Albrecht Dürer Dresden Altarpiece Germany (c. 1496) Gemäldegalerie Alte Meister of Dresden; image via supernaut.info [mod note] I have to say that the left panel featuring Saint Anthony the Abbot (patron saint against ergotism), feels awfully relatable.

"Because this competition is relating to the heart I feel tomatoes play an important part, they are plentiful in vitamins and lycopene which has been shown to reduce the risk of heart disease. Lycopene is also beneficial in the body's defense against breast cancer, prostate cancer and cardiovascular disease. Photographically I love to combine red and black.

 

I chose strawberries because the potassium and antioxidants in them protect against heart attacks and strokes. As well as tasting good, pomegranate seeds and juice are thought to be a tonic for the heart. "

 

A ONU recolle as vulneracións dos dereitos lingüísticos en Galiza

 

A Mesa pola Normalización Lingüística presentoulle esta semana a Fernand de Varennes, relator especial para as minorías da Oficina do Alto Comisionado das Nacións Unidas para os Dereitos Humanos, evidencias das vulneracións dos dereitos lingüísticos da poboación galega que se están producindo na educación, na xustiza, na administración ou no consumo, promovidos ou consentidos polo Estado e pola Xunta. A Mesa, que xa intervira en xuño do 2015 no Consello de Dereitos Humanos da ONU en Xenebra, manterá o contacto co relator para informalo das situación en Galiza.

 

No seu informe preliminar, que ven de ser publicado na web das Nacións Unidas, De Varennes salienta que “as minorías lingüísticas teñen dereito a usar o seu idioma nas súas interaccións coas autoridades e institucións estatais, sempre e cando sexa razoábel e xustificado, segundo a proporción da poboación que o fale localmente, pero isto segue sen cumprirse nalgunhas rexións”. O Relator lembra, explicitamente, que -tal e como vén denunciando a Mesa en innúmeras ocasións- “disposicións como o Artigo 231 da Lei orgánica do poder xudicial son un obstáculo importante para o cumprimento por parte de España das súas obrigas internacionais en relación co uso cooficial das linguas minoritarias, xa que estipula que nos procedementos xudiciais, os xuíces, maxistrados, fiscais, secretarios e outros funcionarios utilizarán a lingua castelá e que as linguas minoritarias cooficiais só se permitirán se ningunha das partes se opón. Isto, na práctica, levou a que en moitos, se non na maioría dos casos, as autoridades xudiciais penais, civís e administrativas non permitan os procedementos en comunidades autónomas na lingua minoritaria cooficial, mesmo se o solicita unha parte”. “Este obstáculo xeral para o uso dun idioma cooficial minoritario”, afirma De Varennes no seu informe preliminar, “xera preocupacións en canto ao cumprimento das obrigas internacionais de dereitos humanos que se detallarán no informe final”.

É a primeira vez que un representante da ONU vén a Galiza para avaliar a situación dos dereitos lingüísticos da cidadanía o que, dende a Mesa, se considera un éxito da mobilización social a prol do galego. Neste sentido, Marcos Maceira, presidente da entidade salienta que “é máis fácil falar da situación do galego cun representante da ONU que co presidente da Xunta” e denuncia que iso “é un déficit democrático que debe ser corrixido”. “A visita do relator da ONU é un éxito da mobilización social”, asegura, “que debe intensificarse para que Estado e Xunta asuman que vulnerar os dereitos lingüísticos é un ataque aos dereitos humanos”. Representantes da Mesa recordáronlle a Varennes que o Estado español e a Xunta de Galiza deben garantir o principio de que os dereitos lingüísticos son dereitos humanos e entregáronlle un informe no que salientan a indefensión da poboación galega ante discriminacións lingüísticas. “No caso de Galiza”, asegura Maceira, “este papel corresponde en solitario á sociedade civil, sen que os organismos públicos actúen ao respecto da defensa dos dereitos lingüísticos da súa cidadanía”.

Reflexións preliminares do Relator Especial con respecto ás linguas

A Guía práctica de 2017 sobre os dereitos lingüísticos das minorías lingüísticas publicada baixo o mandato do Relator Especial da ONU sobre cuestións das minorías destaca o papel central e a importancia do idioma para as minorías lingüísticas e pon de manifesto as obrigas do Estado en virtude de diversos instrumentos do tratado da ONU. A competencia das comunidades autónomas nos campos da educación, dos servizos sociais e doutras áreas levou a unha variedade de modelos e prácticas que se adoptan en diferentes comunidades autónomas e reflicten contextos, poboacións e expectativas moi diversos.

 

Unha preocupación atopada polo Relator Especial en varias ocasións en reunións con organizacións da sociedade civil foi a sensación de que existía unha desconexión entre o estado reclamado dos idiomas cooficiais e o alcance do seu uso real e da implementación da lexislación. Por exemplo, sinalouse que os xuíces e os funcionarios encargados de facer cumprir a lei, como a policía nacional, non están suxeitos a ningún requisito de coñecemento dun idioma cooficial, até cando exercen nunha comunidade autónoma. Suxeriuse que isto conduce a un número significativo de queixas e frustracións nalgunhas comunidades autónomas e a desafortunados malentendidos e até á negación ou discriminación no acceso aos servizos públicos.

 

Segundo o recomendado por outras organizacións internacionais, incluído o Comité de Ministros do Consello de Europa, disposicións como o artigo 231 da Lei orgánica do poder xudicial son un obstáculo importante para o cumprimento por parte de España das súas obrigas internacionais en relación co uso cooficial das linguas minoritarias, xa que estipula que nos procedementos xudiciais, os xuíces, maxistrados, fiscais, secretarios e outros funcionarios utilizarán a lingua castelá e que as linguas minoritarias cooficiais só se permitirán se ningunha das partes se opón. Isto, na práctica, levou a que en moitos, se non na maioría dos casos, as autoridades xudiciais penais, civís e administrativas non permitan os procedementos en comunidades autónomas na lingua minoritaria cooficial, mesmo se o solicita unha parte. Este obstáculo xeral para o uso dun idioma cooficial minoritario xera preocupacións en canto ao cumprimento das obrigas internacionais de dereitos humanos que se detallarán no informe final.

A Mesa pola Normalización Lingüística

É unha entidade social independente, constituída en 1986 e da que forman parte arredor de 5000 socias e socios e que ten como obxectivo a normalidade plena da lingua galega. Neste sentido, a defensa do dereito ao emprego do galego en Galiza en todas as situacións e contextos é unha das súas principais liñas de actuación. Entendemos que o dereito ao uso da lingua propia non se pode desligar dos máis elementais dereitos humanos, civís e democráticos. A entidade dotouse do Observatorio de Dereitos Lingüísticos que conta cun comité asesor formado por xuristas e persoas expertas en diferentes ámbitos. O Observatorio elabora relatorios e informes que envía a diferentes institucións públicas galegas, estatais ou, recentemente, ao comité de expertos do Consello de Europa para a Carta europea das linguas rexionais e minorizadas. Anualmente presenta publicamente o seu informe A Liña do Galego baseado nos casos de vulneracións de dereitos lingüísticos, mais tamén nas consultas ou parabéns a quen si os garante. A Mesa pola Normalización Lingüísitica forma parte da Rede Europea para a Igualdade das Linguas – ELEN.

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...

Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.

  

La scène, relatée par trois des quatre Evangiles (Marc, Matthieu et Luc), se déroule juste après le baptême du Christ. Retiré dans le désert après quarante jours de jeûne, Jésus rencontre le diable, dans un épisode que la tradition qualifiera de « tentation du Christ ». Satan multiplie alors les suggestions – transformer des pierres en pain, sauter dans le vide pour voir si Dieu le sauve, obtenir le pouvoir sur tous les royaumes du monde en échange de son allégeance – et Jésus les refuse. « Après l’avoir tenté de toutes ces manières, le diable s’éloigna de lui jusqu’à un moment favorable », conclut Luc, énigmatique.

Mais quel est le sens de cet épisode, central durant la liturgie du carême ? Le diable existe-t-il vraiment, ou n’est-ce qu’un symbole ? Des siècles de controverses théologiques n’ont pas suffi à épuiser cette question. Même au sein de l’Eglise catholique, dont les dogmes sont pourtant fixés et centralisés par Rome, le débat n’a jamais été totalement tranché.

« Nous avons créé des figures symboliques, comme le diable, pour exprimer le mal », déclarait par exemple au quotidien espagnol El Mundo, le 31 mai 2017, le père Arturo Sosa, alors fraîchement nommé supérieur de la Compagnie de Jésus. « Les symboles font partie de la réalité, et le diable existe en tant que réalité symbolique et non en tant que réalité personnelle », réitérait-il en août 2019, dans une interview à l’hebdomadaire catholique italien Tempi.

Le diable, un symbole ?

Les propos du « pape noir » – nom habituellement donné au supérieur des jésuites en raison de son pouvoir ecclésial – ont à chaque fois suscité une levée de boucliers dans les milieux cléricaux. Il faut dire que sa vision s’oppose à celle d’un autre jésuite, et pas des moindres : le pape François.

 

Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...

These antics look like they could have been taken when crossing the Equator.

Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...

21 February 2011: (Dear You) Don't you know you're beautiful? I'm doing a series of photos relating to NEDA week. Did you know that 75% of girls between the ages of 13 and 17 say they look to girls in magazines to help motivate them to lose weight? Did you also know that only 5% of the world's population has a figure of Barbie. The statistics are seemingly unreal, but absolute truth. It's troubling how many girls feel as though they aren't good enough. The media plays a big role in it too. Just looks at the magazines by the grocery store next time, count how many say "lose weight fast" or "get ready for that summer bikini". It's almost digusting the amount of negative body perception the media dishes out. Remember that you're more beautiful that anyone and that it's not just the outside that counts, it's also the inside. I hope everyone is having a gorgeous day! :D

 

Go to Page with image in the Internet Archive

Title: The principles of surgery, as they relate to wounds, ulcers and fistulas, etc. Also, a system of surgical operations ... And a series of cases, calculated to illustrate ... the doctrine of tumours, etc, Vol. 1

Creator: Bell, John, 1763-1820. n 85017657

Publisher: London : Longman

Sponsor: Wellcome Library

Contributor: Wellcome Library

Date: 1815

Vol: Vol. 1

Language: eng

 

If you have questions concerning reproductions, please contact the Contributing Library.

 

Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.

 

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Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

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The Painting

 

This painting is currently (2025) on display at the Tate Britain in Millbank, London. The Tate provides the following information relating to the work:

 

'John Everett Millais 1829 - 1896

Born Southampton, lived St. Helens

(Jersey), Dinan (France), London.

Ophelia 1851 - 2

Oil paint on canvas.

 

This painting depicts the death of

Ophelia from Shakespeare's Hamlet.

Traumatised by her family, her cancelled

betrothal and the murder of her father

by her fiancé, Ophelia drowns in a stream

after roaming the countryside looking for

flowers.

John Everett Millais painted the setting

leaf-by-leaf by the Hogsmill River in

Surrey.

The artist and model Elizabeth Siddal

posed as Ophelia by wearing a wedding

dress in a filled bathtub.

Siddal and the other working-class women

who joined the Pre-Raphaelite circle as

colleagues, friends and wives challenged

Victorian expectations of arranging marriages

for money and status.

Presented by Sir Henry Tate, 1894.'

 

John Everett Millais

 

Sir John Everett Millais, who was born on the 8th. June 1829, was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood.

 

He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7).

 

Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–52.

 

By the mid-1850's, Millais was moving away from the Pre-Raphaelite style in order to develop a new form of realism in his art.

 

His later works were enormously successful, making Millais one of the wealthiest artists of his day, but some former admirers, including William Morris, saw this as a sell-out (Millais notoriously allowed one of his paintings to be used for a sentimental soap advertisement).

 

While these and early 20th.-century critics, reading art through the lens of Modernism, viewed much of his later production as wanting, this perspective has changed in recent decades, as his later works have come to be seen in the context of wider changes and advanced tendencies in the broader late nineteenth-century art world, and can now be seen as predictive of the art world of the present.

 

Millais' personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the Ruskin marriage and Effie's subsequent marriage to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work, and they worked in concert to secure commissions and expand their social and intellectual circles.

 

-- John Everett Millais - The Early Years

 

Millais was born in Southampton of a prominent Jersey-based family. His parents were John William Millais and Emily Mary Millais (née Evermy). Most of his early childhood was spent in Jersey, to which he retained a strong devotion throughout his life.

 

The author Thackeray once asked him "when England conquered Jersey". Millais replied "Never! Jersey conquered England." The family moved to Dinan in Brittany for a few years in his childhood.

 

John's mother's forceful personality was the most powerful influence on his early life. She had a keen interest in art and music, and encouraged her son's artistic bent, promoting the relocating of the family to London in order to help develop contacts at the Royal Academy of Art. He later said:

 

"I owe everything

to my mother."

 

In 1840, John's artistic talent won him a place at the Royal Academy Schools at the still unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood (known as the "PRB") in September 1847 in his family home on Gower Street, off Bedford Square.

 

-- Millais' Pre-Raphaelite Works

 

Millais's Christ in the House of His Parents (1849–50) was highly controversial because of its realistic portrayal of a working class Holy Family labouring in a messy carpentry workshop.

 

Later works were also controversial, though less so. Millais achieved popular success with A Huguenot (1851–52), which depicts a young couple about to be separated because of religious conflicts. He repeated this theme in many later works.

 

All these early works were painted with great attention to detail, often concentrating on the beauty and complexity of the natural world.

 

In paintings such as Ophelia (1851–52), Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of "pictorial eco-system".

 

Mariana is a painting that Millais painted in 1850–51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson, from 1830. In the play, the young Mariana was to be married, but was rejected by her betrothed when her dowry was lost in a shipwreck.

 

-- Millais and Euphemia Gray

 

John's style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics. Millais's friendship with Ruskin introduced him to Ruskin's wife Effie (1828 - 1897).

 

Soon after they met, she modelled for his painting The Order of Release. As Millais painted Effie, they fell in love. Despite having been married to Ruskin for several years, Effie was still a virgin. Her parents realised something was wrong, and she filed for an annulment.

 

In 1855, after her marriage to Ruskin was annulled, Effie and John Millais married. He and Effie eventually had eight children. Their youngest son, John Guille Millais, became a naturalist, wildlife artist, and Millais's posthumous biographer.

 

Their daughter Alice (1862–1936), later Alice Stuart-Worsley, was a close friend and muse of the composer Edward Elgar, and is thought to have been an inspiration for themes in his Violin Concerto.

 

Effie's younger sister Sophie Gray sat for several pictures by Millais, prompting some speculation about the nature of their apparently fond relationship.

 

-- Millais' Later works

 

After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais's need to increase his output in order to support his growing family.

 

Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth.

 

His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our Art of Today" (1888), he recommended Velázquez and Rembrandt as models for artists to follow.

 

Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported.

 

Other paintings by Millais from the late 1850's and 1860's can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour, and are symbolic rather than narratival.

 

From 1862, the Millais family lived at 7 Cromwell Place, Kensington, London.

 

Later works from the 1870's onwards demonstrate Millais's reverence for Old Masters such as Joshua Reynolds and Velázquez. Many of these paintings were on an historical theme. Notable among these are The Two Princes Edward and Richard in the Tower (1878), The Northwest Passage (1874) and the Boyhood of Raleigh (1871).

 

Such paintings indicate Millais's interest in subjects connected to Britain's history and expanding empire. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) – famous, or perhaps notorious, for being used in the advertising of Pears soap – and Cherry Ripe.

 

John's last project (1896) was to be a painting entitled "The Last Trek". Based on his illustration for his son's book, it depicted a hunter lying dead in the veldt, his body contemplated by two onlookers.

 

-- Millais' Later Career

 

John's many later landscape paintings usually depict difficult or dangerous terrain. The first of these, Chill October (1870), was painted in Perth, near his wife's family home. It was the first of the large-scale Scottish landscapes that Millais painted periodically throughout his later career.

 

Usually autumnal and often bleakly unpicturesque, they evoke a mood of melancholy and sense of transience that recalls his cycle-of-nature paintings of the later 1850's, especially Autumn Leaves and The Vale of Rest, though with little or no direct symbolism or human activity to point to their meaning.

 

In 1870 Millais returned to full landscape pictures, and over the next twenty years painted a number of scenes of Perthshire where he was annually found hunting and fishing from August until late into the autumn each year.

 

Most of these landscapes are autumnal or early winter in season and show bleak, dank, water-fringed bog or moor, loch, and riverside. Millais never returned to "blade by blade" landscape painting, nor to the vibrant greens of his own outdoor work in the early fifties, although the assured handling of his broader, freer later style is equally accomplished in its close observation of scenery.

 

Christmas Eve (1887), John's first full landscape snow scene, was a view looking towards Murthly Castle.

 

-- Millais' Illustrations

 

Millais was also very successful as a book illustrator, notably for the works of Anthony Trollope and for the poems of Tennyson. His complex illustrations of the parables of Jesus were published in 1864. His father-in-law commissioned stained-glass windows based on them for Kinnoull Parish Church, Kinnoull.

 

John also provided illustrations for magazines such as Good Words. As a young man, Millais frequently went on sketching expeditions to Keston and Hayes. While there he painted a sign for an inn where he used to stay, near to Hayes church.

 

-- Millais' Academic Career and Baronetage

 

Millais was elected as an associate member of the Royal Academy of Arts in 1853; a decade later in 1863, he was elected as a full member of the Academy, in which he was a prominent and active participant.

 

In July 1885, Queen Victoria created him a baronet, of Palace Gate, in the parish of St. Mary Abbot, Kensington, in the county of Middlesex, and of Saint Ouen, in the Island of Jersey. This make him the first artist to be honoured with a hereditary title.

 

After the death of Lord Leighton in 1896, Millais was elected President of the Royal Academy.

 

-- Millais' Death and Legacy

 

John died in Kensington at the age of 67 on the 13th. August 1896 from throat cancer, and was laid to rest in the crypt of St Paul's Cathedral.

 

Following his death, the Prince of Wales (later to become King Edward VII) chaired a memorial committee which commissioned a statue of the artist. The statue, by Thomas Brock, was installed at the front of the National Gallery of British Art (now Tate Britain) in the garden on the east side in 1905.

 

On the 23rd. November 1905, the Pall Mall Gazette called it:

 

"A breezy statue, representing the

man in the characteristic attitude in

which we all knew him".

 

In 1953, Tate director Norman Reid attempted to have John's statue replaced by Auguste Rodin's John the Baptist, and in 1962 again proposed its removal, calling its presence "positively harmful".

 

Reid's efforts were frustrated by the statue's owner, the Ministry of Works. Ownership was transferred from the Ministry to English Heritage in 1996, and by them in turn to the Tate. In 2000, under Stephen Deuchar's directorship, the statue was removed to the side of the building to welcome visitors to the refurbished Manton Road entrance.

 

In 2007, the artist was the subject of a major retrospective at Tate Britain, London visited by 151,000 people. The exhibition then traveled to the Van Gogh Museum, Amsterdam, followed by venues in Fukuoka and Tokyo, Japan, and seen by over 660,000 visitors in total.

 

Millais's relationship with Ruskin and Effie has been the subject of several dramas, beginning with the silent film The Love of John Ruskin from 1912. There have also been stage and radio plays and an opera.

 

The 2014 film Effie Gray, written by Emma Thompson, featured Tom Sturridge as Millais.

 

The Pre-Raphaelites have been the subjects of two BBC period dramas. The first, entitled The Love School, was shown in 1975, starring Peter Egan as Millais. The second was Desperate Romantics (2009), in which Millais is played by Samuel Barnett.

 

Laurie Kynaston portrayed Millais in the Paramount+ adaptation of Elizabeth Macneal's The Doll Factory (2023).

 

Final thought from Ian Dury and the Blockheads:

 

"There ain’t half been

some clever bastards ..."

via Instagram ift.tt/1Kjwo9d Found a couple of figures in a box that I could relate to. Big, goofy grinning hairy guys trying to not be a dork around pretty ladies. #TomKhayos #ToyGameScroogeMcDuck #toyfinds #toyhustle #ToyGameJohnRockefeller #toyhorder #toyhunting #toytrades #toysagram #RagingNerdgasm #actionfigures #artimitateslife #sasquatch #harryandthehendersons #scorpionking #JakksPacific #justoys #bendy #bigfoot ift.tt/1Kjwo9d

While I cannot find any information relating to this metal object located at Clontarf Bus Garage I can supply some information relating to Conquer Hill.

 

Following the granting of Catholic Emancipation in 1829, Daniel O’ Connell planned a monster Repeal Rally to be held at Conquer Hill, Clontarf, on the 8th of October 1843.About 100,000 persons were expected to attend but the Crown Authorities banned the rally and sent several military regiments into the area to enforce the ban. They also aimed their big guns from the Pidgeon House, across the bay at Ringsend, directly at Clontarf.

 

Fearing consequences for the thousands of innocent people, O’ Connell cancelled the rally.

Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.

立法會發展智慧城市事宜小組委員會參觀香港國際機場

立法会发展智慧城市事宜小组委员会参观香港国际机场

LegCo Subcommittee on Matters Relating to the Development of Smart City visits the Hong Kong International Airport (8.8.2022)

Herculaneum / Pompeii, Italy- The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii during the 20th / 21st century as reported in THE NEW YORK TIMES, THE TIMES (LONDON), and THE WASHINGTON POST (WASHINGTON DC, USA), ca. (1904-2002). [forthcoming].

 

Ercolano / Pompei, Italia-i problemi relativi alla gestione e scavi degli Scavi Archeologici di Ercolano / Pompei durante il 20 ° / 21 ° secolo come riportato dal New York Times, The Times (London), e il Washington Post (Washington DC, USA), ca. (1904-2002). [Prossima].

Last week, at work, I took a class on Now, Discover Your Strengths. Today I finally got around to taking the Strength Finder 2.0 test.

 

Turns out my strengths are:

-Learner

-Ideation

-Analytical

-Restorative

-Relator

Fairy Tail draws pictures relating to San Valentin anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pi...

Kenneth Adrian Wilson, Kenneth Adrian Wilson photographs relating to Wellington, Alexander Turnbull Library, Reference: 1/2-136016-F

 

Published in the Wellingtonian 21 October 2010

 

On a wet and windy winter day in 1901 the Duke and Duchess of Cornwall came to town. It was the first of last century’s grand royal tours. Nearly everyone poured onto the streets to welcome them.

 

One of the features of the visit were our grand welcoming arches. We excelled. On landing at Queen’s Wharf the royal couple were driven up Jervois Quay, under a tri-coloured "Citizens' Arch" and a Woollen Company arch made of wool bales. In Cuba Street there was a Māori arch and a Marlborough arch featuring sheaves of grain. Manners Street featured a Chinese arch. Along Lambton Quay there was the buttermen's arch "cunningly made of butter boxes and trade brands", and a Westport arch featuring huge lumps of coal.

 

Almost at the end, outside the Government buildings, was the impressively turreted Government arch shown here, and just out of the picture to the right, at the entrance to Parliament, was the main Māori arch – "the best Māori arch in all New Zealand" according to the official history of the visit.

 

No other town did so well, although they tried. Christchurch, for example, proudly featured a meat arch showing off carcasses of frozen mutton, and their agricultural arch had penned bullocks at its base, cages of sheep, and clucking poultry on top.

 

Take a closer look

 

See other images of the 1901 royal visitors in Wellington

 

Permission of the National Library of New Zealand Te Puna Mātauranga O Aotearoa, must be obtained before any reuse of this image.

 

Wellingtonians: From the Turnbull Collections contains revised and expanded entries, and some new ones too. This high-quality publication is available for just $29.99. You can pick it up from from good bookshops or get it straight from the publisher, Steele Roberts.

... I can now finally relate to the dirty old men who cower in lonely adult film theaters, frequent truck-stop stripjoints, and give you the heebie-jeebies when they make eye-contact with you at Safeway.

Gran cobertura mediática

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!

 

None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

If you'd like to see more please check out my set, "Vertigo:"

 

www.flickr.com/photos/motorpsiclist/sets/72157630591282642/

 

.

  

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

.

  

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

Postcard

 

The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.

 

Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.

 

The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.

Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.

 

Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).

 

YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria

 

Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.

 

Enquiries: Yarra Plenty Regional Library

 

New trending GIF tagged relatable, barbra streisand, funny girl, bagel via Giphy ift.tt/1MlBzCI

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.

KnightPKF is destined to be a household name. The Brooklyn-raised artist has come a long way, earning the respect of rap legend Ice-T, who has become his mentor. With his perseverance and ambition he has not only transformed into a respected hip hop artist, but he has made himself into a versatile brand. He has become multifaceted with an endorsement with Nude Vodka, owning his own phrase “Smoov,” and owning his own clothing line, PKF Apparel.

 

PKF stands for PlentyKashFlow, which is what KnightPKF motivates everyone to strive for. His own ambition has led him to create a better situation for himself in every aspect, and he wants to share that drive with those around him. KnightPKF constantly reaches out to fans and continues to encourage them to pursue their dreams, to stay humble, and to get as much “PlentyKashFlow” as they need to. PKF Apparel targets anyone who shares the same perseverance as KnightPKF. Anyone who has dreams and life goals can definitely relate to the PlentyKashFlow brand as a whole.

 

When taking a look at the merchandise hat has been released thus far, it’s evident that PKF Apparel represents KnightPKF’s personality. Fitted hats are being sold with his copyrighted phrase "Smoov" embroidered on the front, which have been seen on KnightPKF himself. There are also t-shirts that have “PlentyKashFlow” written across the chest and a PKF logo in the lower left corner, with its simplicity exemplifying that you don’t have to be flashy to get noticed. Anyone wearing any of the various styles from PKF Apparel are represented the way KnightPKF represents himself -- comfortable in his own style, swag, and sense of being.

 

Written by Amelia Rampersaud

 

KnightPKF is destined to be a household name. The Brooklyn-raised artist has come a long way, earning the respect of rap legend Ice-T, who has become his mentor. With his perseverance and ambition he has not only transformed into a respected hip hop artist, but he has made himself into a versatile brand. He has become multifaceted with an endorsement with Nude Vodka, owning his own phrase “Smoov,” and owning his own clothing line, PKF Apparel.

 

PKF stands for PlentyKashFlow, which is what KnightPKF motivates everyone to strive for. His own ambition has led him to create a better situation for himself in every aspect, and he wants to share that drive with those around him. KnightPKF constantly reaches out to fans and continues to encourage them to pursue their dreams, to stay humble, and to get as much “PlentyKashFlow” as they need to. PKF Apparel targets anyone who shares the same perseverance as KnightPKF. Anyone who has dreams and life goals can definitely relate to the PlentyKashFlow brand as a whole.

 

When taking a look at the merchandise hat has been released thus far, it’s evident that PKF Apparel represents KnightPKF’s personality. Fitted hats are being sold with his copyrighted phrase "Smoov" embroidered on the front, which have been seen on KnightPKF himself. There are also t-shirts that have “PlentyKashFlow” written across the chest and a PKF logo in the lower left corner, with its simplicity exemplifying that you don’t have to be flashy to get noticed. Anyone wearing any of the various styles from PKF Apparel are represented the way KnightPKF represents himself -- comfortable in his own style, swag, and sense of being.

 

Written by Amelia Rampersaud

 

KnightPKF is destined to be a household name. The Brooklyn-raised artist has come a long way, earning the respect of rap legend Ice-T, who has become his mentor. With his perseverance and ambition he has not only transformed into a respected hip hop artist, but he has made himself into a versatile brand. He has become multifaceted with an endorsement with Nude Vodka, owning his own phrase “Smoov,” and owning his own clothing line, PKF Apparel.

 

PKF stands for PlentyKashFlow, which is what KnightPKF motivates everyone to strive for. His own ambition has led him to create a better situation for himself in every aspect, and he wants to share that drive with those around him. KnightPKF constantly reaches out to fans and continues to encourage them to pursue their dreams, to stay humble, and to get as much “PlentyKashFlow” as they need to. PKF Apparel targets anyone who shares the same perseverance as KnightPKF. Anyone who has dreams and life goals can definitely relate to the PlentyKashFlow brand as a whole.

 

When taking a look at the merchandise hat has been released thus far, it’s evident that PKF Apparel represents KnightPKF’s personality. Fitted hats are being sold with his copyrighted phrase "Smoov" embroidered on the front, which have been seen on KnightPKF himself. There are also t-shirts that have “PlentyKashFlow” written across the chest and a PKF logo in the lower left corner, with its simplicity exemplifying that you don’t have to be flashy to get noticed. Anyone wearing any of the various styles from PKF Apparel are represented the way KnightPKF represents himself -- comfortable in his own style, swag, and sense of being.

 

Written by Amelia Rampersaud

 

KnightPKF is destined to be a household name. The Brooklyn-raised artist has come a long way, earning the respect of rap legend Ice-T, who has become his mentor. With his perseverance and ambition he has not only transformed into a respected hip hop artist, but he has made himself into a versatile brand. He has become multifaceted with an endorsement with Nude Vodka, owning his own phrase “Smoov,” and owning his own clothing line, PKF Apparel.

 

PKF stands for PlentyKashFlow, which is what KnightPKF motivates everyone to strive for. His own ambition has led him to create a better situation for himself in every aspect, and he wants to share that drive with those around him. KnightPKF constantly reaches out to fans and continues to encourage them to pursue their dreams, to stay humble, and to get as much “PlentyKashFlow” as they need to. PKF Apparel targets anyone who shares the same perseverance as KnightPKF. Anyone who has dreams and life goals can definitely relate to the PlentyKashFlow brand as a whole.

 

When taking a look at the merchandise hat has been released thus far, it’s evident that PKF Apparel represents KnightPKF’s personality. Fitted hats are being sold with his copyrighted phrase "Smoov" embroidered on the front, which have been seen on KnightPKF himself. There are also t-shirts that have “PlentyKashFlow” written across the chest and a PKF logo in the lower left corner, with its simplicity exemplifying that you don’t have to be flashy to get noticed. Anyone wearing any of the various styles from PKF Apparel are represented the way KnightPKF represents himself -- comfortable in his own style, swag, and sense of being.

 

Written by Amelia Rampersaud

 

KnightPKF is destined to be a household name. The Brooklyn-raised artist has come a long way, earning the respect of rap legend Ice-T, who has become his mentor. With his perseverance and ambition he has not only transformed into a respected hip hop artist, but he has made himself into a versatile brand. He has become multifaceted with an endorsement with Nude Vodka, owning his own phrase “Smoov,” and owning his own clothing line, PKF Apparel.

 

PKF stands for PlentyKashFlow, which is what KnightPKF motivates everyone to strive for. His own ambition has led him to create a better situation for himself in every aspect, and he wants to share that drive with those around him. KnightPKF constantly reaches out to fans and continues to encourage them to pursue their dreams, to stay humble, and to get as much “PlentyKashFlow” as they need to. PKF Apparel targets anyone who shares the same perseverance as KnightPKF. Anyone who has dreams and life goals can definitely relate to the PlentyKashFlow brand as a whole.

 

When taking a look at the merchandise hat has been released thus far, it’s evident that PKF Apparel represents KnightPKF’s personality. Fitted hats are being sold with his copyrighted phrase "Smoov" embroidered on the front, which have been seen on KnightPKF himself. There are also t-shirts that have “PlentyKashFlow” written across the chest and a PKF logo in the lower left corner, with its simplicity exemplifying that you don’t have to be flashy to get noticed. Anyone wearing any of the various styles from PKF Apparel are represented the way KnightPKF represents himself -- comfortable in his own style, swag, and sense of being.

 

Written by Amelia Rampersaud

 

KnightPKF is destined to be a household name. The Brooklyn-raised artist has come a long way, earning the respect of rap legend Ice-T, who has become his mentor. With his perseverance and ambition he has not only transformed into a respected hip hop artist, but he has made himself into a versatile brand. He has become multifaceted with an endorsement with Nude Vodka, owning his own phrase “Smoov,” and owning his own clothing line, PKF Apparel.

 

PKF stands for PlentyKashFlow, which is what KnightPKF motivates everyone to strive for. His own ambition has led him to create a better situation for himself in every aspect, and he wants to share that drive with those around him. KnightPKF constantly reaches out to fans and continues to encourage them to pursue their dreams, to stay humble, and to get as much “PlentyKashFlow” as they need to. PKF Apparel targets anyone who shares the same perseverance as KnightPKF. Anyone who has dreams and life goals can definitely relate to the PlentyKashFlow brand as a whole.

 

When taking a look at the merchandise hat has been released thus far, it’s evident that PKF Apparel represents KnightPKF’s personality. Fitted hats are being sold with his copyrighted phrase "Smoov" embroidered on the front, which have been seen on KnightPKF himself. There are also t-shirts that have “PlentyKashFlow” written across the chest and a PKF logo in the lower left corner, with its simplicity exemplifying that you don’t have to be flashy to get noticed. Anyone wearing any of the various styles from PKF Apparel are represented the way KnightPKF represents himself -- comfortable in his own style, swag, and sense of being.

 

Written by Amelia Rampersaud

 

KnightPKF is destined to be a household name. The Brooklyn-raised artist has come a long way, earning the respect of rap legend Ice-T, who has become his mentor. With his perseverance and ambition he has not only transformed into a respected hip hop artist, but he has made himself into a versatile brand. He has become multifaceted with an endorsement with Nude Vodka, owning his own phrase “Smoov,” and owning his own clothing line, PKF Apparel.

 

PKF stands for PlentyKashFlow, which is what KnightPKF motivates everyone to strive for. His own ambition has led him to create a better situation for himself in every aspect, and he wants to share that drive with those around him. KnightPKF constantly reaches out to fans and continues to encourage them to pursue their dreams, to stay humble, and to get as much “PlentyKashFlow” as they need to. PKF Apparel targets anyone who shares the same perseverance as KnightPKF. Anyone who has dreams and life goals can definitely relate to the PlentyKashFlow brand as a whole.

 

When taking a look at the merchandise hat has been released thus far, it’s evident that PKF Apparel represents KnightPKF’s personality. Fitted hats are being sold with his copyrighted phrase "Smoov" embroidered on the front, which have been seen on KnightPKF himself. There are also t-shirts that have “PlentyKashFlow” written across the chest and a PKF logo in the lower left corner, with its simplicity exemplifying that you don’t have to be flashy to get noticed. Anyone wearing any of the various styles from PKF Apparel are represented the way KnightPKF represents himself -- comfortable in his own style, swag, and sense of being.

 

Written by Amelia Rampersaud

This image relates to the 3D printing/electrospinning method I developed for my PhD.

 

The patterned gelatin fibres are capable of carrying small particles. Here a fluorescent dye called fluorescein was added that excites under blue visible light. These macros were taken to demonstrate this ability and provide some eye-catching images for our paper that drew attention to the fibres and emphasised their scale.

 

I took this image with my DSLR camera and a set of extension tubes, using a blue LED light source to illuminate the fibres. I then used a light filter.

Meerkats are born with hair but not full coats and with their eyes closed. They will live in the wild up to 10 years. However, in captivity they can live to be 15 years of age. Although they are relatively healthy animals, they are unfortunately prone to bovine tuberculosis and have been known to get rabies. When they are adults at about one year of age they will weigh around 2 pounds (750 - 820 grams) and stand an average of 12 inches high (30 centimeters). When they are on all four of their feet their height is only 6 inches (15 centimeters). Like all mongooses, they are agile hunters; however, they differ considerably from most of their other relatives. Unlike the typical mongoose of which there are around 35 types, Meerkats live in communities and depend on one another for survival. There are three other types of sociable mongooses, the Banded, the Kousi Mansi and the Dwarf mongooses. They also live in groups, but are not usually found in the Kalahari desert. While most mongooses are nocturnal, Meerkats hunt during the day. They live at night in burrows, which are complex tunnel systems consisting of mounds, access holes, and tunnels which lead to numerous sleeping chambers. A Meerkat community is called a mob or gang, and can number up to 40. There is always a dominate alpha male and dominate alpha female in each gang. The Meerkats larger mongoose relatives typically live alone or in pairs. These intelligent animals are extremely communicative and posses a large vocabulary. They flourish in their environment and are not endangered.

 

Meerkats live in southern part of Africa which is dominated by the Kalahari desert - The Kalahari spreads over the countries of South Africa, Namibia, Angola, Botswana, and Zimbabwe. The Kalahari desert has little rainfall and an arid climate with open plains. It spreads across the Southern part of Africa covering over one million square miles and is 10 times the size of Great Britain. The land is covered by a porous or soft sand that in many places is bright orange in color. The temperature in the summer months of October to April can reach 115 (f) or around 40 (c) which can give a sand temperature of 158 (f) or 70(c). In this harsh environment the difference between being in the sun and shade can be up to 86 (f) or 30 (c). The winter months from May to September are very different from the summer, you will see highs around 70 (f) or 22 (c) during the short days and lows at night down to 14 (f) or -10 (c). Winter is the dry season.

The average rainfall is 12 inches (300 millimeters) which comes between January and April. This is towards the end of the summer. There is little surface water but there is quite a bit of moisture below the sand. Generally, the broad plains of the Kalahari are covered with a thin coat of different types of grass and thorn scrub. When it rains during the summer, which is rare, the desert transforms into a lush carpet of plants, grasses, and flowers.

 

The Kalahari consists of both soft and compacted sands, ranging in color from bright orange to white. Meerkats like the soft sand when digging for food as it lessons the energy requirements in this harsh environment. However, they prefer compact sand to build their burrows which would collapse in softer sands. There could be any number of reasons Meerkats flourish in this environment, though all relate to competition for food and predators. One could speculate that the Meerkat may be a weaker type of mongoose that would find competing for food with other mongooses a tremendous hardship or that their coats would stand out making them easy prey for others. What is known is that Meerkats have specially adapted to the Kalahari, which is described later. The Yellow and the Slender mongooses also live in the Kalahari but generally live in harmony with the Meerkats. This is primarily because they each have a different diet and are not in competition for food. Unfortunately the Yellow mongoose will sometimes eat a Meerkat pup (baby), so meerkats will keep their distance from Yellows when there are pups around. Many other animals have also adapted over time in order to survive in this harsh environment, making the Kalahari a remarkable and interesting place. Even within this barren and harsh environment, animals and plant life flourish.

 

Animals in the Kalahari have a 40% lower metabolic rate then their counterparts in other parts of the world. This adaptation allows animals to survive with less food and water. Of course,the Kalahari's intense heat puts animals at risk of overheating, making the ability to efficiently regulate body temperature a necessity. Body size is key, the smaller the animal the faster the loss and gain of body heat. The "mouse-to-elephant curve" measures this relationship. The general idea is as follows, a gerbil has a 50 times higher metabolic rate than a elephant (per gram of bodyweight); therefore, the amount of energy from food that the gerbil needs to maintain its body temperature is greater than the elephants, making the need for food gathering almost constant. The Meerkat looses 5% of its body weight over night making the search for food very important every day. Can you imagine losing 5% of your body weight over night ? They can also get their fluid requirements from what they eat, so water sources while not a neccessity are helpful.

  

by: Lester Levy Jr

 

Meerkats.net

 

Meerkat characteristics - Meerkats at adulthood will grow to a standing height of 12 inches (30 centimeters) and weigh around 2 lbs. (750-820 grams). A pregnant female will weigh around 2.8 lb. (1.1 kilos). Their legs are short and their bodies are long and thin. Their tails are also long and thin with a dark tip. The reason for the dark tip is to identify other gang members while foraging for food. Meerkats forage for food with their tails in an upright position enabling them to easily identify their fellow gang members. Meerkats reach sexual maturity at 10 months and adulthood at 11 months. Both males and females share similar physical traits such as short hair and gray or tan markings. The markings on their backs are unique and no two are the same. They have dark brown or black bands around their eyes. Their ears are tipped with black or dark brown. They have dark bands on their sides and back. Their faces and throat are predominately a shade of white. There are four digits on each foot with very sharp non-retractile claws which are curved. They use their claws to dig their burrows. Meerkats also have the unique ability to close their ears, this is to keep dirt out while they burrow, which they do quite often.

 

Meerkats fur ranges in color from silver to orange to brown. Much of this depends on the subspecies as well as the sand color in which they live.Even in close proximity in the Kalahari you will find Meerkats with tanish fur in the dried out riverbeds and orange fur in the dunes above. Their coats have a great ability to act as both an insulation to keep heat in and an exhaust system to prevent them from overheating in the harsh climate. In the winter they will spread their hair out so to create a heat insulation effect much like a wet suit. Their stomach acts as a sort of solar panel during the winter months. Under a thin layer of stomach hair is a patch of dark skin which collects heat from the winter sun in order to provide warmth on cool days.

 

Meerkats vision is outstanding. They have a dark band around their eyes, which reduces any glare from the sun. As a result, Meerkats have the ability to see a predatory bird as they look directly into the sun. A Meerkat removes sand from its eyes by blinking. Between the eye and eye lid there is a white membrane called the nictitating membrane. This membrane acts as a windshield wiper and removes sand from their eyes with every blink. However, their ability to see things close up is not as good. Furthermore, they seem to have a problem with depth perception, not being able to focus within 20 feet (6 meters) of themselves. Often they will bob their head up and down trying to get the perspective right. As a result of this nearsightedness, they will often miss food directly in front of them. They often depend on their sense of smell to find food.

   

babies eating scorpion

 

meerkat.org

Meerkat cuisine .- Agile Meerkats always forage for their food in groups but catch and eat their food alone as their diet usually consist of small portions. As they search for their food they spread apart from one another on the desert floor. This distance between foraging Meerkats averages from 6 feet (2 meters) to 45 feet (15 meters), but can extend to 150 feet (50meters). The distance often depends on the availability of food. Generally Meerkats stay at their burrow one or two nights, so there line of foraging is usually from one burrow system to the next. During the winter when there is no grass and food is sparse they have been seen being as far as 150 feet (50 meters) apart. In the late summer when desert grass may reach three feet high and food is abundant they will forage about 6 feet (2 meters) apart. Meerkats frequently communicate with each other while they are looking for food in order to warn of possible dangers in the area or hear a distress call if one gets lost. Usually there is a Meerkat acting as a sentry watching for danger as the others look for food. This is usually the one that is the best fed at the time, there is no evidence that either sex has a predominance for sentry duty. If trouble arises, an alarm is sounded by the sentry and the gang will band together in a mob ( a mob is when Meerkats band together to fight) to assess what the danger is, and take appropriate defense actions. Meerkats will sometimes collect food for their pups and babysitters back at the den. The young pups as they learn to search for food will follow the adults to help supplement their diet. Current studies show that the pup that gives the loudest begging call gets the most food from the adults.

Most of the Meerkats food is found underground and their specially adapted bodies are perfect for this. Their front claws are curved and act as shovels. They often have to dig their own body weight in dirt just to get a small insect. Foraging for a Meerkat means digging here and there and occasionally finding a tasty morsel on the surface then moving forward with the gang on the endless search for food. A typical Meerkats diet consists of worms, crickets, grasshoppers, small rodents, lizards, small snakes, birds, eggs, fruit, and ant larvae (which they especially love). Insects are a particularly good source of nutrition for the Meerkats because they reproduce rapidly and supply an almost constant food source. I have even had the rare chance to see a Meerkat find a Kalahari truffle which is rare and very expensive in stores. He seemed to enjoy it immensely. Meerkats also love to eat poisonous scorpions which are plentiful. They do this by quickly biting off their stingers and then consuming the rest. Meerkats appear to be resistant to many deadly venom's which greatly increases the variety of their diet. A Meerkat will often drag any poisonous prey such as a scorpion or millipede across the sand before eating it. They do this to remove the chemical defenses of their soon to be meal. They will make use of a water source if one is nearby but Meerkats have developed the ability to get all their liquid requirements from their diet. In the summer, the Meerkats must work harder to get their food because the insects have burrowed deeper in the sand in order to be closer to moisture. The rain brings the insects back to the surface, which means feast to the Meerkat.

  

The Meerkat home - As mentioned previously, the Meerkats live in underground burrows which consist of entrance holes, tunnels, and sleeping chambers. There may be up to 70 different entrances to the burrow system which may also serve as an exit if the Meerkat is inside the burrow system. They are territorial and maintain an area of about one to three square miles. Their territorial expansion depends on the size of the gang, as well as, the abundance of food and water in the area. Meerkats mark their territory with the use of their anal gland or saliva from their cheek. This marking is done by the alpha male of the gang. They will protect their boundaries ferociously against other gangs. They have from 6 to 15 dens in their territory and will move dens every day or two. The breeding burrow ,which is where the offspring are born, is an exception to the frequent moves. Meerkats will stay at a breeding burrow for about three weeks. It is at this time that the young are able leave the burrow and start to learn to forage for food with the adults. In addition to this, the parasite loads become heavy in the burrow and fill with ticks, fleas and other undesirables after three weeks. Breeding burrows differ from other burrows in that they will have higher mounds of sand around the entrance holes. This is a result of the continual renovation of the tunnels and sleeping chambers necessary for the longer stays. The mounds of dirt around the entrances can reach up to three feet high. When breeding is successful Meerkats often return to the same breeding burrows to have there young. As the Meerkats rotate burrows, the insect population of each abandoned burrow has the opportunity to multiply. Furthermore, the burrow system itself needs to regenerate while the feces left behind becomes food for other animals and the parasite load decreases. When dens are not being used, snakes and ground squirrels often find them to be convenient residences. Mixed everywhere in the Meerkat territory are bolt holes. A bolt hole is a small system of entrances and tunnels between burrows. These bolt holes give Meerkats a place to take cover if danger arises if they are out foraging.

 

The strategic reasoning behind such an elaborate construction of multiple entrances, is to provide many alternative exits if a dangerous intruder should invade their home. Likewise they have multiple entrances in the burrow if the danger is from the outside. They sleep in groups, cuddled up or on top of each other for warmth as they are particularly sensitive to the cold. In the summer they tend to space out when they sleep. Their sleeping chambers are usually 6 to 8 feet under ground. This keeps the temperature in the sleeping chamber at a more constant level, cooler in the summer and warmer in the winter. There are several sleeping chambers in the den but they will only use one at a time, in the breeding burrows there will be more sleeping chambers. They will move sleeping chamber because of build up of contaminates. What may seem odd to you is, Meerkats will urinate in their dens. This could be for several reasons first it may aid in a marking system to one another. Second Meerkats don't survive well alone so to go outside at night to go to the bathroom is not a prudent thing. In captivity though Meerkats can be trained to go to the bathroom in a litter box. There are certain beetles that share their den that they don't eat. These insects will eat their deification. Above the tunnel system, there is usually a dirt mound resulting from all of their excavation. This higher vantage point serves as a lookout point for the small Meerkats. From this outpost of sorts, they can survey the terrain for predators. This done in the the morning before they leave the burrow for foraging and in the evening before they go to bed.

 

Other animals, such as squirrels or the yellow mongoose, sometimes share the Meerkats burrow. Because these animals do not compete with the Meerkats for food, they are allowed to share the den. When pup are born they will keep the yellow mongoose away because they will eat a Meerkat pup. Predators, such as cobras, are not welcome houseguests. Meerkats will purposely harass a cobra in the open so to discourage it from entering the den.

 

Meerkats sometimes move their territories when food becomes to sparse or when another gang of Meerkats forces them from their previous den. Often territories overlap one another and a stronger Meerkat gang will overtake a weaker gangs burrow system. This forces the weaker gang to take the loss and try to expand in another direction, or wait tell they are stronger and retake the lost burrow system.

    

Family standing on home

 

meerkat.org

  

babies feeding

 

meerkat.org

Mating and reproduction - Meerkats try, but do not usually mate for life. Mating in the gang is suppose to be reserved for the alpha male and alpha female, but things happen to change this. First the alpha male might die or be overthrown by another male from inside their gang or another gang. Or the alpha female might mate with a male from a wondering male from another gang while out foraging for food, the alpha male never knowing. What they won't do is mate with another direct family member. When the dominate female is ready to breed she will chase away all the other beta families that can bear children, this will be females at 10 months and older. The temporary outcast will follow the gang until the alpha female has had her pups (babies) and regains her strength. This is done because she wants only her offspring in the gang and another beta female might try and displace her during her weakened time of giving birth. The trailing females often get impregnated from males from other gangs they encounter. Often they will abort these births. If the do give birth they will attempt to sneak them in with the pups of the alpha female. The alpha female will if she notices kill and eat the beta females babies. The beta female have about a 20% chance of getting the young snack in with the alphas females pups. A interesting note, if the alpha female pup die, no other meerkat will eat them. A few days after the birth of the alphas pups, the once outlasted females will rejoin the gang and help with the giving milk to the new pups if they are able. It was once observed that a beta female killed the alpha females pups just after birth and replace them with her pups a few days later, the alpha female not knowing the difference. They can breed every two months but tend to successfully breed two to three times a year depending on food availability. There was one gang observed breeding four times in a year. The gestational period is 70 days resulting in a litter of usually five to six. The pregnant female will increase her body weigh approximately 40% gestation (see - Meerkats are a type of mongoose). The babies, called pups, are born with sparse fur and eyes closed. For the first two weeks they stay in the sleeping chamber and drink their mothers or milk producing females. The third week they will venture outside and stay around the burrow system with a babysitter. . During this period when the alpha female is not feeding the young, babysitters will watch the pups while the alpha female goes out to feed, fortifying her supply of milk and her strength. She will do less sentry duty at this time and never babysitting. From week 4 to week 6 the pups will forage with their elders getting nourishment from both milk and insects. At 6 weeks to 16 weeks they will find their own food as well as be supplemented by the elders, and no longer getting milk. Studies show that the pups that make the loudest begging calls get fed the most from the elders. After sixteen weeks they are on there own to find there food Each pup will be taken on by a adult Meerkat which will act as a mentor, who will take the responsibility to teach the pup necessary skills for foraging for food as well as responding to danger. Male Meerkats tend to mentor male pups and female Meerkats tend to mentor the female pups. Many of skills Meerkats have are taught by the mentors rather then being instinctual.

Meerkats reach sexual maturity at 10 months, and reach adulthood at 11 months. After 10 months a Meerkat may venture out of the gang looking for breeding opportunities. They may also leave to form new gangs or join other gangs. They also may stay with their original gang for up to three years before venturing out. They also may leave in groups of two or three. It takes a brave Meerkat to leave the gang because the road out if filled with many dangers for the sole are small group.

  

Typical day of a Meerkat - Meerkats are extremely social animals. Observing Meerkats is a wonderful experience. They love grooming one another, wrestling and playing with one other. They have avid curiosities and can make a toy of almost anything. Even with all this play, Meerkats do not ignore the need for security. One Meerkat always seems to be a sentry and stands guard to keep the gang safe.

There typical day consist of, they wake up early in the morning as the first rays of sun stretch across the Kalahari. The first to come out of the burrow is usually the last one in from the preceding night. This Meerkat surveys the area to make sure the coast is clear after that the others start to rise one by one from several entrances. They start by soaking up the sun to warm up there bodies from the nights sleep by facing the sun and using their stomachs as solar panels.. One may observe some digging around the entrances, this seems to be more like exercise to warm their bodies up. Then the young start to scurry around play and grooming one another, as the elders spend time grooming sunning. Once hunger starts to set in, the search for food is on. The alpha male sets the direction for the day and decide weather or not to move towards another burrow system.. Scurrying hear and there and digging here and there, but always one is on sentry. As the day goes on and the heat sets in they will stop for a rest. These rest periods are longer during the summers but so are the days. As the day cools they are off again in the afternoon in search of food. Just before sunset they will arrive at the den for the night. At this time they will commence on repairs of the den as well as well deserved grooming and giving one another affection which is really marking one another with the anal gland or cheek saliva. As the sun falls, they descend one by one into the burrow for sleep all huddled together. Lastly, they don't like the rain and will stay in their burrow and not forage for food until the rain stops.

 

Interestingly enough Meerkats seem to identify one another my smell rather than sight. That is why the are constantly marking one another. For instance if a Meerkat gets separated for some time and try to rejoin the gang, the gang will think it is a intruder and get in a mobbing defense stance ( mobbing is when they huddle together so to look bigger and present aggressive behavior) until they smell what they think is the unknown Meerkat. Once the sent is recognized everything is fine.

 

Two babies playing - by -Alain Degre

  

A sentry in a tree

 

by:Alain Degre

 

Meerkats social structure - To survive, Meerkats must live in groups for protection, as the desert presents many challenges. Each Meerkat has an important, role to perform. It was first thought Meerkats had well defined roles in their gang from being a sentry to baby sitting to foraging for food for the young. Recent studies have disprove this and actually show that hormonal changes in Meerkats influence their behavior. Also the conditions around the burrow system effect their responsibilities. When food and water is abundant more time is spent being sentries, renovating the burrow systems, relaxing and caring for the young. Some things are instinctual while others are taught to the pups by the elders. For example raising young is a learned behavior for Meerkats. If a pup is separated at birth and kept as a pet, and the pup gets pregnant. She will not know how to raise her young or teach them how to forage for food. Meerkat roles vary:

 

alpha male - Dominate male of the gang, has breeding rights to the alpha female. The dominate male is not necessarily decided by the largest male in the gang.

 

alpha female - Dominate female of the gang, all betas are subservient to her. Only one that is suppose to breed in the gang.

 

beta male - Subservient males will leave the gang by 3 years in search of better breeding opportunities. They are 10 months or older

 

beta female - Subservient females will support the alpha Meerkats. They will be driven temporally from the gang by the alpha female when she is ready to get pregnant. They will leave the gang by 3 years in search of better breeding opportunities. At 10 months or older they are at sexual maturity.

 

pups - Meerkat babies, 10 months or younger.

 

babysitter - Stays with the pups while the gang is out foraging for food. Different gang members take the responsibility different days, this is not domiated by males of females. Generally though the least hungry Meerkat will do the babysitting. The alpha female never baby-sits. This duty is for Meerkats 6 months or older.

 

sentry - Watches over the gang to spot danger. It is either done standing on the ground or climbing a tree or bush. Known to climb up to 30 feet in a tree to do sentry duty. This duty is not dominated by males or female. There is a sentry on watch both at the burrow system as well as when the gang is foraging for food. During times of less available food less sentry duty is done when searching for food.

 

excavating - Necessary to renovate burrow systems. Often Meerkats will get one behind another and work together to move sand out of the burrow system. Like how firemen would hand buckets of water to one another to put out a fire in the old days.

 

mentoring - A elder Meerkat will take on the responsibility of teach a pup the do's and do don'ts of being a Meerkat. This includes how to raise young, how to forage for food, and what dangers lurk about.

 

grooming - Meerkats like to groom one another, and in fact have a natural reflex to groom when the area where there back and tail meet is stimulated. They will remove ticks and fleas from one anther and actually eat them, though these parasites are not a normal part of the diet

 

play fighting - Often done by the young in the morning and to a lesser degree in the evening. Adults will also play fight. This teaches the young to fight as well puts a dominance order to the gang.

 

Beta males and famales often leave the gang by three years to live with different gangs or join together to form different gangs in order to increase their chances to breed. Meerkats that embark on this journey alone or in groups of two or three face great danger, as Meerkats are most vulnerable when they few in number. Sometimes Meerkats will ally themselves with one another and takeover another gang, and getting rid of the competitive alpha male and perhaps the alpha female.

 

The size and makeup of the meerkat community determines what duties each will have. There is usually a dominate male and female in the community although there also seems to be a second in command. I have seen a case where the alpha female was killed and the alpha male did not seem to know what to do. He had not taken on another alpha female because that would mean a female from the outside. It was felt he would at some point leave the gang in search of throwing out another alpha male from a rival gang. The alpha male is responsible for marking the territory, some of the foraging trips turn into more of scouting trips so the alpha male can mark the outer boundaries of the territory. These tend to be days of more movement and less foraging for food.

 

Fights happen between rival Meerkat gangs. It generally happens for two reasons. One is territory conflict. When one gang encroaches on another gangs territory. Once the two gangs come in contact with one another they group up together and fluff their fur out and jump up and down to make themselves appear bigger, also making allot of noise. This is called mobbing. Each gang is assessing the others strength. Sometimes they separating and go opposite directions other times a ferocious fight breaks out. Meerkats will kill rival gang members if they can. Also during a fight 2 or 3 Meerkats may jump on a rival biting and scratching him. It will look like a big pile of dust. During or directly after attacks, the dominant male will take a few minutes to asses the situation and decide weather there was a victory or his gang members have fled, in this case he will retreat himself. The other case happens when roaming Meerkats either solo or in small groups are looking for better breeding possibilities try to join other gangs. Mobbing occurs and they may be or may not be successful at joining the gang..

 

#How did the Meerkat evolve

How did the Meerkat evolve - According to Sean Doolan, they evolved from the southern tip of Africa or the Cape of Good Hope,where a type of extinct Meerkat, called the Suricata Suricatta major, has been found . The extinct Meerkat was similar to the banded mongoose. The current theory is that the Meerkat evolved from the banded mongoose. As the weather climate changed in the region, so did the Meerkats ability to survive in drier conditions.

 

Why the meerkat stands - Meerkats walk and run on all four, there head is only six inches above ground in this state. When they stand, their total height is 12 inches, providing them with a much better vantage point to see danger. In order to attain an even better vantage point, they will also climb trees and bushes. Their vision is good but depth perception does not appear to be as strong. They bob their head up and down to get distance measurement when objects or close. this gives them different focal points.When facing a threat, they will stand, arch their bodies and erect their tails in an attempt to appear bigger.

  

What threatens Meerkats? - The threats to a meerkat come from sky, land and weather. In the sky, the Martial Eagle, with a wing span of six feet, can easily prey on adults, while other smaller birds of prey prefer to snatch the young. When the winged predator is seen the alarm goes out and all sprint for nearby bolt holes. If they are not near any bolt holes the will lie on the ground and depend on camouflage They also may take cover in thorny bushes where the birds dare not venture. On the ground, the jackal and other wild cats are the Meerkats primary foe; however, when banded together, Meerkats have the ability to chase away a jackal. Badgers can also be a threat, as their burrowing can penetrate the Meerkats den making them more vulnerable prey. As mentioned previously, the cobra sometimes threatens meerkat young. Meerkats will mob a cobra relentlessly if it tries to enter their burrow. They are agile enough to avoid a snakes strike. They even have the ability to kill a cobra. If they come across one while our foraging they will temporarily mob it and once the situation is under control move on. A puff header snake will also eat Meerkat pups. I have read about a sighting in which a group of Banded mongooses actually climbed a tree to rescue one of their family members from a eagle. Both the Banded mongoose and the meerkat have similar social habits.

Meerkats are also threatened by other competitive gangs as mentioned above. The sentry's alarm will sound if another gang of Meerkats is encroaching upon marked territory. The fights are fierce but sometimes fatal as submission is the goal. The winners, usually the larger of the groups, take or keep the burrow system in question. One interesting note after the fight and Meerkats try and rejoin there gang small fight break out because they have difficulty recognizing each other by sight. The Meerkat rejoining their gang may smell like the rival gang. After the conflict, the winners will hug and congratulate each other with human-like gestures, this is rely remarking each other.. Often non-dominant Meerkats defect from the losing group to the winner's side.

 

The summer rains also threaten the Meerkats. When rain approaches, the sentry sends the alarm off. As there are often newborns during this time, they must make sure the are on high ground so to avoid a flooding of the burrow system. The alpha female will transport the young one by one to the higher ground burrow. At night they may get stuck in a flooding burrow system.

 

The most famous of all Meerkats - There are two famous Meerkats that should be mentioned One is Timone, who was featured in the Lion King. Timone, the cartoon character, is based on the real-life Meerkat Timone who which is domesticated resides outside of Palm Springs, California at the only private refuge for Meerkats in existence. For more information, visit www.meerkats.com. You can actually go and visit Timone and hand feed other Meerkats there. I did and it was a terrific experience.

The second is Ziziphus of the Lazuli gang. She is a wild Meerkat and lives in the Kalahari and has been the subject of numerous documentaries and films. One of her more prominent projects is Walking With Meerkats which is a National Geographic documtory filmed in 2000.

  

Meerkat communication - Meerkats constantly communicate with one another in three different ways: scent, sound, and body language. There have over 20 different sounds that have been recorded which have different meanings. These calls can be broken down into six different groups: lost calls, alarm calls, leading the group calls, pup feeding calls, guarding calls, and foraging calls. For example, while out looking for food, they are are constantly communicating in what sounds like a kind of growling. It helps them to keep track of one another's location since they forage up to 15 feet (5 meters) apart. When the young are learning how to forage, they are very loud and can be heard up to a hundred yards away. If they become separated from the adults, the volume of their cries increases so that an adult will come to get them. They have numerous sounds that are used when grooming and playing

 

When on guard duty, there is an entirely different assortment of sounds employed. These sounds are constant and communicate to everyone else what is happening during the watch. When everything is fine, the sentry emits mellow tones. When a predator is spotted at a distance, a beeping sound is given, almost like a yellow alert. If the predator gets closer, the sound differentiates depending on the type of predator. The martial eagle tends to get the most frantic alarm even from great distance. Meerkats allow some predators to get very close before they sound the red alert (up to 100 feet from the den).

 

One last interesting point, sound can be broken up into one, two, three, and even four syllable calls.

  

How the seasons effect Meerkats -

 

In the Savanna desert, temperatures can vary greatly. Remember, Meerkats live on southern hemisphere as opposed to the United States and Europe which are on the northern hemisphere. South of the equator and the seasons are opposite of those in the northern hemisphere. The Kalahari summer is considered the wet season, . The summer months October to April temperature can reach 115 (f) or around 40 (c) which can give a sand temperature of 158 (f) or 70(c). In this harsh environment the difference between being in the sun and shade can be up to 86 (f) or 30 (c). The winter months from May to September are very different from the summer, you will see highs around 70 (f) or 22 (c) during the short days and lows at night down below freezing to 14 (f) or -10 (c). Winter is the dry season. Because of these dramatic temperature changes, their feeding habits change accordingly

 

In the wet season or summer, Meerkats get up early in order to avoid looking for food in the heat. As the day gets warmer, they look for food in shaded areas. At mid-day they return to their den or find a nice, shaded spot for a mid-day nap. If they nap outside, they will lie on their belly with legs stretched out and often throw cooler sand on their back. They will pant during the summer this aids in reducing their body temperature. The yellow mongoose shares this behavior. They wake for a late afternoon feeding which ends at sunset. This season is a virtual feast for Meerkats, as the rain brings out an abundance of food and vegetation especially towards the end of summer from January to April. Grasses on the dunes can reach heights of over three feet tall! Meerkats will eat to their hearts content and their little bellies stick out.

 

In the dry season or winter, they wait until it warms up a little (9 a.m.) to go and look for food. No mid-day naps at this time. They stay out all day and get back around 4:30 p.m. Meerkats then remain in their den to avoid the rapid and severe temperature change night brings. Food is not as abundant during this time and foraging for food is more difficult. They have to do allot more digging and cover more territory to find adequate nutrition. They will also eat ants, ant eggs, millipedes, and small beetles which are less appealing to them than their summer favorites of lizards, insect larvae, and scorpions.

  

Meerkats like most other living creatures change their behavior patterns as conditions change. As one reads about the charertistics of any animal you must know whether the animal was observed in captivity or in the wild. Unfortunately most of what has been written about Meerkats has been in captivity, because of the remote habitat where they live makes it hard reach. Therefor it is interesting to understand how their behavior changes when confined to zoos.

 

The gang will find many differences in captivity. For example food will be abundant and the normal procurement of food such as digging is not necessary. Also space is significantly limited. So the Meerkats will not migrate from burrow to burrow, but stay in one burrow system. They also are not able to forage for food keeping them within meters of there burrow system for their whole lives. Predators are non existent in captivity so there alert systems are dulled. In captivity one will find Meerkats living longer and bigger. Meerkats do fine in captivity, in fact for the Meerkat which spends most of its time looking for food in the wild, this is probably a vacation. In captivity Meerkats are known to mate up to twice a year while in the wild they only mate once a year. Their cuisine is quite different to. In captivity the keepers may feed mice, worms and other sorted insects locally available. A Scorpion, a Meerkat delight would never be seen. Meerkats that don't get along with the gang will be separated and put in another habitat.

 

Would Meerkats make good pets? - The answer to this question is no, not really. In the United States, you need special permits to keep these animals. The government mandates strict specification for Meerkats enclosures as well as their climate. Meerkats will think your family is their gang and the are the alpha. When you have guest to your home they will get aggressive towards them. A host of other animals would make more appropriate pets! I have run into many people in southern part of Africa that keep Meerkats as pets and say they can be friendly. They are terrific pets though if you have a scorpion infestation problem.

  

Relates to this post at City of Sound.

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

And to see more of my Kinetic Photographs please visit my set, “Flux Velocity:”

 

www.flickr.com/photos/motorpsiclist/sets/72157622224677487/

 

.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

.

 

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

Acrylic on panel installation, 32" x 72", 2013. Installed at 516ARTS in Albuquerque, New Mexico.

The earliest documentary evidence for local markets relates to those at Preston, Kersal, Warton and Clitheroe, and is dated around 1190 AD. Wigan market can be dated with certainty to 1245. In each of these cases it is highly likely that the surviving documents served merely to confirm traditions and practices that originated at much earlier dates.*

 

Ashton in Makerfield market can boast nothing like the antiquity of its Lancashire neighbours at Wigan, Preston and elsewhere. It originated in a procedure under the Public Health Act 1875 whereby a local board, a town council or improvement commissioners could, having obtained the necessary consents and agreements, provide a venue and “other conveniences” for the holding of a market. Certain provisions of the Markets and Fairs Clauses Act 1847 would then apply, although the consent of the Local Government Board would be needed for the levying of tolls etc. The process of establishing a market at Ashton was begun on 28 November 1877, when the Local Board's Sanitary & Highway Committee proposed that the necessary steps be taken “in order to obviate the nuisance caused by the obstruction of the streets on Saturday by the stalls which are placed there”. Despite this nuisance and the subsequent convening of a meeting of ratepayers as required by the 1875 Act, at which the necessary resolutions were carried, it was not until 12 October 1889 -more that a decade later- that the market was finally established.

 

*See, further, G H Tupling's “Markets and Fairs in Medieval Lancashire” in G Edwards (ed) “Historical Essays in Honour of James Tait”, Manchester UP 1933).

"relating to the motion of material bodies and the forces and energy associated therewith"

 

A creative outing with my photo club - Inland Empire Photo Club - where we played with light and motion and long exposures to create kinetic art. It was a wonderful, creative evening.

This relates to the broken window theory. One person comes in and bombs an alley, then other hoodrats come in and put their own mark over the first one. Then someone writes "eat a dick" on it. This is on the side of Katie Blue Salon in.

Inspired by issues relating to climate change, Water Will Be Here imagines what it might feel like if sea levels rose to the point where cities found themselves underwater.

 

This photo shows the interior of the space, where viewers can interact with the piece.

 

Water Will Be Here is a site-specific digital video installation that was presented as part of Scotiabank's 2012 Nuit Blanche Festival and was installed at the CICB building in downtown Toronto.

 

www.ericcorriel.com/art/Water-Will-Be-Here

www.scotiabanknuitblanche.ca

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!

 

None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

If you'd like to see more please check out my set, "Vertigo:"

 

www.flickr.com/photos/motorpsiclist/sets/72157630591282642/

 

.

  

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

.

  

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...

Breaking Bad Panel: Anna Gunn can relate to character, strong on outside but vulnerable.

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

And to see more of my Kinetic Photographs please visit my set, “Flux Velocity:”

 

www.flickr.com/photos/motorpsiclist/sets/72157622224677487/

 

.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

.

 

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

  

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

  

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.