McCollum joins UTV in March 2000. As well as presenting and reporting for UTV Sport, she has also presented UTV News bulletins and Sport on Sunday.
In February 2009, McCollum announces she is leaving UTV as part of a voluntary redundancy scheme at the station. In an interview with a regional newspaper, she announces her intention to become a freelance broadcast journalist.
Following her departure from UTV, McCollum builds up her portfolio with BBC Northern Ireland. She becomes synonymous with many of Northern Ireland television’s highest profile events. She co-hosts BBC Proms in the Park at Titanic Slipways, the Olympic flame arriving at Belfast City Hall and the Clipper Homecoming in Derry.
McCollum also presents and reports on two series of the popular BBC Northern Ireland consumer programme In Your Corner and covers many major sporting events including the North West 200, Commonwealth Games in Manchester, Northern Ireland’s Football World Cup qualifiers, Tennis Legends in Belfast and the Belfast International Horse Show. She is also a regular presenter on Balmoral Agricultural Show and Children In Need programmes and hosts the second glittering ‘Celebrity Strictly Come Dancing’ extravaganza for Children in Need.
McCollum and Clarke have two children and reside in her hometown of Newtownabbey, County Antrim.
Morgan is born in Dublin on March 31, 1952. Educated at Oatlands College, Stillorgan, and University College, Dublin (UCD), Morgan comes to prominence as part of the team behind the highly successful RTÉ television show The Live Mike. Morgan makes his debut in the media on the Morning Ireland radio show produced by Gene Martin. Between 1979 and 1982 Morgan, who has been a teacher at St. Michael’s College, Ailesbury Road, plays a range of comic characters who appear between segments of the show, including Father Trendy, an unctuous trying-to-be-cool Catholic priest given to drawing ludicrous parallels with non-religious life in two-minute ‘chats’ to camera.
Morgan’s success as Father Trendy and other characters leads him to leave teaching and become a full-time comedian.
Morgan’s biggest Irish broadcasting success occurs in the late 1980s on the Saturday morning radio comedy show Scrap Saturday, which mocks Ireland’s political, business, and media establishment. The show’s treatment of the relationship between the ever-controversial TaoiseachCharles Haughey and his press secretary P.J. Mara prove particularly popular. When RTÉ axes the show in the early 1990s a national outcry ensues. Morgan lashes the decision, calling it “a shameless act of broadcasting cowardice and political subservience.”
Already a celebrity in Ireland, Morgan’s big break comes in Channel 4‘s Irish sitcom Father Ted, which runs for three series from April 21, 1995 until May 1, 1998. Writers Graham Linehan and Arthur Mathews audition many actors for the title role, but Morgan’s enthusiasm wins him the part.
Father Ted centres on three disparate characters. Father Ted Crilly, played by Morgan, lives a frustrated life trapped on the fictional Craggy Island. Irish TV comedy actor Frank Kelly plays Father Jack Hackett, a foul-mouthed and apparently brain-damaged alcoholic, while child-minded Father Dougal McGuire is played by comedian Ardal O’Hanlon. The three priests are looked after by their housekeeper, Mrs. Doyle, played by Pauline McLynn, with whom Morgan had worked on Scrap Saturday. Father Ted enjoys widespread popularity and critical acclaim. In 1998, the show wins a BAFTA award for the best comedy, Morgan wins a BAFTA for best actor, and McLynn is named best actress.
On February 28, 1998, one day after recording the last episode of Father Ted, Morgan has a heart attack while hosting a dinner party at his home in southwest London. He is rushed to hospital but dies soon afterwards. Morgan’s Requiem Mass in St. Therese’s Church in Mount Merrion, south Dublin, is attended by the President of IrelandMary McAleese, her predecessor, Mary Robinson, and by political and church leaders, many of whom had been the targets of his humour in Scrap Saturday. He is cremated at Glasnevin Cemetery and his ashes are buried in the family plot in Deansgrange Cemetery.
McEllistrim becomes disillusioned with the Taoiseach and party leader Jack Lynch from then and begins to believe that Charles Haughey is the right candidate for the party leadership. He believes that Lynch is about to retire and is particularly uncomfortable at the thought of George Colley succeeding Lynch. Like his father before him he believes Colley is not right for the role of leader of the party. He is particularly vocal with regard to party policy towards Northern Ireland and, as he sees it, Lynch’s apparent lack of sympathy towards the northern nationalist community.
McEllistrim is a member of the so-called “gang of five” along with Seán Doherty, Mark Killilea Jnr, Jackie Fahey and Albert Reynolds who start a lobbying campaign in favour of Haughey on the backbenches of the party. After Lynch loses two by-elections in his native County Cork he resigns as party leader in December 1979. The leadership contest is called two days later and is a two-way race between Haughey and Colley. Haughey wins the leadership contest by a decisive margin and McEllistrim is rewarded by being appointed Minister of State at the Department of Finance with special responsibility for the Office of Public Works. He serves as a Minister of State again in 1982, this time at the Department of Fisheries and Forestry.
Poitín is partially conceived as a response to The Quiet Man, also set in the coastal area of Connemara, and its sentimental portrayal of the Irish landscape. Poitín tells of a small community centered on a home-distiller of Irish moonshine whiskey, or poteen.
In Gaelic dialogue, using local actors, with Cyril Cusack as the moonshiner, it shifts between a humorous, whimsical account of two men’s bumbling attempts at theft and a harsh series of revenges. Director Bob Quinn, a strong advocate of Gaelic culture, calls it “a horror story told amusingly.” Carty suggests that Quinn “implicitly deromanticizes the Robert Flaherty image of the rugged West as a place of primal dignity where man does noble battle with the elements.”
Since incurring the wrath of his first editor in 1960 by making Alfred Hitchcock’s Psycho his film of the year, Carty has consistently championed the arts, developing a career as one of Ireland’s leading critics and broadcasters. He serves as deputy editor of the Sunday Independent (1961–65) before becoming arts editor for the Sunday Tribune (1985–2011). Since 1988 he has edited the New Irish Writing page for both the Tribune and the Irish Independent, and is curator of the prestigious annual Hennessy Literary Awards. He is the author of Confessions of a Sewer Rat (1995), a two-volume biography of the artist Robert Ballagh (1985, 2011), and has co-edited, with Dermot Bolger, two anthologies of Hennessy fiction (1995, 2006).
Crean’s contributions to these expeditions seals his reputation as a polar explorer and earns him a total of three Polar medals. After the Endurance expedition, he returns to the navy. When his naval career ends in 1920 he moves back to County Kerry. In his home town of Annascaul, Crean and his wife Ellen live quietly and unobtrusively and open a pub called The South Pole Inn.
In 1938 Crean becomes ill with a ruptured appendix. He is taken to the nearest hospital in Tralee, but as no surgeon is available to operate, he is transferred to the Bon Secours Hospital in Cork where his appendix is removed. Because of the delay of the operation an infection develops and after a week in the hospital he dies on July 27, 1938, shortly after his sixty-first birthday. He is buried in his family’s tomb at the cemetery in Ballynacourty.
Crean’s name is commemorated in at least two places – 8,630 foot Mount Crean in Victoria Land and the Crean Glacier on South Georgia. A one-man play, Tom Crean – Antarctic Explorer, has been widely performed since 2001 by its author Aidan Dooley, including a special showing at the South Pole Inn, Annascaul, in October 2001. In July 2003, a bronze statue of Crean is unveiled across from his pub in Annascaul. It depicts him leaning against a crate whilst holding a pair of hiking poles in one hand and two of his beloved sled dog pups in the other.
Lover goes to school at Samuel Whyte’s at 79 Grafton Street, now home to Bewley’s café. By 1830 he is secretary of the Royal Hibernian Academy and lives at 9 D’Olier Street. In 1835 he moves to London and begins composing music for a series of comic stage works. To some of them, like the operetta Il Paddy Whack in Italia (1841), he contributes both words and music, for others he merely contributes a few songs.
Lover produces a number of Irish songs, of which several – including The Angel’s Whisper, Molly Bawn, and The Four-leaved Shamrock – attain great popularity. He also writes novels, of which Rory O’Moore and Handy Andy are the best known, and short Irish sketches which, with his songs, he combines into a popular entertainment called Irish Nights or Irish Evenings. With the latter, he tours North America between 1846 and 1848. He joins with Charles Dickens in founding Bentley’s Magazine.
Lover’s grandson is composer Victor Herbert whose mother is Lover’s daughter Fanny. Herbert is best remembered for his many successful musicals and operettas that premier on Broadway. As a small child he lives with the Lovers in a musical environment following the divorce of his mother.
“Poet, painter, novelist and composer, who, in the exercise of a genius as distinguished in its versatility as in its power, by his pen and pencil illustrated so happily the characteristics of the peasantry of his country that his name will ever be honourably identified with Ireland.”
In 1888, Connor emigrates to Holyoke, Massachusetts. His father is a stonemason, which leads to Connor’s jobs in New York as a sign painter, stonecutter, bronze founder and machinist. Inspired by his father’s work and his own experience, he would steal his father’s chisels as a child and carve figures into rocks.
Connor joins the Roycroft arts community in 1899 where he assists with blacksmithing and later starts creating terracotta busts and reliefs. Eventually he is recognized as Roycroft’s sculptor-in-residence.
After four years at Roycroft, Connor then works with Gustav Stickley and becomes well known as a sculptor being commissioned to create civic commissions in bronze for placement in Washington, D.C., Syracuse, East Aurora, New York, San Francisco, and in his native Ireland. In 1910, he establishes his own studio in Washington, D.C. From 1902 until his death, he produces scores of designs ranging from small portrait heads to relief panels to large civic commissions realized in bronze.
Connor is a self-taught artist who is highly regarded in the United States where most of his public works can be seen. He appears to be heavily influenced by the work of Irish American sculptor Augustus Saint-Gaudens. He uses the human figure to give expression to emotions, values and ideals. Many of the commissions he receives are for civic memorials and secular figures which he casts in bronze, a pronounced departure from the Irish tradition of stone carved, church sponsored works.
Connor works in the United States until 1925 at which time he moves to Dublin and opens his own studio but suffers from lack of financial support and patrons. In 1926 he is contacted by Roycroft and asked to design and cast a statue of Elbert Hubbard who, with his wife Alice, had died in the sinking of the RMS Lusitania. It is unveiled in 1930 and today stands on the lawn of East Aurora’s Middle School across the street from the Roycroft Chapel building.
While working on the Hubbard statue, Connor receives a commission to create a memorial for all the RMS Lusitania victims. It is to be erected in Cobh, County Cork where many of the victims are buried. The project is initiated by the New York Memorial Committee, headed by William Henry Vanderbilt whose father, Alfred Gwynne Vanderbilt, perished on the RMS Lusitania. He dies before the memorial is completed and based on Connor’s design its installation falls to another Irish artist.
Jerome Connor dies on August 21, 1943 of heart failure and reputably in poverty. There is a now a “Jerome Connor Place” in Dublin and around the corner there is a plaque in his honour on Infirmary Road, overlooking Dublin’s Phoenix Park, his favourite place.
The Conservative Party in Ulster launches an anti-Home Rule campaign in February 1886. It joins with the Orange Order to organise a huge political rally which is addressed by Lord Churchill.
Protestants in Ulster are very concerned about the prospect of Irish Home Rule. They fear that an Irish parliament will put rural agricultural interests before the needs of the industrial North-East. They believe a Dublin parliament will introduce tariffs which will damage industries in the north. They also fear that they will be discriminated against because of their religion, outnumbered in a Dublin parliament by Catholic representatives.
Churchill has shown disdain for Ulster Unionists up until this time, in private at least, telling Lord Salisbury, “these foul Ulster Tories have always ruined our party,” but as 1886 begins he sees an opportunity to exploit their fears for political gain. He decides that should Prime MinisterWilliam Gladstone “went for Home Rule (for Ireland), the Orange Card would be the one to play. Please God may it turn out the ace of trumps and not the two.” This quote leads one to believe he has few real convictions regarding the issue.
“Ulster will fight, and Ulster will be right,” Lord Churchill proclaims to a crowd before he even arrives at Ulster Hall.
Lord Churchill, gives a rousing speech at the rally. During his speech, he plays on Protestant fears of Dublin “Catholic” rule and encourages Ulster Protestants to organize against Home Rule so it does not come upon them “as a thief in the night.” As a result, the Ulster Protestants begin to form paramilitary drilling units.
Churchill achieves a short term political gain by his playing of the Orange Card, but his most lasting legacy is the unfounded fear of Irish Catholics that he helps to implant in the minds of Ulster Protestants, a tragedy for both traditions on the island. Those fears remain evident over a century later.
Paul Funge, internationally respected painter and arts enthusiast, dies at Loughlinstown Hospital in the south Dublin suburb of Loughlinstown on February 21, 2011 after a short illness.
A native of Gorey, County Wexford, Funge is a founder of the Project Arts Centre in Dublin and the founder of Gorey Arts Centre in 1970. He is also a founder of the Belltable Arts Centre in Limerick while the regional arts officer for the midwest. In addition he establishes the Gorey Arts Festival, a three-week summer arts festival, and runs it for more than fifteen years. He is remembered as the man who brought U2 to play at the Gorey Arts Festival in the days before they became an international success.
Funge suffers a fall before Christmas 2010, badly fracturing his leg and he is admitted to St. Vincent’s Hospital. On January 6, he transfers from Vincent’s to recuperate at a nursing home in Bray. In early February he takes a turn and develops chest problems. His condition deteriorates and he is admitted to the ICU in Loughlinstown Hospital. Initially he appears to be making a reasonable recovery, but his condition deteriorates again in the days prior to his death.
Following Funge’s death, Eamon Carter, director of Gorey School of Art, pays tribute to him as a visionary who felt passionate about decentralising the arts to areas outside of Dublin.
Carter adds that it had just been announced that the Gorey School of Art is linking up with NCAD to provide a masters in fine arts and it is sad that in the week it receives such good news it also receives the sad news of Funge’s death. “I’m saddened that he wasn’t here to see that because he would have been chuffed obviously,” he said.
On Monday, February 20, 1989, the Provisional IRA explodes two bombs at Clive Barracks at Ternhill. Only two of the planned three bombs are primed and ready to explode when the two IRA members, both of whom are wearing combat jackets, are spotted and approached by a sentry, Lance-Corporal Alan Norris, who raises the alarm. They throw the third bomb, which was inside a backpack, at him and run to a car they had stolen earlier and drive away. Soldiers fire three rounds at the IRA members as they are fleeing but no shots hit their target.
The bombs explode about ten minutes after the IRA men escape. Even though nobody is killed in the attack, the explosions causes large damage to the barracks. The alarm sounded by Norris gives about fifty British soldiers a chance to escape almost certain death. Only two soldiers are injured, one being hit by flying glass the other with only minor injuries.
The IRA claims responsibility for the bombings and British police believe IRA fugitive Patrick Sheehy is the main operator in the attack. The IRA issues a statement saying, “While Britain maintains its colonial grip on the north of Ireland, the IRA will continue to strike at those who oversee and implement British Government policy in our country.”
Five months later, in July 1989, the IRA kills a British soldier in Hanover, West Germany when they place a booby trapIED under his car. On September 7 the IRA mistakenly shoots dead Heidi Hazell, the German wife of a British soldier, in a hail of bullets in Dortmund. In the climax of the England and European campaign by the IRA is the Deal barracks bombing in which the IRA kills eleven Royal Marines and seriously injures 22 others. It is the highest death toll from an operation in England in seven years since the Hyde Park and Regent’s Park bombings on September 22, 1982, which kill 11 soldiers and injured more than fifty.