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“Ohh, next door.” Brilliant. Well done to all involved in Unlock NAMA for a truly great and inspiring day yesterday! We say more of this kind of thing!

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The Unlock NAMA occupation today has really grabbed peoples imagination, and I thought it was a great touch that alongside the information on NAMA and the properties under its ownership, the group behind the occupation included a history of the building to show what it was in past lives.

One picture stood out instantly, taken from here at Come Here To Me. 66-67 Great Strand Street were occupied today, but right next door at 64 occurred one of the most unusual events of the 1930s in Dublin, in the form of the storming of Connolly House following a rather heated mass at the Pro Cathedral.

Bob Doyle, who went on to fight fascism in Spain, was ironically enough among the crowd who stormed Great Strand Street. He wrote in his memoirs years later:

I had attended the evening mission on Monday 27 March 1933 at the Pro-Cathedral, during the period of Lent where the preacher was a Jesuit. The cathedral was full. He was standing in the pulpit talking about the state of the country, I remember him saying – which scared me – “Here in this holy Catholic city of Dublin, these voile creatures of Communism are within our midst.” Immediately after the sermon everybody then began leaving singing and gathered in a crowd outside, we must have been a thousand singing “To Jesus Heart All Burning” and “Faith of our Fathers, Holy Faith”. We marched down towards Great Strand Street, to the headquarters of the socialist and anti-Fascist groups in Connolly House. I was inspired, of you could use that expression, by the message of the Jesuit. There was no attempt by the police to stop us.

We’ve already looked at the event in some detail before, over here, but with the day that is in it I thought I’d repost the image as it appeared in the Unlock NAMA history today. Below is a rare image showing two police officers alongside the petrol cans used during the burning of Connolly House. It came into my possession as a gift, and I’m chuffed to share it.

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DFallon’s great piece on Ettie Steinberg yesterday got me thinking about another unusual tale regarding the Irish and the Second World War. That is the story of John McGrath of Roscommon who became the only Irishman to be imprisoned in Dachau concentration camp.

If you stand in the Schubraum section of the Museum Building in Dachau, you will see a large map of Europe on the wall. Over each country is a number,  indicating how many of their citizens were imprisoned in the camp. The number ‘1’ is marked over Ireland.

John McGrath (c1893 – Nov 27 1946), was born in Elphin, Roscommon and educated at the Christian Brothers’ Schools in Carrick-On-Shannon. Joining the British Army, he saw action in France in World War One.

John McGrath. Sunday Independent, Apr 17, 1932.

Returning home safely he worked, as an administrative staff assistant, with the Gordon Hotel in London and then was involved with the organising of the Grand Prix Motor Race in the Phoenix Park and the Military Tattoo in Landsdowne Road in the late 1920s

He became the first House Manager of the new Savoy Cinema in Dublin in 1929, staying there for two years. When the Savoy Cinema in Cork was opened, he was sent down to manage it and worked there for a further two years. Returning to Dublin, in 1935, to manage the Theatre Royal on Hawkins Street, McGrath was recalled up to the British Army, as major, at the outbreak of war in 1939.

Theatre Royal, Hakins St. nd. (Picture credit -Damntheweather)

Landing with the Allies in Dunkirk in May 1940, McGrath was one of the ‘small Allied band’ who fought in France after the evacuation. He was wounded twice in battle near Rouen, Normandy before finally being captured by the Nazis. McGrath, now a Colonel, along with other captured POWs were then forced to march over four hundred miles to Germany. At least two hundred of the captured men died of exhaustion en route.

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Below is a set of photographs from this morning’s activity at the Unlock NAMA building on Great Strand Street, Dublin 1.  I’ll stick up another report later on the meetings, which will be take place as below:

12 noon: Conor McCabe (author of Sins of the Father) on NAMA and Property Speculation in Ireland

2.30pm: Andy Storey (lecturer in politics and international relations) and Michael Taft (research officer, UNITE) on the Anglo: Not Our Debt campaign

4pm: Unlock NAMA: What buildings does NAMA have and how can we identify and gain access to them?

In we go....

Busy busy!

Media team at work...

Before....

After...!

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Today is Holocaust Memorial Day. With that in mind, I dipped into an old Come Here To Me article which was the popular review we carried out of the Jewish Museum in Portobello.

A small, touching plaque features upstairs in the restored synagogue to Ettie Steinberg. Herself and her son were to become the only Irish citizens to perish in the Holocaust. Ettie was raised in Raymond Terrace. The horrific figure of six million can be difficult to comprehend, but when the story of one individual is brought to life, not least a Dubliner born only a short walk from the Museum, the horror of those years becomes clearer.

Ettie’s family were oiginally from Czechoslovakia, and had come to Ireland from London in 1926. She married a Belgian man in 1937, and moved to Belgium with him before going on to Paris two years later. In 1942, Ettie and her young son, born in Paris, were transported to Auschwitz by the Nazis. In his wonderful work Jews In Twentieth-Century Ireland , Dermot Keough wrote that:

By a strange irony, the Steinberg’s in Dublin had secured visas for Ettie and her family through the British Home Office in Belfast. The visas were sent immediately to Toulouse but they arrived too late. Ettie and her family had been rounded up the day before and sent to the camp at Drancy, outside Paris. They were transported to Auschwitz and to their immediate death.

The map below shows that area that once made up ‘Dublin’s Little Jerusalem’, and was first uploaded to Come Here To Me by jaycarax here, at the time of a fascinating documentary on the murders of two Jewish men in the area in the early 1920s.

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Snap of Eoin O’Duffy’s Irish Brigade returning from Spain after a pretty disastrous and embarassing campaign which only lasted six months. Getting drunk regularly and, in their first action, coming under friendly fire from an allied Falangist unit from the Canary Islands, it is likely that Franco was glad to see the back of the Irish Brigade.

Brendan Behan famously quipped that “they certainly made history (as) they seemed to be the only army that went out to war, ever, and came back with more”. This is because a number of Irish men in the Spanish Legion(?) decided to get a lift home with O’Duffy and co. when they were leaving.

1937, Dublin, Ireland --- Irish Brigade Returns from Spain --- Image by © Hulton-Deutsch Collection/CORBIS

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Dublin Shortcuts

Though they didn’t quite make the Lanes of Dublin list, these little shortcuts still deserve a mention.

Lower Mount Pleasant Avenue, Rathmines shortcut:

Mountpleasant Sq. West entrance

Lwr. Mt. Pleasant. Ave. entrance

– Phibsborough Terrace shortcut:

View from North Circular Rd. down to Phibsborough Ave.

View from Phibsborough Ave. down to North Circular Rd.

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More vintage book covers.

I wanted to follow up a a recent post looking at some vintage book covers by scanning some more, as they hold a huge appeal to people for various reasons. Friends with a love of design as much as those with a love of history are fascinated by the book covers of old of course.

The below, almost entirely, come from the collection of my brother. The Behan biography is one of my favourite book covers of all time, but they’re all excellent in their one way.

If this is your thing, pop over to the hitone vintage Irish book cover blog from designer Niall McCormack, his collection is stunning.

Rae Jeffs, Brendan Behan: Man and Showman (Corgi, 1968)

Emmet Larkin- James Larkin (New English Library, 1968)

Micháel Ó hAodha- The O’Casey Enigma (Mercier, 1980)

Peadar O’Donnell- Islanders (Mercier, 1965)

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This looks interesting. This Saturday one of the NAMA buildings in the city centre is going to open its doors, with that temporarily occupied space playing home to a day of discussion around NAMA, its roles and functions and the possibilities around NAMA buildings. Unlock NAMA are the group behind this venture, and in their own words “Unlock NAMA is a campaign to access NAMA properties for social and community use and to hold NAMA to account”

There is a lengthy write-up from Unlock NAMA at politico.ie which you can read here, outlining more about Saturday.

The location of the building will go out on social media at 9.30am on Saturday morning, so keep an eye on facebook.com/unlocknama and follow @unlocknama on Twitter.

Full Programme:

12 noon: Conor McCabe (author of Sins of the Father) on NAMA and Property Speculation in Ireland
2.30pm: Andy Storey (lecturer in politics and international relations) and Michael Taft (research officer, UNITE) on the Anglo: Not Our Debt campaign
4pm: Unlock NAMA: What buildings does NAMA have and how can we identify and gain access to them?

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This is something I’ve wanted to do for a long time, to ask some questions to one of the Dubliners I find most interesting in our city today. On several occasions I’ve mentioned an interest in the likes of Kevin Freeney and the historic sign writing tradition of this city, and in more recent times it’s the street artists of a different kind who have caught our eye.

From the positive message of the ‘They Are Us’ collaboration with Damien Dempsey, which raised money for the homeless of the city, to his recent contributions to major art exhibition Dublin Contemporary, Maser has brightened the walls of the city, always paying tribute to those who inspired him and helping to open doors for the next lot by including the youth of Dublin in a lot of his work.

He’s an all around decent bloke, a good ambassador for the city and handy with a brush. Enjoy the below. The questions, fittingly for the site you’re reading, all deal with the city and how he relates to her and takes inspiration from her.

1) Most Dubliners would probably have first stumbled across your work through ‘They Are Us’. Did that project, and working with Damien Dempsey, change how you saw Dublin at all? Did you see new things around you, for example visiting Mountjoy?

The ‘They Are Us’ project was addressing things I was already aware of. The idea was to possibly educate and show different aspects of Dublin that maybe some people aren’t too aware, for example the historic sign writing trade, the homeless, graffiti art. The funny thing is, I ended up probably learning the most.

An element of it for me was understanding homelessness, it led me to Mountjoy and St.Pat’s prison, where I painted murals, shared lunch and hung out with the inmates for three weeks. That beats any textbook education.

2:) You seem to do a bit of sign writing professionally on occasion. That tradition is sadly dying in Dublin but it used to be very common here. Would you take influence from that old tradition, as well as the medium of street art?

I’d be fully aware of the technique they used and materials.

I use the material most appropriate for the job, so if it’s large scale, like Ballymun, well spray paint is the best option. If I’ve time, or want to spend extra time on pieces I’ll use brushes with gloss. I really enjoy the act of painting, the end piece is just the result.

Maser and Damien Dempsey's Ballymun piece made the front of The Dubliner.

3) The ‘They Are Us’ show included portraits of James Connolly and ‘The Liberator’ O’Connell. Is Dublin’s history something you’re becoming more and more influenced by do you think?

The more I learn the more I realise how much more I want to know.

There is a wealth of history in this city and country that can supply an extensive body of visual work for any artist. There are still a lot of people, places and situations I need to paint and talk about.

4) One of the best things about following your work is the outreach to working class Dublin kids, getting them involved in a lot of your work. How important is all that to you?

It’s just the way it went. By painting a piece, I’m putting it out there for everyone to see. It’s available to all social classes. When painting I’m not doing it for a target audience. Maybe certain locations dictate that because the piece might be in their area.

I do however, get kids involved through workshops, classes when I can. I understand what it’s like for a kid growing up in Dublin. It’s a confusing time, per pressure, being full of energy and not knowing how to release it, sometimes resulting in those kids going down the wrong path. I’ve worked with kids in schools across Dublin, also getting them involved with my own projects, for example the kids from Crumlin who helped me with the set up of the They Are Us exhibition.

[vimeo.com 19968673]

5)Would you see ‘Dublin Contemporary’ as a big leap for yourself? Is it still as much fun to hit up Windmill Lane as a massive exhibition?

I still consider them two different worlds. It’s great to have the opportunity to do both because it adds variety.

Saying that, the indoor would not survive without the outdoor pieces. Outdoor work is the core of what I do, and the the piece interacts with the outdoor space, whether that be the piece getting damaged, fading off the wall, pissing people off or putting a smile on their face as they walk to work.

Nothing beats painting Windmill Lane, it used to be my playground years ago, going down 5 times a week to drop pieces and stay up in the space. They sand blasted the whole lane clean in ’99, that didn’t last long. The piece below is by TML (The Missing Link, Maser’s old crew)

TML piece at Windmill Lane

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At the Abbey Street/Capel Street junction, this gem from street artist Canvaz stands. It seems a fitting day for it to go here, with 1.25 Billion Euro going to senior unsecured bondholders during the course of the day. Have a good one folks.

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Great line up, great cause ( the Gypsies Trust.)

Line-up: Clash Jam Wallop, The Lee Harveys, Found On The Floor and Complan. €10, 8pm doors.

 

Poster by Tommy Rash

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