethnic identity is performative, a role that you play with certain acts and gestures that Yunior chooses to take up and put down at will.
He was impatient to be started and well before leaving Ireland had adapted his Sleeping whiteboy into a historically incorrect sketch of Peep-o'-day boy's cabin.
Things became most serious in the 1770s when the Whiteboys acquired firearms and killed representatives of the gentry.
In a film adaptation that interweaves Smith's virtuoso performance with documentary interviews and footage of then contemporary Los Angeles, award-winning director Marc Levin (Slam, Whiteboys, Thug Life in DC, Brick City, Street Time) deftly transforms Smith's work from stage to screen.
If Trollope litters his novel with vignettes about Irish social mores, his 'Tale of the Famine Year' omits any mention of the political unrest that was brewing around 1847: as Christopher Morash has noted, 'there are no Ribbonmen, Whiteboys or Young Irelanders in [Trollope's] novel'.
There are also interesting glimpses of the effect on the Herbert family of the political events of the day, particularly the threatening activities of the local Whiteboys.
He caught the outside curve and drove it to the wall He bloodied him at last and down he went like Schmeling smartass whiteboys come on quiet nights to lose their innocence He put his hand directly up her skirt and she did not say no don't do it didn't say a thing and so He turned the crank until he couldn't turn it any more and put on McNamara's Band.
On page 287, the terms "terrorist" and "revolutionary" to refer to the Whiteboys and the "Croppy Boys" of 1798 Wexford are anachronistic at best.
Whiteboys Danny Hoch brings his stage show to the big screen, playing a white hip-hop poet who moves to the Chicago ghetto for street cred.