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    A year after Roe was overthrown, lessons from Trump’s Supreme Court for Ireland’s

    So far, manifestations of difficulty include an insidious marginal judicial interest in historicism and a move away from unenumerated rights, particularly that of a general right to privacy. By David Langwallner This article is about dangerous trends in American jurisprudence driven by problems with the political culture of that country. The trends risk being replicated in Ireland but must be resisted. The recrudescence of neo-conservatism in the American judiciary is a least a 30-year phenomenon with a limited and ever-shrinking liberal counterweight. It has been fuelled by the political nature of judicial appointments, Trumpism and indeed Trump nominees. The difference between neo-liberalism and neo-conservatism is important in the judiciary. A traditional neo-liberal like the UK’s Lord Sumption believes in disallowing state interference and police interference in private lives and the liberty of others — which is at least intellectually cogent. Neo-conservatism on the other hand enforces on others a fundamentalist and dogmatic worldview of religion and the deserving. It is led by Trump and Christian rednecks in America. In the US Supreme Court in the last two years, there have been chilling changes as it veers towards far-right-wing extremism. Intentionalism/historicism/constructivism In New York State Rifle and Pistol Association v Bruen, a case concerning the tragic mass shootings in Uvalde and Buffalo, the Supreme Court recently held a 1911 New York edict that anyone in possession of a handgun in a public place needed proper cause violated the Second Amendment’s right to bear arms So, just as you could use muskets against the British in the Eighteenth century, you can use handguns on the streets of New York in 2023. This ludicrous underpinning doctrine, known as originalism, intentionalism, or historicism is an approach inherited from the recently deceased Supreme Court judge Anthony J Scalia, for whom Trump’s 2020 appointee, Amy Coney Barrett clerked. The idea, if it can be called that, is of an unevolving text that should be interpreted according to the original intent of the founding fathers or those who drafted the text. This all militates against the derivation of new rights particularly that of privacy and its emanations. Apart from the objection that such intent is unknowable, there is also the objection posited by Ronald Dworkin that this is rule by the dead hand of history and that it just creates an unanswerable imperative for the constitution to be overhauled for modern times, and legitimacy. It is a silly method of constitutional interpretation for a progressive society. Privacy Rights The biggest recent outing for the obscurantist doctrine of historicism was the overturning of the abortion case Roe v Wade in Dobbs v Jackson Women’s Health Organization, on 24 June 2022. The trimester analysis in Roe which was overturned was not, it must be conceded, medically sound — allowing, as it did, for termination up to six months which, as medical science advanced, became long post-viability. The subsequent case of Casey established that the abortion right derived not from a right to privacy but from the Fourteenth Amendment’s due process clause and that restrictions could be imposed on abortion unless they were unduly burdensome. This led to a flurry of State retrenchments and subsequent litigation. Notifications, parental consent, and independent advice were all promoted as obstacles to the procedure. It also led to abortion wars, the murder of doctors providing abortion services and, just recently in South Carolina, proposals for the death penalty for abortionists. It culminated in 2022 with Justice Samuel Alito in his majority opinion, overturning Roe, in Dobbs: establishing that Casey was wrong in upholding Roe because a right to abortion was not found in the constitution and could not be inferred from the concept of ordered liberty since it did not historically, as a matter of consensus. feature as an inherent component of liberty. In his recent book, ‘The Supermajority’, Michael Waldman says the judgment preserves “in amber 19th-century social norms”. It is implicit in Alito’s opinion that privacy rights should not ever have been added to the constitution. Waldman implies that conservatives might have been less put out if decisions on contraception, abortion and criminal justice had been couched in less “groovy” and “psychedelic” terms. This augurs badly for homosexuality and contraception. Unwillingness to infer rights from liberty – and other constitutional imperatives — is also arguably evident in recent Irish Constitutional judgments which are shifting away from the idea of “unenumerated rights”, to, as with the Supreme Court in Climate Case Ireland (2020) more limited “derived rights”. Unenumerated rights are anathema to historicists but in fact, flow logically from the fact Bunreacht na hÉireann iterates a list of personal rights “in particular” which necessarily implies there must be others. Abortion has of course been ineradicably secured in Ireland by referendum. In McGee, which recognised a right to marital privacy leading to a right to contraceptives for marital couples, the Supreme Court explicitly rejected historicism and said that it was the public mores of today and not of 1937, which were relevant. As Walsh J, opined referring to the values declared in the Preamble: “It is but natural that from time to time the prevailing ideas of [prudence, justice and charity] may be conditioned by the passage of time”. Of course, Ireland’s Supreme Court’s rightist Titan, the late Adrian Hardiman, endorsed historicism in Ireland. The more recent case of Sinnott v Minister for Education [2001] includes an application of the historical method of interpretation. Hardiman, J stated: “If the term “primary education” is construed on a historic basis it is clear that what was in the mind of the drafters of the Constitution was the ordinary, scholastically oriented primary education represented by the ministerially prescribed National School curriculum. The contrary was not submitted”. The historicist approach is one thing but more generally the Sinnott judgment, according to Professor Colm Ó Cinnéide, is significant for “how the majority of the Supreme Court pushed back against new approaches to protecting rights which had become highly fashionable by the end of the 1990s – favouring instead

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    Debate, but without hatred

    By Barry Ward No right is absolute; all rights are balanced against other rights, to one extent or another. Our free speech is constrained by defamation laws, public order legislation, public safety limitations, and a concern that free speech should not be abused to negatively impact on other citizens by incitement to hatred or violence against them. Balance The Criminal Justice (Incitement to Violence or Hatred and Hate Offences) Bill 2022 attempts to balance those competing rights to free speech and to live a life without fear that someone else will seek to make others hate you or commit violence against you because of your individual characteristics defined here as race, colour, nationality, religion, ethnic origin, descent, gender, sexual characteristics, sexual orientation or identity, or disability. Indeed, so important is freedom of expression in Irish policy that Section 11 of the Bill specifically protects it by saying that discussion simpliciter, can not be taken to be an incitement to violence. Criticisms  As the Bill began its passage through the Seanad, some have harshly criticised it, making unsubstantiated claims that it will end freedom of speech or that it constitutes a gross over-reach by the government into people’s private lives and thoughts. In addition to critics here, Donald Trump Jnr. has described the legislation as “insane”, Elon Musk said it was “a massive attack on freedom of speech”, and Fox News ran a headline suggesting that the Government was restricting freedom “to protect trans people from discomfort”. Offensive people can still be offensive, and offended people still offended. However, when free speech is targeted at a defined group, calculated to cause hatred against that group, or intended to incite violence against it, we should prohibit it None of these statements is true, of course, and none stands up to scrutiny. Therefore, it is important to dispel the misinformation that has been put out there about what the Bill will actually do and how it will address hate crime and hate speech in Ireland. In Ireland at least, most of the Bill’s detractors accept the need for, and desirability of, hate crime and hate speech legislation, but they dispute how that should be done or that this Bill is a reasonable response. However, central to the Bill is the right, irrespective of personal characteristics, of all individuals to go about their business peaceably, without being subjected to hatred, and without being under the threat of violence. This Bill is not about stifling debate but taking the hatred out of debate. What the Bill does and does not do Which is not to say that this legislation will outlaw taking, or giving, offence. Offensive people can still be offensive, and offended people can still be offended. However, when free speech is targeted at a defined group, is calculated to cause hatred against that group, or intended to incite violence against the members of that group, it is absolutely appropriate that we, as a community, draw a line and say that that behaviour is not acceptable. This bill will repeal the Prohibition of Incitement to Hatred Act 1989, which was ineffective, resulting in just 50 prosecutions in almost 35 years. Where hate speech might have manifested itself in pamphlet form in 1989, the modern iteration is substantially more digital. This new legislation is broader and specifically addresses online activity, whether in Ireland or not. The Bill also includes protections in addition to the normal fair procedures that we associate with our criminal justice system. For example, it excludes “a reasonable and genuine contribution to literary, artistic, political, scientific, religious or academic discourse”. The permission of the Director of Public Prosecutions, independent in her functions, will be required for any prosecution. The Bill does a number of things, including ensuring that, where certain crimes are committed against a person because that person is gay, or black, or Jewish, or a woman, or transgender, or some other defined personal characteristic, any sentence will necessarily be higher because of the hate element of the offence; making it an offence to condone, deny or grossly trivialise genocide and other crimes against humanity; and making it an offence to incite violence or hatred against someone for those reasons. Hate crime effects Being the victim of crime is one thing. It is unpleasant, unacceptable and unfair, sometimes it takes time to get over, depending on the nature of the crime, where it happened and other factors. But we know that, when a crime is motivated by hate – be it racism, or misogyny, or homophobia, or anti-traveller sentiment, or any other manifestation of hatred – the victim is significantly more liable to a long-lasting effect and is twelve times more likely to suffer psychologically beyond the physical effects of the crime itself. Whether the perpetrators of such offences know it, acknowledge it, or admit it, hate crime damages our whole society, and not just individual victims. Burden of proof Some people have claimed that this bill will overturn the burden of proof, which, in Ireland, requires the Prosecution to prove the case against the Accused. While the Bill will not change this important principle, it does contain a “rebuttable presumption”, which allows certain conclusions to be drawn if there is no reasonable explanation for particular circumstances. The Bill also includes protections for “a reasonable and genuine contribution to literary, artistic, political, scientific, religious or academic discourse” Rebuttable presumptions are common and can be found in the law on theft and fraud, misuse of drugs, and firearms and offensive weapons, to name but a few, yet the same critics have not complained about the operation of those statutes since the 1970s and before. Possession  Others have condemned the provisions that criminalise possession of certain material, even if it has not been distributed or published. They claim that people should be able, for example, to possess material that, if distributed, would be criminal, but because they have not yet distributed it, those people should suffer no consequences. It should not be that the Garda

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    Fifty years of omerta on Ireland’s biggest company

    CRH systemically flouts competition and company law with impunity. By Séamus Maye As I walked into the elegant Carlisle room at the Royal Marine Hotel in Dun Laoghaire in April last for CRH plc’s latest AGM, many thoughts flashed through my head. Why am I here? Why have I been in Court with CRH plc for 27 years? Why are the political parties and regulators protecting CRH plc? Why has my family been blacklisted by the banks for over a quarter of a century? Where are the media? Then it dawned on me like an epiphany. This is no ordinary plc, this is a mafia complete with criminal structures and behaviour and the usual protection rackets with every machination of the State and the banks, working arm-in-arm to protect what I now believe to be an OCG [Organisied Criminal Group]. The gang leader, Albert Manifold delivered his usual silky-smooth State of the Nation address. But the meeting was fronted by a decidedly uncomfortable Chairman, former Bank of Ireland CEO, Richie Boucher. You see Richie was tasked with shielding the Board of Directors from my unwelcome intrusion. Richie didn’t deny any of my allegations, just an unconvincing reply, “that’s your perspective, Mr Maye”. So just how did this OCG survive and thrive? CRH plc has been Ireland’s largest company for several decades and now ranks itself as the world’s No. 2 in the construction materials sector. The company is synonymous with controversy going back at least to the 1969 takeover of Irish Cement. Then Fianna Fáil leader, Jack Lynch, had intervened to ensure that Roadstone was the preferred bidder for Irish Cement and former Taoiseach Seán Lemass was appointed as the first Chairman of the new Cement Roadstone Holdings (now CRH plc). The late Des Traynor, arguably Ireland’s most corrupt business figure, also figured on the board of the newly created monster. Don’t worry, no cross-party stone was left unturned, CRH stalwart Tony Barry had his brother Peter to call on as long-time Fine Gael Deputy leader. Labour too was captured, it was under Labour’s then Minister for the Environment, Dick Spring that the illegal cement certification scheme was introduced in March 1983. The Progressive Democrats huffed and puffed about taking down CRH. In the end, Mary Harney and Michael McDowell played a good cop/bad cop blinder and frustrated any attempt to hold CRH to account. The PDs’ betrayed everything they (apparently) stood for in their efforts to protect this leviathan. The Greens too huffed and puffed under John Gormley and his lieutenants but when they went into government in June 2007, they too back-pedalled and acquiesced in the protection racket around CRH plc. That’s all the parties that have been in power since 1969. Then Fianna Fáil leader, Jack Lynch, had intervened to ensure that Roadstone was the preferred bidder for Irish Cement and former Taoiseach Seán Lemass was appointed as the first Chairman of the new Cement Roadstone Holdings By 1973, Ireland was immersing itself in the EEC. It had to introduce several new laws and regulations in order to make Irish Law compatible with EU Competition (Antitrust) and, later, Money-Laundering, Laws. This is where it gets really sinister. Ireland brought in (on the face of it) strong competition law, starting with the 1991 Competition Act, the successor to the Restrictive Practices Act 1972, which created the Competition Authority. This was followed by the Company Law Enforcement Act 2001, which created the Office of Director of Corporate Enforcement. However, these regulators have proved chimerical. The lengths that these supposed regulators have gone to protect CRH plc is staggering. Taxpayers have been forced to pay enormous sums of money to fund these inept regulators for over fifty years. So, what of the Garda, Ireland’s primary crime busters? The author has presented files to the last four Garda Commissioners complaining about unprecedented economic crime (allegedly) committed by CRH but there has been an ongoing failure to act. Indeed a Wexford family has made very serious allegations of fraud against CRH plc but while gardaí initially got involved and acknowledged the fraud to the Somers family, the family were subsequently told by local gardaí that, “we’re killing the case”. And what of the legal system? Suffice it to say that my family’s proceedings (best known as “the Framus case” have been running for 27 years and the, almost identical Goode Concrete case for 13 years with little progress made. Add the Ballymore Properties pyrite case and we have a cumulative 50+ years of litigation against CRH plc, without a blow being landed. The above-mentioned Somers family have now spent eight years seeking effective legal representation against a background of chronic barriers to justice. Typical of the connections that would make you paranoid is the conduct of the late High Court Judge, John Cooke (RIP). In the mid-eighties, John Cooke, then a senior counsel, was engaged by Hytherm, a new entrant to the EPS (insulation panels market). John Cooke’s mission was to obtain an injunction against CRH plc, the dominant player in the EPS market, to stop its relentless predatory pricing, collusion and market-sharing. Cooke was successful with his quest. So impressed was CRH plc with Cooke’s smooth performance against it, that it signed him up to appeal the EU Commission decision of 30 November 1994. It has also been established that Judge Cooke began accumulating CRH shares in 1994 and continued doing so, at least until 2010 (that we know of). Neither Judge Cooke nor CRH plc made disclosures in relation to the Judge’s relationship with CRH. Judge Cooke went on to give three damaging judgments in the Goode Concrete case (subsequently set aside by the Supreme Court) and to strike out the Framus proceedings in their entirety in 2012. The Framus case is a spectacular example of the failure of the Irish Justice system. This can only be a failure by design on the part of the legislature with the object of protecting the defendants, CRH plc and its associates

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    A physical quandary beats a digital swipe: James Merrigan reviews Tanad Aaron’s ‘We’ll See You Now’ at Pallas Projects Dublin

    In the 1990s, artists working in diverse mediums, from painting to installation, redescribed the world in the image of the “non-place”. Coined by French anthropologist Marc Augé, non-places are transitional spaces (motorways, airports, hotel rooms) found between places that are more culturally established and static. In such non-places the socially constructed identity of the individual is less certain, groups cannot form, and loneliness permeates. As Gertrude Stein said, “there is no there in a non-place”. Art, in one sense, is the display of the parts of the world we don’t notice or value, but discover anew in the work of art For the contemporary artist, these non-places are a perfect metaphor for a distracted body politic, whose members go about their workaday lives without paying attention to the liminal nooks and crannies of society. In a sense, the transitional non-place is a marvellous foil and opportunity for the artist to exhibit what is in plain sight, something both familiar but ignored by society at large. Art, in one sense, is the display of the parts of the world we don’t notice or value, but discover anew in the work of art.  The most common non-places redescribed by the contemporary artist have an uncanny quality that evince a Freudian influence. Installation artists such as Mike Nelson, Mark Manders, Miroslaw Balka, Gregor Schneider, and photographers Thomas Demand and Jeff Wall, construct strange yet familiar spaces dotted with objects and props, that unsettle their architecture’s normalcy with the theatre of the absurd and the psychology of fear.  In the same uncanny vein, the conceptual and minimalist artists of the 1970s presented the viewer with almost empty gallery spaces, such as Michael Asher’s removal of a gallery partition to reveal the machinations of the gallery administration and nothing more; or the masturbatory mechanics of desire performed in Vito Acconci’s Seedbed, where the artist jerked off under a solitary timber ramp in an otherwise empty gallery. Closer to the mainstream, Lars von Trier’s Dogville (2003) starring Nicole Kidman, is a good example of how stripping back a film stage to chalk-outlines can haunt the viewer with their own imagination and desires, like the inkblot Rorschach dramatised in the psychological TV drama.  Why the long preface to a review (my first review for Village Magazine) of the solo exhibition We’ll See You Now by Tanad Aaron at Pallas-Projects Dublin? Well, I want to begin this critical venture by making explicit the importance of context and setting in the appreciation — what Christoph Menke calls more appropriately “apprehension” — of contemporary art. If we are dealing with subjectivities and ideologies over truths and facts in the apprehension of art, it helps if you are armed with a little context. The context (or ghost) that haunts Tanad Aaron’s work at Pallas Projects Dublin is collaboration. For close to a decade the artist has been instrumental in building timber displays and gallery furniture for exhibitions in the Irish art scene. Curators, art institutions and artists have commissioned Aaron’s artisan sensibility to consistent effect. In the early days, Aaron was known as part of a trio of artists (with Andreas von Knobloch and Tom Watt), who made exhibitions on their own terms, not under the aegis of curators and art institutions, who wanted yet another piece of shelving or table to decorate their administrative settings. In these curated contexts Aaron, von Knobloch and Watt became artist-technicians, commissioned for their carpentry skills to fabricate settings for exhibitions, which was at first novel, but then became convention. Going it alone at Pallas Projects is both an intriguing and challenging prospect for Aaron. Pallas Projects is a small gallery space, divided by a hinged partition that facilitates one large gallery space or two smaller ones. Aaron has gone for the latter configuration, using the larger entrance room to display some wall- and floor-bound objects, including tentative oil paintings that redescribe the shape of the curved ramp that arcs into the smaller room of the gallery.  The gallery is dark, with the alien vibration of blue and green light emanating from argon tube lights that form illegible doodles in plain sight, or in-hiding under the platform. The lighting, which some might refer to as obsolescent neon without referring to the list of artworks, sets the mood, the feeling, that this is a space that tries to evade easy description. Empty speech bubbles, in their glass and refracted-light manifestations, testify wordlessly throughout the gallery. For those who aren’t equipped with context, whether historical or local, I can only imagine that Aaron’s exhibition presents a conceptual stumbling block, even though the timber platform is accessible via a smoothly crafted ramp. Craft is a big thing in Aaron’s toolbox. Even in his use of cheap plywood, MDF and paper bags, every corner and edge is finely bevelled and pleated in a dutiful alchemy. So much so that my attention is repeatedly drawn to the corners and edges of his timber fabrications, at the expense of digging deeper into the elusive content.  You might say that this is to Aaron’s credit, that he is not interested in presenting the theories or issues of the day, rather they exist here as sublimation, not a headline. In the user-friendly press release the artist casually signposts to “waiting rooms” and sites of permanence and impermanence. And yet without other signposts, whether philosophical, journalistic, or literary, the installation slip-slides away, always going with the grain, without any breaks in the uniformly tanned language of MDF. If you refer to the gallery map, as I did, it does help to divide and conquer the wholeness of this exhibition into bit-parts, named and orphaned from their maternal MDF embrace.  Socially primed for pronoun usage, the use of the pronoun we, as in the exhibition title We’ll See You Now, does (or doesn’t) do one of two things: it points to the obvious fascination the art world (and every other institutional bubble) has these days with the we of inclusion and community; or two,

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    PAC fails to prick Tubridy’s story.

    Having promised to provide box office viewing, today’s Public Accounts Committee failed to deliver meaningful answers to important questions. By Conor O’Carroll After three hours of questioning by the Public Accounts Committee, Ryan Tubridy and his agent, Noel Kelly, emerged largely unscathed following a failure by the committee to ask direct, pointed questions that reached the heart of the ongoing scandal. Despite a long opening statement from Tubridy, it quickly became apparent that Kelly’s presence at the committee was to serve as a shield for his star talent. His insistence during his opening statement that “this is not the Ryan Tubridy scandal. This is the RTÉ scandal” is proof of that strategy. At one stage, while a question was being posed to Tubridy, Kelly even interjected, requesting permission to answer on behalf of his client. However, his eagerness to defend Tubridy was premature, as Tubridy himself turned to him and said, “we don’t even know the question yet”. Kelly later said that he “sees people as brands”, a stomach-turning equivalence that goes some way to explaining why he leapt to Tubridy’s defence at every opportunity. He was merely protecting brand Tubridy, hopeful no doubt that his star man will return to the airwaves in due course. During the following quizzing from members of the committee, a common theme emerged where Tubridy attempted to absolve himself of all ethical and moral responsibility, pointing the finger at his agent, who then in turn pointed the finger at RTÉ. While Kelly’s repeated answers of ‘we were just following RTÉ’s instructions’ bordered on unbelievable at times, the committee failed to bombard either witness with pointed follow-up questions. The closest we came to a bruising came from Alan Dillon TD, who focused on one of the most pertinent outstanding questions: was Noel Kelly, and by extension Ryan Tubridy, complicit in the potential fraud raised by RTÉ former Chief Financial Officer in a Public Accounts Committee hearing two weeks ago. However, Kelly resorted to the now tried and tested rebuttal, stating that “we were just following process…the lack of credibility is on RTÉ’s side”. Further questioning on the issue failed to move beyond this answer. Questions regarding why the invoices were met by two different companies (both owned by Noel Kelly), and later why the tripartite deal was not signed by Noel Kelly Management until April this year, were left similarly unresolved. The blame was laid squarely at the feet of RTÉ, with the insinuation being that Tubridy and Kelly were just pawns in the game of chess played by the executive board. Kelly’s insistence that the tripartite agreement was “brokered by RTÉ” further attempts to disassociate both himself and Tubridy from the mess created as a result of this scandal. Having been hyped up on social media as essential viewing since it was announced, today’s Public Accounts Committee failed to bring about answers to the remaining questions in this saga. Little was actually learnt about the details of the arrangement, and Kelly was largely permitted to reiterate the same response every time: It’s not us, it’s RTÉ. Disappointingly, perhaps the most memorable exchange came right at the end when Chair of the committee Brian Stanley TD asked what Noel Kelly sold for Cadbury’s. The laughter in the room and subsequent response on Twitter says it all about today’s hearing.

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    Jarvey for Garvey

    Drogheda and Louth Councils disgrace themselves by finding spurious legal reasons not to consider rescinding the 1997 award of Freedom of Drogneda to the former head of the Christian Brothers who has been making life difficult for an abuse victim who is suing them. By Michael Smith Brother Edmund Garvey, 73, was given the Freedom of Drogheda, where he had been born, in 1997 when he was head of the Christian Brothers. He went out of his way on that occasion to apologise for hurtful experiences people suffered because of the order, or in its schools. However, in the last few years, he chose not to act as a nominee for the Brothers for the purpose of a High Court action for abuse, taken against the Brothers in 2019. Though certainly, that is his legal right, it meant that the more than 100 living members of the order at the time of the alleged abuse had to be made defendants in the case, six of whom live abroad, if the traumatised plaintiff wanted to sue the Brothers, a tall order. The High Court ordered judgment in default against 29 of them on 20 June. Damian O’Farrell is an independent Dublin Councillor from Clontarf and a survivor of the widespread abuse perpetrated by the Brothers. He obtained the first-ever criminal conviction against a Christian Brother, in 1998. Farrell wrote to Councillors in Louth last October asking them to rescind the freedom. Alleged victims hired a hotel in the town and asked Councillor to talk to them but only five of 29 turned up. Independent Louth councillor Maeve Yore has attempted to have the following motion tabled in the Council on two occasions: “That Louth County Council supports all victims of child sexual abuse and condemns the current litigation strategy chosen by the Christian Brothers order…and this Council calls on our members in the Borough District of Drogheda to rescind the Freedom of Drogheda bestowed on [Garvey]”. A letter from the Council to Yore states: “your most recent Motion will not be placed on the agenda of council for May as it is considered potentially defamatory and could expose the council to litigation”. It’s about as defamatory as a Bridget’s cross. On 10 May the Council replied to Yore’s solicitor, MacGuill and Company, confirming that it considered it was potentially defamatory: “It could be interpreted as making specific allegations against an identifiable person which, if unsubstantiated, could be injurious to the reputation of that person”. It suggested the Councillor submit alternative wording. Yore is said to be contemplating a complaint to the Standards in Public Office Commission though it is unlikely to find ethics grounds on what is essentially a procedural matter. She is also looking at a legal route. Section 140 of the Local Government Act 2001 states that “an elected council may by resolution require any particular act, matter or thing specifically mentioned in the resolution and which the local authority or the [CEO] concerned can lawfully do or effect, to be done or effected in the performance of the executive functions of the local authority”. Louth County Council should pass a resolution requiring its CEO, Joan Martin, to put a resolution rescinding the Freedom awarded to Brother Garvey which, whatever the Council thinks, is non-defamatory, on the ‘Clár’ or order sheet for expeditious discussion. Though the Cathaoirleach took legal advice that rescinding the Freedom is a matter for Drogheda Borough Council, it is in fact more appropriately dealt with by the full Louth Council rather than the legally depleted Drogheda Borough Council since, on 1 June 2014, the Borough Council was dissolved and the administration of the town was amalgamated with Louth County Council’s. Brother Garvey has not behaved well and it is entirely appropriate to call him to account, or eject him from the honour he was, unwisely, afforded by the Council in a slightly less cynical era. The CEO has already wasted enough of Councillor Yore’s time and legal fees. The Councillor might legitimately demand that if the CEO does not comply with this resolution and the law that she will hold the CEO and her agents personally liable for the costs including legal costs, of her non-compliance. More difficult for Councillor Yore will be obtaining the necessary two-thirds majority vote for her Section 140 Resolution. Without the political support the legal action will not be possible. However, the Mayor of Drogheda, Michelle Hall, signalled last December that at least nine of the ten Borough Councillors were against bringing forward a motion to rescind Brother Garvey’s Freedom. It is not clear why. What is extraordinary is, apart from one Sinn Féin County Councillor, the lack of support from the mainstream political parties, including the defiant Labour Party. locally or from their national representatives, for an attempt to undo a small part of the abuse that most of them at least accept is real. It’s to be hoped those parties will be held to account for their heedlessness.

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    From the Temple of Bars to Listowel Writers Week

    Dermot McLaughlin mismanaged Temple Bar and, facilitated by the uncontrolled Arts Council which never took responsibility for failures in Temple Bar, is now arrogantly calling out mismanagement in Listowel. By Michael Smith Temple Bar Properties converted Temple Bar into a high-rent drink-driven cultural centre in the 1990s. Its focus then moved from physical regeneration to consolidating the cultural offering it was housing and, in 2006, it became Temple Bar Cultural Trust (TBCT), with a new board appointed by Dublin City Council. It was a private and limited not-for-profit company engaged in cultural development in Temple Bar, organising Temple Bar Food Market, concerts, circus, street, Culture Night and Handel’s Day. In 2005 it had an income of €2m, with €1.6m of this coming from its 50-strong property portfolio estimated to be worth at least €100m. Its CEO was Dermot McLaughlin, a 17-year Arts Council employee who had risen to become its assistant director. He was also a talented fiddler. Governance of TBCT was dysfunctional and in 2011 a review by Latitude, a consultancy, recommended it be wound up and subsumed into the Council. Independent City Councillor Mannix Flynn, a board member of TBCT, tabled a successful motion to that effect. The then city manager John Tierney agreed to commission a review of the organisation focusing on corporate governance standards, board representation and whether the trust was fulfilling its brief as a cultural promoter and enabler. However, a Council audit report published in March 2013 levelled charges of a different level of seriousness against TBCT, including failures of corporate governance and “control weaknesses and/or regulatory violations [that] represent unacceptable exposure and risk” for the company. McLaughlin remains a continuing consulting favourite for funding by the Arts Council of which he was once a senior employee The report found that the trust’s board minutes and papers were “not available” in relation to certain financial transactions, noting that TBCT’s business plan for 2010 and 2011 had not been approved by its board. There were found to be no appropriate financial procedures and the fact the same external auditors had been acting for over 10 years was deemed “in contravention of good corporate governance”. The party at most risk from these failures was the publicly-funded Arts Council which funds most of the cultural activity in Temple Bar, not exactly an oasis of private culture, to the tune of €9m in 2022. The Arts Council notably failed to investigate whether certain sums paid by it to institutions in Temple Bar were forwarded as intended to TBCT. A TBCT-commissioned review of the audit by former IBEC chief Turlough O’Sullivan found that the McLaughlin-fed board had “failed in its duty of oversight and governance by not enquiring into and satisfying itself that proper procedures were in place around financial transactions”. O’Sullivan was no subversive so it was telling that even he found this level of delinquency. McLaughlin resigned, agreeing not to pursue actions for defamation, and obtaining a substantial severance package after a disciplinary hearing into his role in offering generous redundancy packages to four senior staff members was cancelled. So what’s happened to the man who presided over the mess? Funny thing is McLaughlin doesn’t now mention his period in the van in Dublin’s Cultural Quarter. He remains a continuing consulting favourite for funding by his former employer, in the absence of a clear Arts Council policy on how it procures its consultants. According to now free agent Dermot McLaughlin he’s “been involved in voluntary work with organisations and on boards for many years. I enjoy being involved, I’m always interested in finding ways to help, and I love learning new things. So for me, voluntary work in enriching and valuable”. His voluntary work which came largely to an end after 2008 included spells as: Chairman (2011-2018) of Irish Traditional Music Archive; Chairman (current) of TG4 Gradam Ceoil selection panel (annual national traditional music awards); Chairman (2007-2011) of Dublin Dance Festival; Chairman (2007) of Údarás na Gaeltachta and Arts Council National Monitoring Committee on Gaeltacht arts; Board Member (2006-2008): Irish Architecture Foundation. Beyond this strings to McLaughlin’s bow include that he was: Board Member (2003-2005): Rough Magic Theatre Company; Founder and Board Member (1994 to date): Scoil Cheoil Frankie Kennedy; Founder and Committee Member (1982 to date): Cairdeas na bhFidléirí. In 2014 he set up his own independent consultancy practice, Creative Strategic Solutions. After that he was involved in the Arts Council of Northern Ireland’s Audit of Traditional Music in Northern Ireland (2014-15); the Arts Council’s review of contemporary music policy initiative (2015) Ealaín na Gaeltachta’s Competitive assessment of funding proposals (2015); and An Cosán Glas’s Business planning, negotiation strategy (2015). It’s amazing how far an unassailable relationship with the Arts Council can take a man. He also claims (admits?) he was involved in the “Meeting House Square €2.2m capital redevelopment, business planning and marketing project (2010)”. Sounds good, so let’s have a look at what the project architect says about this. Seán Harrington architects’ website is as sanguine as McLaughlin is about the situation. “There is a saying in Ireland that you can have four seasons in one day. Warm spring sunshine can lead to intense summer light. Lively autumn gales can turn to a sudden wintry shower because Irish skies are constantly changing. Seán Harrington architects was commissioned to find a solution. The innovative solution provides a convertible umbrella covering over a popular public square in Dublin Temple Bar area. The landmark umbrella projects bespoke design comprises of four 21-m high steel structural masts”. This is shameless and shocking when you realise the, admittedly attractive, umbrellas don’t work, never really did. In the last few weeks one of the brolly arms buckled and repair costs are so prohibitive as to make its reinstatement unlikely. The audit commissioned by Dublin City Council was particularly scathing about Temple Bar Square: “Board minutes were altered, deleting concerns raised by some Councillors, and provided to Ulster Bank to support a loan; Reams of financial data relating to the project were

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