HEADLESS URBAN EXPRESSION

There Is Much To See Here

Streets Of Dublin

ST PETERS LANE IN PHIBSBOROUGH LEGACY PHOTO COLLECTION

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BACK IN JULY 2022 IT HOSTED SOME MURALS BUT THE QUALITY WAS IN DECLINE

I visited the area about an hour later and someone had dumped a office furniture and a number of old televisions in one of the lanes.

St Peter’s Lane is a small, somewhat forgotten lane in Phibsborough, Dublin 7. Connecting Cabra Park and St. Peter’s Road, it’s tucked away in a network of similar lanes, which can make it a bit tricky to find.

For a time, the lack of clear signage led to some confusion about its actual name. Many locals, myself included, referred to it as Cabra Lane. However, recently installed signs have confirmed its official name as St Peter’s Lane.

Unfortunately, this little lane has faced persistent challenges with fly-tipping. Despite various attempts to combat this issue, including community clean-ups, street art competitions, and the creation of impressive murals, the problem seems to return in a frustratingly cyclical manner.

It’s a real shame because the street art initiatives have brought moments of colour and vibrancy to the lane. Some truly talented artists have contributed their skills to create high-quality murals, temporarily transforming the area. But, sadly, the illegal dumping often reappears, undermining these positive efforts.

THE BACK LOUNGE ON UPPER EXCHANGE STREET

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FEATURING SOME STREET ART

The Back Lounge, situated on Exchange Street Upper, is recognised for its display of interesting street art, though specific pieces can change due to the temporary nature of such artwork.

Delving into the history of Exchange Street Upper, we find its roots in the 18th century as a bustling commercial hub. Its proximity to the original Custom House, located at Wellington Quay until 1791, suggests a likely connection to trade and maritime activities. Businesses on Exchange Street Upper might have served merchants, traders, and officials associated with the Custom House, offering services vital to the import and export of goods.

The street’s name itself, “Exchange,” further reinforces its potential role in facilitating transactions and trade related to customs operations. In the 19th century, Exchange Street Upper transitioned into a mixed-use area with both businesses and residences. Today, it thrives as a popular tourist destination, boasting a variety of bars, restaurants, and shops.

The historical link between nearby Exchequer Street and customs operations is also noteworthy. Its name reflects its association with the Exchequer, the government department responsible for managing public finances and revenue collection, closely tied to the activities of the Custom House.

Further research into historical maps, documents, street directories, and architectural evidence, along with gathering oral histories, could unveil a more detailed picture of Exchange Street Upper’s past and its intricate relationship with the original Custom House. These explorations promise to enrich our understanding of this historically significant corner of Dublin.

NEW EXAMPLES OF DUBLIN STREET ART

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NO INFORMATION AVAILABLE

These interesting posters are located on a derelict building off Capel Street.

The Dublin street art scene has undeniably evolved, with commercialisation and sponsorship playing a significant role in its current landscape. Historically, street art was a raw and unfiltered form of expression, often challenging societal norms. However, its growing popularity attracted businesses and organisations seeking to leverage its aesthetic appeal. This led to an increase in commissioned works, potentially homogenising styles and diluting the original spirit of street art.

Despite this, commercialisation doesn’t necessarily equate to the end of interesting or thought-provoking street art. Many talented artists continue to push boundaries creatively, and sponsorship can provide opportunities for larger-scale works and a wider audience reach. The Dublin street art scene remains a dynamic and evolving ecosystem, offering a rich and diverse array of both commissioned and uncommissioned works.

One notable manifestation of this evolution is the prevalence of commissioned street art on shop shutters, particularly in areas like Capel Street. Historically notorious for protection rackets and organised crime, Capel Street has transformed significantly. Today, commissioning street art serves as a proactive measure against vandalism, enhancing the area’s aesthetic appeal and deterring potential vandals.

While some might draw parallels between commissioning street art and the historical practice of paying protection money, the two scenarios are fundamentally different. The former is a voluntary investment in beautifying the surroundings and safeguarding one’s property, fostering creativity and community ownership.

The transformation of Capel Street into a thriving hub with a vibrant street art scene is a testament to the positive changes the area has undergone. By engaging with local artists, businesses contribute to the cultural landscape and revitalise a once troubled street.

In conclusion, while commercialisation has undeniably influenced the Dublin street art scene, it hasn’t extinguished the spirit of independent expression and creativity. The practice of commissioning street art, particularly on shutters, has evolved into a mutually beneficial arrangement, fostering creativity, discouraging vandalism, and contributing to the revitalisation of the city’s landscape.

THE SPOON MAN MURAL

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COULD BE A TRIBUTE TO DECLAN WALSH AND THE ARTIST MAY WELL BE ORIEL

I suspect that this mural is by a street artist who operates under the name Oriel and it is possible that it is a tribute to Declan Walsh however there is/was another spoon man who always wore a yellow tie but unfortunately I cannot find any information about that performer.

The best known Spoon Man in Dublin City is Declan Walsh, a remarkable street performer who captivates audiences in Temple Bar with his extraordinary spoon-playing abilities. Despite losing an arm in an accident that cut short his drumming career, Declan’s love for music persevered. He found a new way to express his musicality through the spoons, creating rhythmic and energetic performances that have made him a beloved figure in Dublin’s street music scene.

Spoon Playing: A Rhythmic Tradition from Ancient Times to Today

Spoon playing is a unique and captivating form of percussion music that involves striking two or more spoons together to create rhythmic patterns. It may seem like a simple act, but the technique and artistry behind it have been refined over centuries, resulting in a diverse range of musical expressions.  

Origins:

The history of spoon playing is deeply rooted in ancient cultures. Evidence suggests that people used bones and other similar objects as percussion instruments as far back as prehistoric times. Spoon playing, as we know it today, likely emerged from this tradition.  

Ancient Civilisations: There are depictions of spoon-like instruments in ancient Egyptian tomb paintings and references to spoon playing in ancient Greek and Roman texts.  
Folk Traditions: Spoon playing became an integral part of folk music across many cultures worldwide. It was often used to accompany dances and celebrations, adding a lively and rhythmic element to the festivities.  

Appalachian Music: In the United States, spoon playing gained popularity in Appalachian music, where it blended seamlessly with fiddle tunes, ballads, and other traditional forms.  
Jug Bands: Spoons also found a place in early 20th-century American jug bands, adding a percussive layer to their bluesy and ragtime sounds.  
Popularity Today:

While perhaps not as widespread as other musical instruments, spoon playing continues to thrive in various forms.

Folk and Traditional Music: Spoon playing remains a beloved tradition in folk and traditional music circles around the world.
Contemporary Music: Some contemporary musicians have incorporated spoons into their music, showcasing the instrument’s versatility and unique sound.
Street Performers: As exemplified by Declan Walsh in Dublin, spoon playing is a captivating art form often found in street performances, delighting passersby with its rhythmic energy.
Cultural Celebrations: Spoon playing still plays a role in cultural celebrations and gatherings, connecting people to their heritage and traditions.
Spoon playing’s enduring popularity is a testament to its accessibility, versatility, and ability to transcend cultural boundaries. The instrument’s simple nature allows anyone to pick it up and create music, while its rich history and cultural significance add depth and meaning to the performance.

In a world filled with complex and technologically advanced instruments, the humble spoon remains a powerful tool for musical expression, reminding us of the joy and creativity that can be found in the simplest of things.

TEMPLE BAR WAS VERY COLOURFUL TODAY

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IMMEDIATELY AFTER SOME REALLY INTENSE RAIN

Temple Bar was very colourful today, immediately after some really intense rain. The light reflecting off the cobblestones made everything look bright and colourful, especially the street art by Shane Sutton on the builders’ hoarding. Shane Sutton is a well-known Irish street artist known for his vibrant and often humorous murals.

IN 1786 THE SERIAL KILLER BILLY IN THE BOWL WAS ARRESTED X-236741-1

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PAINT-A-BOX STREET ART

Billy in the Bowl, also known as the Stoneybatter Strangler, was a notorious figure in Dublin’s dark history of the late 1700s.

Who was Billy in the Bowl?

Born without legs, Billy Davis used a large, bowl-shaped cart to move around, hence his nickname.
He was known for his immense upper body strength, which he tragically used to overpower and strangle his victims.

His Crimes:

Billy targeted mostly women, particularly young servant girls and elderly ladies, in the Stoneybatter and Grangegorman areas of Dublin.

He would lure his victims by feigning distress and calling for help, then attack them when they approached.

Capture and Aftermath:

In 1786, Billy was caught after attempting to rob two women who fought back and alerted the authorities.

While he was never convicted of murder due to lack of evidence, he was sentenced to life imprisonment for robbery with violence.
The murders in the area ceased after his incarceration, strongly suggesting his guilt.

Legacy:

Billy in the Bowl remains a chilling figure in Dublin folklore, embodying the city’s dark past of poverty, crime, and violence.

His story is often retold as a cautionary tale, reminding us of the dangers that lurked in the shadows of old Dublin.

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