Date Published: 04-Mar-2013
You’re either a fully paid-up member of the Shameless fan club or you think it’s nothing more than pure filth masquerading as comedy – and I’m firmly in the former camp.
The inhabitants of the Chatsworth estate in the heart of Manchester’s Council slums survive on a diet of drink, drugs and unorthodox sex – with a dollop of murder, serious crime and anything else that’s outside the system thrown in.
It’s not for the faint-hearted – nor is most of it for airing in a family newspaper – but there are few offerings on the box that will have you laughing like a drain at the sheer brazenness of it all.
Series 11 – and tragically the final one – started last week, but the problem is that, if you’ve missed the first 10 years, it’s probably as well to let it all drift past you now because you’d need a degree in Shamelessness to catch up.
In essence, it’s about two families – the Gallaghers and the Maguires – whose roots are firmly on this side of the Irish Sea but whose capacity for wrongdoing is down to life on the margins in Manchester.
Frank Gallagher – titular head of the Gallagher clan – is about as good for nothing a layabout as you could find in a lifetime’s search.
The Maguires, on the other hand, lost their leader in series 7 when Paddy passed over, but his ex-wife Mimi stepped up to the plate as the Godmother of crime, running a drugs empire like she was to the manor born.
Now she’s married to a toy boy Billy, she’s mother of little Cilla and, as of last week, she’s hijacked control of the local school via the PTA.
None of this sits well with her sons Jamie, Shane and Mickey, who all bring their own baggage to the table – Jamie, who runs the Jockeys, the pub at the heart of everything, with his wife Karen who now has him on a leash since he was caught offside last time; Shane, who has a new business enterprise and an oversexed police woman on tap; and Mickey, who is now embracing his homosexuality with all the enthusiasm of a starving man embracing a full dinner.
History has seen the balance of power on the Chatsworth shift from the Gallaghers to the Maguires – not least because half the Gallaghers have left the show – but Frank remains the undisputed hero of the hour.
The last series saw him forced to find work in a burger shop and his antics there should have served as a warning to the horse meat scandal. In hindsight, you’d settle for horse compared to some of the stuff Frank was lobbing in between the buns.
This time, he’s theoretically climbing the employment ladder as a school janitor after Mimi’s PTA coup, which is also conveniently funding his new leisure activity with the wonderfully named Gastric Bandits, Sherrilee and Derrilee, an obese prostitute double act who light up his life.
For more, read this week’s Connacht Sentinel.
The way we were – Protecting archives of our past
People’s living conditions less than 100 years ago were frightening. We have come a long way. We talk about water charges today, but back then the local District Councils were erecting pumps for local communities and the lovely town of Mountbellew, according to Council minutes, had open sewers,” says Galway County Council archivist Patria McWalter.
Patria believes we “need to take pride in our history, and we should take the same pride in our historical records as we do in our built heritage”. When you see the wealth of material in her care, this belief makes sense.
She is in charge of caring for the rich collection of administrative records owned by Galway County Council and says “these records are as much part of our history as the Rock of Cashel is. They document our lives and our ancestors’ lives. And nobody can plan for the future unless you learn from the past, what worked and what didn’t”.
Archivists and librarians are often unfairly regarded as being dry, academic types, but that’s certainly not true of Patria. Her enthusiasm is infectious as she turns the pages of several minute books from Galway’s Rural District Councils, all of them at least 100 years old.
Part of her role involved cataloguing all the records of the Councils – Ballinasloe, Clifden, Galway, Gort, Loughrea, Mountbellew, Portumna and Tuam. These records mostly consisted of minutes of various meetings.
When she was cataloguing them she realised their worth to local historians and researchers, so she decided to compile a guide to their content. The result is For the Record: The Archives of Galway’s Rural District Councils, which will be a valuable asset to anybody with an interest in history.
Many representatives on these Councils were local personalities and several were arrested during the political upheaval of the era, she explains.
And, ushering in a new era in history, women were allowed to sit on these Rural District Councils – at the time they were not allowed to sit on County Councils.
All of this information is included in Patria’s introductory essay to the attractively produced A4 size guide, which gives a glimpse into how these Rural Councils operated and the way political thinking changed in Ireland during a short 26-year period. In the early 1900s, these Councils supported Home Rule, but by 1920, they were calling for full independence and refusing to recognise the British administration.
“I love the tone,” says Patria of the minutes from meetings. “The language was very emotive.”
That was certainly true of the Gort Rural District Council. At a meeting in 1907, following riots in Dublin at the premiere of JM Synge’s play, The Playboy of the Western World the councillors’ response was vehement. They recorded their decision to “protest most emphatically against the libellous comedy, The Playboy of the Western World, that was belched forth during the past week in the Abbey Theatre, Dublin, under the fostering care of Lady Gregory and Mr Yeats. We congratulate the good people of Dublin in howling down the gross buffoonery and immoral suggestions that are scattered throughout this scandalous performance.
For more from the archives see this week’s Tribunes here
Ruby ready to rock again and Bob is worth a big flutter in Gold Cup
Date Published: 06-Mar-2013
New edge to Galway hurling championship title pursuit
A battle of talent and the ability to pull in public votes
Date Published: 11-Mar-2013
Here is a question. And there is no holiday or grand prize for getting the answer. But can anyone name the people who have won The Voice of Ireland and what has become of them?
Over across the water in the UK they have The X Factor and while I hate the concept of it, it has produced a few stars even though they don’t last long in the whole scheme of things.
But The Voice of Ireland seems to generate false excitement with the winner ending up become more anonymous than they already were. And it is costing families a fortune in the process.
While the programme is a ratings winner, strangely, it has resulted in those getting through to the final stages investing huge amounts of money in the hope that they will receive enough votes to get through to the next stages.
So, suddenly, it is not about the voice or the talent involved, it is all about votes and who the participants can convince to pledge their support for them. So it is obvious that talent goes out the window.
It means that someone with half a talent could realistically win the whole thing if they generated enough support behind them. From now on, the judges will be taken out of the equation and it will be left to the public to generate income for some phone operator.
Those who get through to the live performances have to engage in a massive publicity campaign in an effort to win votes which makes this whole effort a pure sham. It is no longer about their ability and just an effort to win appeal.
While the initial process does involve some vetting of the acts, now it becomes a general election type exercise in which the most popular will win the competition and the judges will have no say whatsoever.
It is a bit like the recent Eurosong in which the judging panel across the country voted for their favourite song, which incidentally was the best of a very bad lot, but then this was overturned by the public who chose a relatively crap song to represent us.
But again, this was all down to convincing the public about who to vote for rather than having any bearing on the quality on offer. There are times that genuine talent becomes overlooked because of the need to extract money from the voting public.
For more, read this week’s Connacht Sentinel.