Will we soon be putting a numeral after "Korean War"?
I figure it's time I roll up my sleeves and take a good look at this whole North Korea/Axis of Evil thing.
I want to do a little more research before I really dive in deep but I'd like to offer a few thoughts here as a preface.
These are they:
1/ Whatever the facts of the situation, it is clear that the U.S. has been itching for this one for years.
2/ As the war drums begin to beat, the U.S. again shows its complete and utter disregard for the other nations of the world by not taking its grievances -- such as they might be -- to the United Nations so that that body may handle the problem. That is, after all, primarily why the U.N. was founded.
3/ The United States has a bug up its rear about certain countries -- including North Korea -- pursuing nuclear programs. I am opposed to both nuclear weapons and nuclear energy, for reasons of survival. But I am bewildered by the audacious hypocrisy the U.S. flaunts when it comes to this issue. (Don't even get me started on the history of arms reduction treaties -- something I studied under some fine professors for an end result that could have been attained in an hour. Namely, such treaties/negotiations have never been approached seriously.)
LET'S CUT THE B.S.
And then there is the core of the hypocrisy which turns my stomach.
Firstly, the U.S. is so overloaded with nukes it could blow us all to hell several times over. But, of course, we're the "good guys" so everyone should trust us with them. Besides, they make a lot of money for a lot of fat cats. (Always, always, follow the money.)
Secondly, the United States is the ONLY country to EVER use nuclear weapons against another nation. Think about that. And think about the hundreds of thousands of casualties of Hiroshima and Nagasaki -- most of them civilians! And this was done even though the Japanese were ready to surrender because Truman wanted to show the Soviets who was going to be running the planet after WWII. Spare me the more palatable, fantasy theories. I've heard them all and they are a fool's delight.
GETTING PERSONAL
My Dad may well have been a casualty of these bombings too. He was about 19 when he was sent to Hiroshima as part of the occupational forces. My Dad seldom spoke about either of the wars he fought in (he was also in Korea), but I seem to recall him telling me that it made a big impression on him how "flat" Hiroshima was after the Enola Gay dispatched her wicked payload.
My father died before his time of a cancer that we couldn't trace to a source. He was a fit, non-smoker. But the theory was put forward that he'd carried the radiation of Hiroshima since his "tour" there. And that is the most likely explanation we've come up with.
So I have a very personal loathing for the U.S.'s nuclear policies. I've had mentors who would say that an academic should always be detached. Perhaps. But an activist needs to assign names and faces to things, and not just numbers and statistics.
And now, history's wheel is turning full circle again. Noise about nukes. The U.S. glaring at the Korean peninsula.
We mustn't let this brush over us, for we do so at our peril.
One of my architectural heroes, Charles Holden - the architect famed for designing many of the iconic '20s and '30s Tube stations - is being celebrated at a free exhibition now showing at the V&A Museum. When using the Tube on a daily basis it is easy to forget its history, and the energy and vision it took to build them. The latest exhibition at the Architecture Gallery will hopefully act as a reminder, whilst revealing the lasting influence of Charles Holden’s work for London Transport.
Charles Holden
Charles Holden's first commission for the Underground this 1924 entrance to Westminster Station. Unfortunately it was demolished in 1999 when the station was rebuilt
This exhibition examines the designs carried out by Charles Holden and his architectural practice, Adams Holden and Pearson, for London Transport, undoubtedly his greatest and most successful patron. The full range of his work, from stations on the Northern line extension and refurbishment of Piccadilly Circus station through to his creation of a new London Underground headquarters at 55 Broadway and his iconic modernist station designs produced for the Piccadilly line extensions is on show. Holden's relationship with London Transport's chief executive, Frank Pick is also investigated as their collaboration and integrated approach to design and architecture was instrumental in shaping London Transport's corporate brand.
Holden's sketch for Highgate Station entrance - later re-named Archway RIBA Drawings Collection
Holden masterminded the design of 20 or so tube stations – those elegant red brick affairs best seen on the northern stretch of the Piccadilly Line. These in particular show off Holden’s principles of ‘total design’. Interiors, light fittings, clocks and tiles – everything in his buildings was crafted to work together harmoniously. Holden deserves to be better known. A contemporary of Charles Rennie Mackintosh, he too produced buildings of great originality, and, unlike his Scottish counterpart, enjoyed a much longer professional career. Stylistically his buildings are difficult to categorise. But large or small, his buildings stand proud, distinguishable from their neighbours by a strong feeling of mass and line.
South Wimbledon Station
As the Guardian Newspaper's Architectural correspondent (and former London Transport management trainee) Jonathan Glancey observed;
“The first of Charles Holden's tube stations for Frank Pick was Sudbury Town, on the Piccadilly line, opened in 1931. There had been nothing like this distinctly modern yet well-crafted building in Britain before. With typical modesty, Holden, a retiring, teetotal, vegetarian Quaker draper's son from Bolton, Lancashire, chose to describe his first modern masterpiece as "a brick box with a concrete lid. Possibly, just possibly, Holden meant something more.
I can't help thinking that this truly great and still under-rated English architect was thinking of Inigo Jones (1573-1652), who had instigated a revolution in British architecture in the reign of James I when he designed the country's first truly classical buildings. When his client Francis Russell, Earl of Bedford, asked Jones to add a chapel "as cheap as a barn" to his smart residential development built around the new Covent Garden piazza, the architect replied "then you shall have the handsomest barn in England". Sudbury Town station is surely transport design's equivalent of St Paul's, Covent Garden.”
Sudbury Town station
Holden is best known for his work for London Underground in the 1920s and 1930s, when his office – Adams, Holden and Pearson – designed a series of underground stations of startling originality, like this at Rayners Lane. These play with basic geometry and volumes, and gain effect from the contrast of forms and materials, not decorative excess. In fact, this drawing of the new Rayners Lane station resembles the architecture itself: both are pared down. People, with their precise shadows, animate the building, not sculpture. Perhaps this architectural purity was regarded as excessive: it has been noted that the main hall of the station should have the addition of windows on either side.
Sketch for Rayners Lane Station
Cockfosters Station
The Directors of London Underground in the 20s and 30s saw good design as good for business. By the example it set under Frank Pick the Underground was gradually able to change the public’s attitude to railway stations which had been seen as shabby and inhospitable places. Sir Nicholas Pevsner wrote that Pick saw in every detail a “visual propaganda” and he used this not only to improve the Underground but the environment as a whole. Charles Holden brought the Underground station to the forefront of modern architecture: This achievement is unequalled by any other transport company before or since.
Ticket Hall with Passimeter
Escalators with bronze uplighters
55, Broadway - London Underground's iconic HQ built in 1929 in the "airspace" above St. James's Park Station
He was not universally admired and his huge complex for London University in Bloomsbury was considered cold by some critics. So much so that George Orwell modelled his Ministry of Truth, in his novel 1984, on Holden's 19 storey Senate House – Orwell's wife worked in the building for the censorship department of the Ministry of Information during WW11. There is a parallel for this as Ian Fleming objected so much to the modernist house the Hungarian architect Erno Goldfinger designed down the road from his house in Willow Road Hampstead that he gave his name to his first Bond villain. In the event Holden’s huge scheme for London University which would have involved buildings set around 17 courtyards was scaled back due to the onset of war.
Senate House. London University
This area around where the exhibition is being hosted at the Victoria and Albert Museum was dubbed by the Victorian press as Albertropolis' a name coined in the 1850s and resurrected in recent years for the 87-acre site south of Hyde Park, purchased by the Royal Commission for the Exhibition of 1851 with profits from the Great Exhibition. Exhibition Road - whose route the 440 yard subway from South Kensington Underground station follows - forms the spine of “Albertropolis”. The nickname satirised the vision of Prince Albert, the Commission's President, of the area as a centre for education, science and art - an ambition largely realised within a few decades of the Prince's death.
The Royal Institute of British Artists (RIBA) and the V&A, with help from London Transport Museum, have pulled together this exhibition from original drawings, photographs, posters, film, journals and models from their extensive collections to tell the story behind Holden's modernist stations, many of which still serve Londoners today. It is well worth catching to understand this prolific and underrated architect who nonetheless has been hugely influential and whose designs have stood the test of time.
'Underground Journeys: Charles Holden's designs for London Transport' runs at the V&A+RIBA Architecture Gallery, V&A in South Kensington until February 13, 2011.
One of my architectural heroes, Charles Holden - the architect famed for designing many of the iconic '20s and '30s Tube stations - is being celebrated at a free exhibition now showing at the V&A Museum. When using the Tube on a daily basis it is easy to forget its history, and the energy and vision it took to build them. The latest exhibition at the Architecture Gallery will hopefully act as a reminder, whilst revealing the lasting influence of Charles Holden’s work for London Transport.
Charles Holden
Charles Holden's first commission for the Underground this 1924 entrance to Westminster Station. Unfortunately it was demolished in 1999 when the station was rebuilt
This exhibition examines the designs carried out by Charles Holden and his architectural practice, Adams Holden and Pearson, for London Transport, undoubtedly his greatest and most successful patron. The full range of his work, from stations on the Northern line extension and refurbishment of Piccadilly Circus station through to his creation of a new London Underground headquarters at 55 Broadway and his iconic modernist station designs produced for the Piccadilly line extensions is on show. Holden's relationship with London Transport's chief executive, Frank Pick is also investigated as their collaboration and integrated approach to design and architecture was instrumental in shaping London Transport's corporate brand.
Holden's sketch for Highgate Station entrance - later re-named Archway RIBA Drawings Collection
Holden masterminded the design of 20 or so tube stations – those elegant red brick affairs best seen on the northern stretch of the Piccadilly Line. These in particular show off Holden’s principles of ‘total design’. Interiors, light fittings, clocks and tiles – everything in his buildings was crafted to work together harmoniously. Holden deserves to be better known. A contemporary of Charles Rennie Mackintosh, he too produced buildings of great originality, and, unlike his Scottish counterpart, enjoyed a much longer professional career. Stylistically his buildings are difficult to categorise. But large or small, his buildings stand proud, distinguishable from their neighbours by a strong feeling of mass and line.
South Wimbledon Station
As the Guardian Newspaper's Architectural correspondent (and former London Transport management trainee) Jonathan Glancey observed;
“The first of Charles Holden's tube stations for Frank Pick was Sudbury Town, on the Piccadilly line, opened in 1931. There had been nothing like this distinctly modern yet well-crafted building in Britain before. With typical modesty, Holden, a retiring, teetotal, vegetarian Quaker draper's son from Bolton, Lancashire, chose to describe his first modern masterpiece as "a brick box with a concrete lid. Possibly, just possibly, Holden meant something more.
I can't help thinking that this truly great and still under-rated English architect was thinking of Inigo Jones (1573-1652), who had instigated a revolution in British architecture in the reign of James I when he designed the country's first truly classical buildings. When his client Francis Russell, Earl of Bedford, asked Jones to add a chapel "as cheap as a barn" to his smart residential development built around the new Covent Garden piazza, the architect replied "then you shall have the handsomest barn in England". Sudbury Town station is surely transport design's equivalent of St Paul's, Covent Garden.”
Sudbury Town station
Holden is best known for his work for London Underground in the 1920s and 1930s, when his office – Adams, Holden and Pearson – designed a series of underground stations of startling originality, like this at Rayners Lane. These play with basic geometry and volumes, and gain effect from the contrast of forms and materials, not decorative excess. In fact, this drawing of the new Rayners Lane station resembles the architecture itself: both are pared down. People, with their precise shadows, animate the building, not sculpture. Perhaps this architectural purity was regarded as excessive: it has been noted that the main hall of the station should have the addition of windows on either side.
Sketch for Rayners Lane Station
Cockfosters Station
The Directors of London Underground in the 20s and 30s saw good design as good for business. By the example it set under Frank Pick the Underground was gradually able to change the public’s attitude to railway stations which had been seen as shabby and inhospitable places. Sir Nicholas Pevsner wrote that Pick saw in every detail a “visual propaganda” and he used this not only to improve the Underground but the environment as a whole. Charles Holden brought the Underground station to the forefront of modern architecture: This achievement is unequalled by any other transport company before or since.
Ticket Hall with Passimeter
Escalators with bronze uplighters
55, Broadway - London Underground's iconic HQ built in 1929 in the "airspace" above St. James's Park Station
He was not universally admired and his huge complex for London University in Bloomsbury was considered cold by some critics. So much so that George Orwell modelled his Ministry of Truth, in his novel 1984, on Holden's 19 storey Senate House – Orwell's wife worked in the building for the censorship department of the Ministry of Information during WW11. There is a parallel for this as Ian Fleming objected so much to the modernist house the Hungarian architect Erno Goldfinger designed down the road from his house in Willow Road Hampstead that he gave his name to his first Bond villain. In the event Holden’s huge scheme for London University which would have involved buildings set around 17 courtyards was scaled back due to the onset of war.
Senate House. London University
This area around where the exhibition is being hosted at the Victoria and Albert Museum was dubbed by the Victorian press as Albertropolis' a name coined in the 1850s and resurrected in recent years for the 87-acre site south of Hyde Park, purchased by the Royal Commission for the Exhibition of 1851 with profits from the Great Exhibition. Exhibition Road - whose route the 440 yard subway from South Kensington Underground station follows - forms the spine of “Albertropolis”. The nickname satirised the vision of Prince Albert, the Commission's President, of the area as a centre for education, science and art - an ambition largely realised within a few decades of the Prince's death.
The Royal Institute of British Artists (RIBA) and the V&A, with help from London Transport Museum, have pulled together this exhibition from original drawings, photographs, posters, film, journals and models from their extensive collections to tell the story behind Holden's modernist stations, many of which still serve Londoners today. It is well worth catching to understand this prolific and underrated architect who nonetheless has been hugely influential and whose designs have stood the test of time.
'Underground Journeys: Charles Holden's designs for London Transport' runs at the V&A+RIBA Architecture Gallery, V&A in South Kensington until February 13, 2011.
I have been paying into the Social Security System now for more than thirty years. The year I reach sixty-five, the minimum age for receiving regular benefits will rise from sixty-five to seventy. Nice, right? Makes me wonder what will happen the year I turn seventy... The jury is still out on what consequences the new changes in health coverage will eventually bring. Healthcare-Now, one of the groups still pushing for a single-payer system, is asking us to call Congress not to make further cuts in Social Security and Medicare... TODAY!:
"Join today's National Call Congress Day and tell your Representative and Senators to SAY NO to cutting our Social Security and Medicare. Call 866-220-0044 for the capitol switchboard and ask to be connected. Don't know your Representative or Senators?Go here. The Co-Chairs of the National Fiscal Commission have proposed deep cuts to Social Security and Medicare - increasing the retirement age to 69, making Medicare recipients pay more out-of-pocket for healthcare, cutting benefits for middle-class workers and reducing annual Cost of Living Adjustments.
Tell the person who answers the phone: "I am a voter/constituent living in [your state]. I am calling to tell the [Rep. or Senator] – NO CUTS TO, PRIVATIZATION OF, OR RAISING THE ELIGIBILITY AGE FOR SOCIAL SECURITY OR MEDICARE! HANDS OFF SOCIAL SECURITY AND MEDICARE."
Please take the time for this very important effort today. An improved Medicare for All system will control health costs and make Medicare sustainable for future generations. We still need improved Medicare for All. Every call counts."
Call your Congressional representative at (866) 220-0044. To find out who represents you, Click Here! or Click Here!
If I had a dollar for every time I heard somebody say "And don't call me Shirley," I'd be able to bust out Bill Gates.
Of course that immortal line was uttered by actor Leslie Nielsen in the 1980 comedy classic "Airplane" ("Flying High" in Australia), who passed away yesterday at the age of 84.
I just wanted to make a few quick points about Mr. Nielsen in his honor.
Firstly, many folks may not know that L.N. was originally a TV star and Hollywood leading man. Long before the zaniness of "Airplane" and the fabulous "Naked Gun" movies, Nielsen had developed his craft in a variety of roles and genres.
Then, when his second-phase career took off with those new-age comedy films, he showed a rare versatility: It isn't many thespians who can stand out in both dramatic and comedic roles. Many have flopped like flounders trying. Not Nielsen.
I had the good fortune to review Mr. Nielsen in a play called "Clarence Darrow: A One-Man Play" in Boston in the late 90s. Darrow, as you may know, was a famed defense attorney (representing, among others, the thrill killers Leopold and Loeb, and the tragic Scottsboro Boys), and a staunch supporter of the ACLU.
Nielsen was so brilliant in this one-man play, that not once did you think of Frank Drebin ("Naked Gun"). I mean that quite seriously, by the way. He was, on that stage, Darrow reborn.
So Leslie Nielson, over the course of decades, made us watch, made us laugh, and made us think. For that we owe him many thanks.
They pass this way but once.
FOOTNOTE: I think Nielsen's/Drebin's version of "The Star-Spangled Banner" from "Naked Gun" should be the official version of the song. Whadya say?
____________________________________________
Next time I'll be blogging about the U.S.-North Korea nastiness. But that one takes a bit of thought and effort, as you can imagine.
Art Exhibits Feature Picture Book Art at Museums Across the Country
The enchanting illustrations of a picture book are often a child’s very first glimpse into the art world. If you are traveling or taking time off to spend time with the young people in your life this holiday season, why not expand your child's world by sharing the magic of picture books, illustrated texts, and other works of art at traveling and ongoing exhibits in museums across the country.
At the Eric Carle Museum of Picture Book Art in Amherst, Massachusetts
A collaboration with the Skirball Cultural Center in Los Angeles and the Yiddish Book Center, this ambitious exhibition showcases more than 100 illustrations and texts from time-honored classics and popular favorites, from the sixteenth century to the present.
Join us for a smorgasbord of picture book art that explores the unique role food plays throughout children’s literature. In collaboration with Museums 10 joint venture, A Table for Ten, The Carle brings you this recipe for good eating.
Greeted with universal acclaim at the time of publication, A Christmas Carol might rightfully be called an "instant masterpiece." When the manuscript was returned after printing, Dickens arranged for it to be finely bound in red morocco leather and presented it as a gift to his solicitor. It was purchased by Pierpont Morgan in the 1890s. The original manuscript by Dickens is on view in a special presentation in the museum's newly restored McKim Building.
Works of Art by Haitian Children After the Earthquake
Through January 16, 2011
Soon after the devastating January 12, 2010, earthquake, First Lady of Haiti Elisabeth D. Preval called on Haitian artist Philippe Dodard and his fellow artists, as well as psychologists, educators, and politicians, to create a safe place for children to express their feelings through art. Featured are nearly 100 paintings and drawings created by Haiti's young people at Plas Timoun (The Children's Place), arts centers housed in converted buses at two locations in Port-au-Prince.
At the National Center for Children's Illustrated Literature in Abilene, Texas
Caldecott Medalist Brian Selznick studied illustration at the Rhode Island School of Design, and while in school, he resisted the suggestions of many who thought he should write and illustrate children’s books. However, after completing undergraduate study and taking time to travel and explore, he knew that he wanted to create children’s books. Selznick received a 2002 Caldecott Honor for The Dinosaurs of Waterhouse Hawkins, written by Barbara Kerley. He won the 2008 Caldecott Medal for his innovative, cinematic The Invention of Hugo Cabret.
At the Brandywine River Museum in Chadds Ford, Pennsylvania
The N.C. Wyeth Gallery features approximately 40 paintings and illustrations by N.C. Wyeth, including works for Treasure Island, Kidnapped, and The Last of the Mohicans.
Every Picture Tells a Story in Santa Monica, California
Every Picture Tells a Story is a gallery dedicated to the art of illustration and children's literature, a place where the original works from books are recognized as fine art and where one can appreciate a finished book as a work of art in itself. There's something for everyone: children's book art, fantasy art, cartoon art and editorial cartoons.
Recent trips to Ireland where I stayed in the Travelodge near my old neighbourhood in Ballymun resulted in two reflections. Firstly the needless waste on the Ballymun Public Housing development in North Dublin on the edge of the then city which is being demolished a mere 44 years after the 3,600 unit development was built. The other more positive reflection was on the great optimism and positive influence of the unique Scouting Outreach experiment in the same surroundings, the 64th Dublin Scout Group, conveniently know as Ballymun Scouts.
As youngsters we used to play in the fields where Ballymun is now built and collect conkers from the fine chestnut trees in the grounds of Stormonstown House which covered most of the area. The area was bisected by a country laneway which led to St. Pappin’s Church dating from 1864 and at Santry Cross just beyond it was Ballymun House where we used to go for the annual Horse Show. It was an area with a decided rural character on the edge of the city.
Much to everybody’s amazement the Government from 1965 decided to build a high density housing development using pre-cast concrete construction techniques being abandoned in the rest of Europe. At its centre it had 7 tower blocks with spines of eight and 4 storey precast blocks radiating from the centre and between the arms a combination of traditional housing and open spaces. There were three types of flats: seven fifteen-storey towers; nineteen eight-storey blocks; ten four-storey blocks. The tender was awarded to a consortium called CHS (Cubitt, Haden, Sisk) of two UK contractors and John Sisk an Irish company and a factory was constructed to manufacture the concrete panels.
The early days; L-R; Back. Alan Delahunty, Ben Ivory, Dick Tennant - National Commissioner, John Delahunty - Group Leader, Declan Kelly, Front; Maura Sloyan, David Sullivan, Hugh Hogan
The flats were built in the 1960s under the authority of Neil Blaney, the then Fianna Fáil Minister for Local Government. They incorporated the best social housing practice of the time. The first tenants moved in between August 1966 and December 1966. By February 1969, when the National Building Agency's contract for Ballymun ceased and control of Ballymun was handed to Dublin City Council, (Dublin County Council didn't want it) there was a total of 3,021 dwellings in the new Ballymun, all of which was social housing under the control of the Irish state through Dublin City Council. A National Building Agency was set up to build the project in 4 years but when it was handed over to Dublin Corporation in 1969 many of the community facilities (Shopping Centre, clinic, schools, swimming pool, library) were not completed.
Fund raising Bring & Buy Sale
This led to the “model development” being serviced by inadequate mobile shops and considerable strains as the residents had to travel outside Ballymun for most services until facilities were built. In addition a big selling point of the spacious and roomy flats was the central heating was included in the rent from the district heating plant. However, this led to other problems as residents couldn’t control their heating individually. So Dublin Corporation had their work cut out taking over a facility which wasn’t finished but they didn’t rise to the challenge either with passive, bureaucratic and distant management of the complex resulting in many downstream problems. However the pre-cast construction was at the root of the flats demise as they developed structural problems due to the phenomenon of “solar walking” where over time the upper panels expand, perish the mastic joints and move due to the heating effect of the sun and the contraction due to night time cooling.
Ballymun Shopping Centre
In time Ballymun and the Seven Towers became a symbol of poverty, drugs, alienation from the state and social problems in Ireland during the 1970s. Today it is undergoing a multi-billion euro renewal, with a renovated village centre, surrounded by estates of houses and apartments, with several sub-districts such as Sillogue and Poppintree. Ballymun had a population of 22,109 at the 2006 Census. The history of the area and of the Ballymun Housing Complex is very well and interestingly documented by Dr. Robert Somerville-Woodward in this work specially commissioned by the Ballymun regeneration project.
Among the opprobrium heaped on Ballymun, the deployment of the flats has been described by the environmental journalist Frank McDonald, in his book The Construction of Dublin, as the Irish state's 'worst planning disaster'. However, at the time of its construction, Ballymun was a sought after location and prospective tenants had to pass an interview to get housing there. The tenants primarily came from the most deprived areas of inner city Dublin, places where the depth of poverty could not be conceived of in modern Ireland. Many tenants were middle class residents whose property was 'compulsory purchased' by Dublin City Council. They arrived in Ballymun to some of the finest social housing in Europe, having central heating and other rarities of the day in their homes.
Leaders Sile McInerney and Alan Delahunty at Gilwell Park Scoutcentre, Chingford, UK
Venture Scouts dinner
The Ballymun Flats were built in the midst of a housing crisis to accommodate the rising population of Dublin City, Ireland, and particularly former residents of inner-city areas which were being cleared in the process of 1960s 'urban slum clearances'. Whilst suffering from a lack of sufficient public amenities, several schools served the area (Holy Spirit N.S. and Ballymun Comprehensive), as well as an Eastern Health Board medical centre and a purpose built shopping centre. The causes of the social problems in the area, and the subsequent discrimination faced by many people with Ballymun addresses when seeking employment outside the suburb, have been disputed, but Ballymun generally paralleled the experience of many working-class people in the 1960 and 1970s when placed in high-rise locations. Despite the negative perceptions of many non-residents of Ballymun, there existed, and exists today, a strong sense of pride and community in the area, as evidenced by the fact that many former residents of the flats have accepted new social housing in the district.
64th Dublin Cub Scout Pack
However, there was a profound lack of amenities throughout the area - initially the only shop was a van selling at premium prices, for example - and, combined with a lack of trees, and estates built in cul de sacs, ghettoisation developed. The earliest efforts to improve services began in the 1970s with the establishment of tenants' associations, particularly in Sillogue. By the recession of the 1980s, Ballymun was infested with social problems, most especially alcohol and other drug abuse. Although the public image of Ballymun has changed somewhat since the beginning of the Ballymun regeneration project in 1997, continuing social problems in Ballymun ensure it remains a remarkably different world to, for example, neighbouring Glasnevin. There was nothing wrong with the flats internally but the history of Ballymun is a sad indictment of the sclerosis afflicting public service management in Ireland. The complex was never actively managed with no controlled access to the flats, no overall management, no residential caretakers and the effective abandonment of the garage units under the flats which became drug dens and repositories for stolen goods.
Father & Son Camp, Powerscourt
However, contrasted with this institutional neglect and mismanagement of the Ballymun Housing complex by well paid and pensioned bureaucrats there was another more positive story of community groups who were determined to make a difference. In the late 70’s and early 80’s the 64th Dublin Scout Group based in the basement of Eamonn Ceannt Tower in the Ballymun Flats complex in North Dublin was a unique experiment in Scouting Outreach.
64th Dublin Scout Troop in the Den, Eamonn Ceannt Tower
Ballymun Scout was set up by a remarkable character, John Delahunty, an old time Scout Leader who believed with likeminded people that the voluntary and formative nature the Scout Movement could help in building a sense of community in Ballymun. He and the young leaders drew in people from established Scout Groups as well as those with no experience to create a dynamic experiment which served as a template to bring the socialising and educational benefits of this voluntary youth movement to a wider audience. In particular in this tough environment it refused to limit its ambition particularly when it entered the St Patrick’s Day Parade in 1977 and won first prize for voluntary organisations and when it ran the Pioneering Activity at the International Jamboree in 1978 at Woodstock Co. Kilkenny. The “can do” attitude of the many people involved contributed greatly to the Ballymun Community and engendered a strong sense of camaderie amongst all involved which has lasted to the present day.
Beaver Scouts 5/6 year olds
When the founder of the Scout Movement, Baden Powell, wrote his fortnightly boys' magazine, "Scouting for Boys", in 1907, he had it in mind that the activities he suggested would be used to augment the existing programme of the Boy's Brigade, Church Lads, or the small number of youth clubs which were in existence at that time. However, his idea snowballed, with the result that young boys of Scout age set themselves up as patrols of "Baden Powell Scouts".
Group Camp at Giltspur House, Co. Wicklow
Thus it was that Scouting was introduced into the parish of Aughrim Street, for it is well known that a Troop of Baden Powell Scouts existed in Marlborough Barracks (now McKee) before 1910. The Troop consisted of young boys whose fathers were in the Irish Regiments of the British Army in Ireland at that time. Following the Civil War and the Treaty, there was no opportunity for Irish boys to join the Scout movement, because the Scout Association at the time was seen as too closely connected with the old British order.
Venture Scout Camp at Crone Wood, Co. Wicklow
This void was filled, however, when two Dublin curates, Fathers Tom and Ernest Farrell, started the Catholic Boy Scouts of Ireland (CBSI) in 1927. (In May of 1997, the name of the Association was changed to "Scouting Ireland - CSI" (Catholic Scouts of Ireland), with the Irish version of the name remaining unchanged). It was when Fr. Ernest Farrell was transferred to Aughrim Street Parish in 1937 that the present Unit was founded. The first meeting of the 9th Dublin was in the Catholic Young Men’s Society Hall in Aughrim Street. Fr. Ernest was appointed Chaplain and, due to his close association, the 9th Troop was titled "The Founder's Own". Next to appear on the scene was John Delahunty, who had been with the 19th/36th Phibsboro Knight Errand Clan. Under his leadership the Unit continued to grow, and had to move to bigger premises at Infirmary Road. These premises consisted of a studio-type, glass-roofed building, complete with pigeon loft!
Gerard Cowan leading a sing-song in the Den
Conor Maguire and David Caldwell on the St. Patrick's Day Parade float
So John Delahunty was scouting royalty and highly respected having taken over and expanded the founding scout group of one of the two main Scout Associations in Ireland. However when it came to setting up a group for young people in the Ballymun Housing Complex he wanted it open to all and the group was set up under the aegis of the Scout Association of Ireland. Originally known as the “Baden Powell’s” for its association with the old regime it was a remarkable gesture for somebody of John Delahunty’s standing to effectively turn his back on the tradition he had worked in and decide that in the interests of inclusion scouting in Ballymun must be on a non-denominational basis. In this as in other ways John was something of a pioneer as the associations in Ireland have since merged and are open to all. Indeed when Ballymun Scouts entered the 1977 St. Patrick’s Day Parade in Dublin and took on the project they emphasised the role of Scouting in bringing young people of different backgrounds together and deepening mutual understanding. There ambitious entry was completed like much else, on a wing and a prayer and with much help from friends. It included somewhat alarmingly (with Health and Safety hindsight!) a fairground style wheel constructed with timber pioneering poles and ropes and an aerial runway on a moving float as well as a futuristic “Starpeace” float. The entry won the prize for the best voluntary float in the Parade, a notable achievement for any group let alone a fledgling Scout Group with hardly any resources from Ballymun.
Woodstock '78
Similarly for the International Jamboree at Woodstock in Co. Kilkenny the Group took on the Pioneering Field which gave participants the chance to practice teamwork and initiative and learn new techniques in constructing structures from timber poles and rope. It was one of the more successful activities at the Jamboree gaining a commendation. It was signposted by a dramatic gateway and the “Woodworkers” from Ballymun constructed futuristic raised sleeping platforms which they camped in. In this and many other ways such as entering competitive expeditions and the Levy Trophy the group didn’t behave as if it was “deprived” but insisted on holding its own with more established groups from better off areas.
Sleeping platform @ the Pioneering Field, Woodstock'78
Dolores and Veronica at Woodstock'78
Commendation for the Pioneering Activity at Woodstock 1978
This of course didn’t happen by accident but was due to the dedication of the enthusiastic young leaders it attracted which resulted in the group establishing not just a Scout Troop for 11 -16 year olds but Cub Scouts for 7 – 11 year olds, a highly successful mixed Venture Scout Unit and last but not least Beaver Scouts for the 5/6 year olds. As well as its own leaders others from surrounding Groups helped out through a combination of wanting to bring Scouting to Ballymun and personal friendships and material help was given by Groups such as 5th Port Dollymount and 1st Dublin.
Hiking in Glenmalure, Co. Wicklow; Francis Caulfield, David Caldwell, Gerard Cowan, Síle Mc Inerney, Ann Paisley, Gay Spencer
Dublin Corporation helped by giving the Group the basement of Eamonn Ceannt Tower, one of the Seven Towers and their maintenance crews generously renovated it and installed a new kitchen as they were glad to see the space used well for community purposes. A sub-committee of the Vocational Education Committee also supported with grants for activities and camping equipment. The Scout Association itself and its National Commissioner, Dick Tennant, was enthusiastic in supporting this Scouting Outreach and it was used as a model for other areas.
Hugh Hogan showing the President of Ireland, Dr. Patrick Hillery, around Woodstock '78
Parents in the area were fiercely supportive and the hardy women who comprised the Parent’s Committee ran weekly Bingo sessions and other events to support the activities. In this Ballymun Scouts was different often changing how things were done. For instance they didn’t wear the expensive and largely ceremonial berets as part of the scout uniform but had warm woolly hats in the Group colours of Black and Red knitted and issued as more suitable for outdoor activities. The cost of events and camps were kept low to increase participation and nobody was deprived of joining in on grounds of cost. Indeed being part of Ballymun Scouts gave an insight into how hard people in Ballymun wanted to help themselves and how resilient they had to be in the face of often indifferent officialdom and ant-social behaviour. I was particularly struck by one mother telling me of when their daughter was bringing home a boyfriend to meet the family she had to go out every 30 minutes or so to mop out and disinfect the lift.
Hugh briefing Woodworkers at Woodstock'78
Ballymun and its Seven Towers as well as startling visitors to Ireland flying into nearby Dublin Airport expecting to see thatched cottages and not pre-cast concrete towers also entered popular iconography in Ireland. The line "I see seven towers, but I only see one way out" from U2's 1987 song "Running to Stand Still" (on The Joshua Tree album) refers to these towers. They were also featured in “The Commitments” where the question “Why are you bringing the horse in the lift” gained the reply “Jaysus, it does be knackered going up the stairs!” Ballymun flats feature in M.J. Hyland's Booker-short listed novel Carry Me Down (2006), symbolising John's family's descent into poverty.
Gerard Cowan (Bouncer) and Sile McInerney @ Woodstock'78 work party
The creation of Ballymun Regeneration Limited as a limited company controlled by Dublin City Council initiated the beginning of the demolition of the Ballymun flats and the emergence of a "new town" of Ballymun. The new housing is a mixture of public, private, voluntary and co-operative housing. The "new Ballymun" is due to be completed by 2013.The regeneration project, despite well-publicised questions about accountability and democratic participation, has also delivered many other amenities, including reworked park areas, a major City Council office facility, Health Service facilities, a public leisure centre, student accommodation, a new hotel and renewed shopping areas. However given Ireland’s current economic travails and the IMF Bailout it is likely that the area will be left in something of a never-neverland with the ambitious scheme for regeneration not completed as intended. Already the much needed redevelopment of Ballymun Shopping and the station on the Metro North line to Dublin Airport look like early casualties, in the latter case because the line won’t be built.
Starpeace @ St Patrick's Day Parade, 1977
As part of the New Ballymun, a major tree-planting project called Amaptocare has been run, with more than 600 people sponsoring around 700 trees, and providing inscription texts which are engraved on plaques near the trees. All of the trees will be identified on a glass panel at Ballymun's central plaza, which was scheduled to be complete by 2007 but is not due by 2013.
As for 64th Dublin Ballymun Scouts they gently faded out in the 90’s as demographics and Ballymun changed and as many of the original leaders moved on. But it left a considerable impact on the many people who were involved. Friendships from that time have endured and many are still involved in Scouting and other community organisations. Always demanding the best from each scout he instilled values of doing their best and achieving their potential. Like John Delahunty those who continued his work with Ballymun Scouts strongly believed that scouting had something for everyone and you were defined not by where you came from but where you wanted to be. It was a unique exercise in Scouting Outreach which with other community based initiatives showed the positive spirit of Ballymun and laid the foundation for its regeneration.
