The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Power's Pure Pot Still Whiskey display depicting two scenes from the legendary Johns lane distillery. 40cm x 34cm Thomas St Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square. Origins : Dublin City Dimensions : 100cm x 70cm 20kg (specially constructed damage proof shipping container)
The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Power's Pure Pot Still Whiskey display including photograph of delivery lorry ,original labels & other ephemera. 40cm x 34cm Thomas St Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square. Origins : Dublin City Dimensions : 100cm x 70cm 20kg (specially constructed damage proof shipping container)
The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Out of stock
Power's Pure Pot Still Whiskey display including original cheque to John Power & Son,original labels & other ephemera. 40cm x 34cm Thomas St Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square. Origins : Dublin City Dimensions : 100cm x 70cm 20kg (specially constructed damage proof shipping container)
The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Power's Pure Pot Still Whiskey display depicting scenes after the 1961 Fire at Johns Lane distillery, when the burned whiskey barrels were literally overflowing down the street and thirsty onlookers were drinking it off the ground as you can see in these iconic photographs 44cm x 34cm Thomas St Dublin In 1791 James Power, an innkeeper from Dublin, established a small distillery at his public house at 109 Thomas St., Dublin. The distillery, which had an output of about 6,000 gallons in its first year of operation, initially traded as James Power and Son, but by 1822 had become John Power & Son, and had moved to a new premises at John's Lane, a side street off Thomas Street. At the time the distillery had three pot stills, though only one, a 500-gallon still is thought to have been in use. Following reform of the distilling laws in 1823, the distillery expanded rapidly. In 1827, production was reported at 160,270 gallons,and by 1833 had grown to 300,000 gallons per annum. As the distillery grew, so too did the stature of the family. In 1841, John Power, grandson of the founder was awarded a baronet, a hereditary title. In 1855, his son Sir James Power, laid the foundation stone for the O'Connell Monument, and in 1859 became High Sheriff of Dublin. In 1871, the distillery was expanded and rebuilt in the Victorian style, becoming one of the most impressive sights in Dublin.After expansion, output at the distillery rose to 700,000 gallons per annum, and by the 1880s, had reached about 900,000 gallons per annum, at which point the distillery covered over six acres of central Dublin, and had a staff of about 300 people.During this period, when the Dublin whiskey distilleries were amongst the largest in the world, the family run firms of John Powers, along with John Jameson, William Jameson, and George Roe, (collectively known as the "Big Four") came to dominate the Irish distilling landscape, introducing several innovations. In 1886, John Power & Son began bottling their own whiskey, rather than following the practice customary at the time, of selling whiskey directly to merchants and bonders who would bottle it themselves. They were the first Dublin distillery to do so, and one of the first in the world.A gold label adorned each bottle and it was from these that the whiskey got the name Powers Gold Label. When Alfred Barnard, the British historian visited John's Lane in the late 1880s, he noted the elegance and cleanliness of the buildings, and the modernity of the distillery, describing it as "about as complete a work as it is possible to find anywhere". At the time of his visit, the distillery was home to five pot stills, two of which with capacities of 25,000 gallons, were amongst the largest ever built.In addition, Barnard was high in his praise for Powers whiskey, noting:"The old make, which we drank with our luncheon was delicious and finer than anything we had hitherto tasted.It was as perfect in flavour, and as pronounced in the ancient aroma of Irish Whiskey so dear to to the hearts of connoisseurs,as one could possibly desire and we found a small flask of it very useful afterwards on our travels." The last member of the family to sit on the board was Sir Thomas Talbot Power,who died in 1930,and with him the Power's Baronetcy. However, ownership remained in the family until 1966, and several descendants of his sisters remained at work with the company until recent times. In 1961, a Coffey still was installed in John's Lane Distillery, allowing the production of vodka and gin, in addition to the testing of grain whiskey for use in blended whiskey. This was a notable departure for the firm, as for many years the big Dublin distilling dynasties had shunned the use of Coffey stills, questioning if their output, grain whiskey could even be termed whiskey. However, with many of the Irish distilleries having closed in the early 20th century in part due to their failure to embrace a change in consumer preference towards blended whiskey, Powers were instrumental in convincing the remaining Irish distilleries to reconsider their stance on blended whiskey. In 1966, with the Irish whiskey industry still struggling following Prohibition in the United States, the Anglo-Irish Trade War and the rise of competition from Scotch whiskey, John Powers & Son joined forces with the only other remaining distillers in the Irish Republic, the Cork Distilleries Company and their Dublin rivals John Jameson & Son, to form Irish Distillers. Soon after, in a bold move, Irish Distillers decided to close all of their existing distilleries, and to consolidate production at a new purpose-built facility in Midleton (the New Midleton Distillery) alongside their existing Old Midleton Distillery. The new distillery opened in 1975, and a year later, production ceased at John's Lane Distillery and began anew in Cork, with Powers Gold Label and many other Irish whiskeys reformulated from single pot stills whiskeys to blends. In 1989, Irish Distillers itself became a subsidiary of Pernod-Ricard following a friendly takeover.Since the closure of the John's Lane distillery, many of the distillery buildings were demolished. However, some of the buildings have been incorporated into the National College of Art and Design, and are now protected structures. In addition, three of the distillery's pot stills were saved and now located in the college's Red Square. Origins : Dublin City Dimensions : 100cm x 70cm 20kg (specially constructed damage proof shipping container)
The Still House at John's Lane Distillery, as it looked when Alfred Barnard visited in the 1800s.
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Beautifully framed Johnnie Walker Scotch Whiskey Mirror. Johnnie Walker is a brand of Scotch whisky now owned by Diageo that originated in the Scottish burgh of Kilmarnock in East Ayrshire. The brand was first established by grocer John Walker. It is the most widely distributed brand of blended Scotch whisky in the world, sold in almost every country, with annual sales of the equivalent of over 223.7 million 700 ml bottles in 2016 (156.6 million litres).History
John Walker was born on 25 July 1805. His farmer father died in 1819, and the family sold the farm. Their trustees invested the proceeds, £417, in an Italian warehouse, grocery, and wine and spirits shop on the High Street in Kilmarnock, Ayrshire, Scotland. Walker managed the grocery, wine, and spirits segment as a teenager in 1820. The Excise Act of 1823 relaxed strict laws on distillation of whisky and reduced, by a considerable amount, the extremely heavy taxes on the distillation and sale of whisky.By 1825, Walker, a teetotaller, was selling spirits, including rum, brandy, gin, and whisky. In short order, he switched to dealing mainly in whisky. Since blending of grain and malt whiskies was still banned, he sold both blended malt whiskies and grain whiskies.They were sold as made-to-order whiskies, blended to meet specific customer requirements, because he did not have any brand of his own.He began using his name on labels years later, selling a blended malt as Walker's Kilmarnock Whisky. John Walker died in 1857.The brand became popular, but after Walker's death it was his son Alexander ‘Alec’ Walker and grandson Alexander Walker II who were largely responsible for establishing the whisky as a favoured brand. The Spirits Act of 1860 legalised the blending of grain whiskies with malt whiskies and ushered in the modern era of blended Scotch whisky.Blended Scotch whisky, lighter and sweeter in character, was more accessible, and much more marketable to a wider audience. Andrew Usher of Edinburgh, was the first to produce a blended whisky, but the Walkers followed in due course. Alexander Walker had introduced the brand's signature square bottle in 1860. This meant more bottles fitting the same space and fewer broken bottles. The other identifying characteristic of the Johnnie Walker bottle was – and still is – the label, which, since that year, is applied at an angle of 24 degrees upwards left to right and allows text to be made larger and more visible. This also allowed consumers to identify it at a distance.One major factor in his favour was the arrival of a railway in Kilmarnock, carrying goods to merchant ships travelling the world. Thanks to Alec's business acumen, sales of Walker's Kilmarnock reached 100,000 gallons (450,000 litres) per year by 1862. In 1865, Alec created Johnnie Walker's first commercial blend and called it Old Highland Whisky, before registering it as such in 1867. Under John Walker, whisky sales represented eight percent of the firm's income; by the time Alexander was ready to pass on the company to his own sons, that figure had increased to between 90 and 95 percent. In 1893, Cardhu distillery was purchased by the Walkers to reinforce the stocks of one of the Johnnie Walker blends' key malt whiskies. This move took the Cardhu single malt out of the market and made it the exclusive preserve of the Walkers.Cardhu's output was to become the heart of the Old Highland Whisky and, subsequent to the rebranding of 1909, the prime single malt in Johnnie Walker Red and Black Labels. From 1906 to 1909, John's grandsons George and Alexander II expanded the line and had three blended whiskies in the market, Old Highland at 5 years old, Special Old Highland at 9 years old, and Extra Special Old Highland at 12 years old. These three brands had the standard Johnnie Walker labels, the only difference being their colours: white, red, and black respectively. They were commonly referred to in public by the colours of their labels. In 1909, as part of a rebranding that saw the introduction of the Striding Man, a mascot used to the present day that was created by cartoonist Tom Browne, the company re-branded their blends to match the common colour names. The Old Highland was renamed Johnnie Walker White Label,and made a 6 year old, the Special Old Highland became Johnnie Walker Red Label at 10 years old, and Extra Special Old Highland was renamed Johnnie Walker Black Label, remaining 12 years old. Sensing an opportunity to expand the scale and variety of their brands, Walker acquired interests in Coleburn Distillery in 1915, quickly followed by Clynelish Distillery Co. and Dailuaine-Talisker Co. in 1916.This ensured a steady supply of single-malt whisky from the Cardhu, Coleburn, Clynelish, Talisker, and Dailuaine distilleries. In 1923, Walker bought Mortlach distillery, in furtherance of their strategy. Most of their output was used in Johnnie Walker blends, whose burgeoning popularity required increasingly vast volumes of single malts. Johnnie Walker White was dropped during World War I. In 1932, Alexander II added Johnnie Walker Swing to the line, the name originating from the unusual shape of the bottle, which allowed it to rock back and forth. The company joined Distillers Company in 1925. Distillers Company was acquired by Guinness in 1986, and Guinness merged with Grand Metropolitan to form Diageo in 1997. That year saw the introduction of the blended malt, Johnnie Walker Pure Malt, renamed as Johnnie Walker Green Label in 2004. In 2009, the brand's owners, Diageo, decided to close all operations in Kilmarnock. This met with backlash from local people, local politicians, and then First Minister of Scotland, Alex Salmond. Despite petitions, public campaigns, and a large-scale march around Kilmarnock, Diageo proceeded with the closure. The Johnnie Walker plant in Kilmarnock closed its doors in March 2012 and the buildings were subsequently demolished.
Alexander Walker, son of John Walker, inherited the business following his father's death.Blends
For most of its history Johnnie Walker only offered a few blends. Since the turn of the century, there has been a spate of special and limited bottlings.
A variety of blends- Red Label: A non-age-stated blend. It has been the best selling Scotch whisky in the world since 1945.It is primarily used for making mixed drinks.
- Black Label: Aged 12 years, it is one of the world's best-selling Scotch whiskies.
- Double Black Label: Made available for general release in 2011 after a successful launch in travel retail.The whisky was created taking Black Label as a blueprint, adding more peaty malt whiskies to it and maturing it in heavily charred old oak casks.
- Green Label: First introduced in 1997 as Johnnie Walker Pure Malt 15 Year Old,it was renamed Johnnie Walker Green Label in 2004. Green Label is a blended malt whisky, meaning it is made by mixing single malts with no grain whisky added.All whiskies used are a minimum of 15 years old.Diageo discontinued Green Label globally in 2012 (except for Taiwan, where demand for blended malts is very strong), as part of a reconstruction of the range that saw the introduction of Gold Label Reserve and Platinum Label. The brand was reintroduced in 2016 and is again globally available.
- Gold Label: A blend of over 15 single malts, it was derived from Alexander Walker II's blending notes for a whisky to commemorate Johnnie Walker's centenary. Originally, Gold Label was bottled at 18 years and labelled "The Centenary blend".In 2013, Gold Label was renamed "Gold Label Reserve", and now carries no age statement.
- Aged 18 Years: Originally introduced as Platinum Label, it was introduced to replace the original Gold Label in the Asian market, and sold alongside Gold Label Reserve. Though still available around the globe, the Platinum Label name was discontinued in mid-2017 and replaced by Johnnie Walker Aged 18 Years. The two are identical except for the label.
Johnnie Walker Blue label bottle in a gift box- Blue Label: Johnnie Walker's premium blend. Johnnie Walker Blue Label is blended to recreate the character and taste of some of the earliest whisky blends created in the 19th century.[39] It bears no age statement. Bottles are numbered serially and sold in a silk-lined box accompanied by a certificate of authenticity. It is one of the most expensive blended Scotch whiskies on the market, with prices in the range of US$174–450.Over 25 Limited Editions have been released to date.
- Johnnie Walker Swing: Supplied in a distinctive bottle whose irregular bottom allows it to rock back and forth. This type of bottle design was originally used aboard sailing ships. It was Alexander Walker II's last blend: it features a high proportion of Speyside malts, complemented by malts from the northern Highlands and Islay.
Accolades
Johnnie Walker spirits have received strong scores at international spirit ratings competitions and from liquor review bodies. The Green Label received a string of three double gold medals from the San Francisco World Spirits Competition between 2005 and 2007. The Gold Label received double gold medals from the San Francisco competition in 2008 and 2009 and won a gold in 2010. Spirits ratings aggregator proof66.com, which averages scores from the San Francisco Spirits Competition, Wine Enthusiast, and others, puts the Black, Blue, Gold and Green Labels in its highest performance category ("Tier 1" Spirits).Johnnie Walker spirits have several times taken part in the Monde Selection's World Quality Selections and have received a Gold and Grand Gold Quality Award. Johnnie Walker was voted India's Most Trusted Premium Whisky Brand according to the Brand Trust Report 2014, a study conducted by Trust Research Advisory.Johnnie Walker Gold Label Reserve won the World's Best Blended -- Best Scotch Blended in World Whiskies Awards 2018.Sponsorships
Johnnie Walker is the official whisky of Formula One,and are a sponsor of two F1 teams McLaren and Racing Point. Johnnie Walker is also the title namesake for the F1 Grand Prix race in Spa Belgium. Johnnie Walker sponsored the Johnnie Walker Classic, an Asia-Pacific golf tournament, up to 2009 and the Johnnie Walker Championship at Gleneagles, a golf tournament in Scotland up to 2013.Diageo sold the Gleneagles Hotel and Golf Course, the site of the tournament, mid-2015 to focus on its core business.Cultural figures
Winston Churchill's favourite whisky was Johnnie Walker Red Label, which he mixed with water and drank throughout the day. Vanity Fair writer Christopher Hitchens was partial to Johnnie Walker Black Label cut with Perrier and referred to it as "Mr Walker's Amber Restorative". Johnnie Walker Blue Label was a favourite of the late US president Richard Nixon's; Nixon used to enjoy it with ginger ale and a wedge of lime. A number of singers and songwriters have referenced Johnnie Walker in their works, from Amanda Marshall to ZZ Top.Elliott Smith's Oscar-nominated "Miss Misery" has the narrator "[making] it through the day with some help from Johnnie Walker Red." Heavy metal band Black Label Society was named after Johnnie Walker Black Label whisky, as Zakk Wylde was very fond of the drink. George Thorogood name checks “Johnny Walker and his brothers Black and Red” in "I Drink Alone". Polish fictional humorous character Jakub Wędrowycz is a word play based on Polish translation of "Johny Walker".Gallery
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Johnnie Walker Red Label -
Johnnie Walker Black Label -
Johnnie Walker Double Black -
Johnnie Walker Swing -
Johnnie Walker Green Label & Green Label 180 Cask -
Johnnie Walker Gold Label Reserve -
Johnnie Walker Platinum Label -
Johnnie Walker Blue Label -
The Striding Man advertising imageOrigins :Co Louth Dimensions :37cm x 47cm
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Classy Johnnie Walker Scotch Whisky Mirror.Johnnie Walker is a brand of Scotch whisky now owned by Diageo that originated in the Scottish burgh of Kilmarnock in East Ayrshire. The brand was first established by grocer John Walker. It is the most widely distributed brand of blended Scotch whisky in the world, sold in almost every country, with annual sales of the equivalent of over 223.7 million 700 ml bottles in 2016 (156.6 million litres).History
John Walker was born on 25 July 1805. His farmer father died in 1819, and the family sold the farm. Their trustees invested the proceeds, £417, in an Italian warehouse, grocery, and wine and spirits shop on the High Street in Kilmarnock, Ayrshire, Scotland. Walker managed the grocery, wine, and spirits segment as a teenager in 1820. The Excise Act of 1823 relaxed strict laws on distillation of whisky and reduced, by a considerable amount, the extremely heavy taxes on the distillation and sale of whisky.By 1825, Walker, a teetotaller, was selling spirits, including rum, brandy, gin, and whisky. In short order, he switched to dealing mainly in whisky. Since blending of grain and malt whiskies was still banned, he sold both blended malt whiskies and grain whiskies.They were sold as made-to-order whiskies, blended to meet specific customer requirements, because he did not have any brand of his own.He began using his name on labels years later, selling a blended malt as Walker's Kilmarnock Whisky. John Walker died in 1857.The brand became popular, but after Walker's death it was his son Alexander ‘Alec’ Walker and grandson Alexander Walker II who were largely responsible for establishing the whisky as a favoured brand. The Spirits Act of 1860 legalised the blending of grain whiskies with malt whiskies and ushered in the modern era of blended Scotch whisky.Blended Scotch whisky, lighter and sweeter in character, was more accessible, and much more marketable to a wider audience. Andrew Usher of Edinburgh, was the first to produce a blended whisky, but the Walkers followed in due course. Alexander Walker had introduced the brand's signature square bottle in 1860. This meant more bottles fitting the same space and fewer broken bottles. The other identifying characteristic of the Johnnie Walker bottle was – and still is – the label, which, since that year, is applied at an angle of 24 degrees upwards left to right and allows text to be made larger and more visible. This also allowed consumers to identify it at a distance.One major factor in his favour was the arrival of a railway in Kilmarnock, carrying goods to merchant ships travelling the world. Thanks to Alec's business acumen, sales of Walker's Kilmarnock reached 100,000 gallons (450,000 litres) per year by 1862. In 1865, Alec created Johnnie Walker's first commercial blend and called it Old Highland Whisky, before registering it as such in 1867. Under John Walker, whisky sales represented eight percent of the firm's income; by the time Alexander was ready to pass on the company to his own sons, that figure had increased to between 90 and 95 percent. In 1893, Cardhu distillery was purchased by the Walkers to reinforce the stocks of one of the Johnnie Walker blends' key malt whiskies. This move took the Cardhu single malt out of the market and made it the exclusive preserve of the Walkers.Cardhu's output was to become the heart of the Old Highland Whisky and, subsequent to the rebranding of 1909, the prime single malt in Johnnie Walker Red and Black Labels. From 1906 to 1909, John's grandsons George and Alexander II expanded the line and had three blended whiskies in the market, Old Highland at 5 years old, Special Old Highland at 9 years old, and Extra Special Old Highland at 12 years old. These three brands had the standard Johnnie Walker labels, the only difference being their colours: white, red, and black respectively. They were commonly referred to in public by the colours of their labels. In 1909, as part of a rebranding that saw the introduction of the Striding Man, a mascot used to the present day that was created by cartoonist Tom Browne, the company re-branded their blends to match the common colour names. The Old Highland was renamed Johnnie Walker White Label,and made a 6 year old, the Special Old Highland became Johnnie Walker Red Label at 10 years old, and Extra Special Old Highland was renamed Johnnie Walker Black Label, remaining 12 years old. Sensing an opportunity to expand the scale and variety of their brands, Walker acquired interests in Coleburn Distillery in 1915, quickly followed by Clynelish Distillery Co. and Dailuaine-Talisker Co. in 1916.This ensured a steady supply of single-malt whisky from the Cardhu, Coleburn, Clynelish, Talisker, and Dailuaine distilleries. In 1923, Walker bought Mortlach distillery, in furtherance of their strategy. Most of their output was used in Johnnie Walker blends, whose burgeoning popularity required increasingly vast volumes of single malts. Johnnie Walker White was dropped during World War I. In 1932, Alexander II added Johnnie Walker Swing to the line, the name originating from the unusual shape of the bottle, which allowed it to rock back and forth. The company joined Distillers Company in 1925. Distillers Company was acquired by Guinness in 1986, and Guinness merged with Grand Metropolitan to form Diageo in 1997. That year saw the introduction of the blended malt, Johnnie Walker Pure Malt, renamed as Johnnie Walker Green Label in 2004. In 2009, the brand's owners, Diageo, decided to close all operations in Kilmarnock. This met with backlash from local people, local politicians, and then First Minister of Scotland, Alex Salmond. Despite petitions, public campaigns, and a large-scale march around Kilmarnock, Diageo proceeded with the closure. The Johnnie Walker plant in Kilmarnock closed its doors in March 2012 and the buildings were subsequently demolished.
Alexander Walker, son of John Walker, inherited the business following his father's death.Blends
For most of its history Johnnie Walker only offered a few blends. Since the turn of the century, there has been a spate of special and limited bottlings.
A variety of blends- Red Label: A non-age-stated blend. It has been the best selling Scotch whisky in the world since 1945.It is primarily used for making mixed drinks.
- Black Label: Aged 12 years, it is one of the world's best-selling Scotch whiskies.
- Double Black Label: Made available for general release in 2011 after a successful launch in travel retail.The whisky was created taking Black Label as a blueprint, adding more peaty malt whiskies to it and maturing it in heavily charred old oak casks.
- Green Label: First introduced in 1997 as Johnnie Walker Pure Malt 15 Year Old,it was renamed Johnnie Walker Green Label in 2004. Green Label is a blended malt whisky, meaning it is made by mixing single malts with no grain whisky added.All whiskies used are a minimum of 15 years old.Diageo discontinued Green Label globally in 2012 (except for Taiwan, where demand for blended malts is very strong), as part of a reconstruction of the range that saw the introduction of Gold Label Reserve and Platinum Label. The brand was reintroduced in 2016 and is again globally available.
- Gold Label: A blend of over 15 single malts, it was derived from Alexander Walker II's blending notes for a whisky to commemorate Johnnie Walker's centenary. Originally, Gold Label was bottled at 18 years and labelled "The Centenary blend".In 2013, Gold Label was renamed "Gold Label Reserve", and now carries no age statement.
- Aged 18 Years: Originally introduced as Platinum Label, it was introduced to replace the original Gold Label in the Asian market, and sold alongside Gold Label Reserve. Though still available around the globe, the Platinum Label name was discontinued in mid-2017 and replaced by Johnnie Walker Aged 18 Years. The two are identical except for the label.
Johnnie Walker Blue label bottle in a gift box- Blue Label: Johnnie Walker's premium blend. Johnnie Walker Blue Label is blended to recreate the character and taste of some of the earliest whisky blends created in the 19th century.[39] It bears no age statement. Bottles are numbered serially and sold in a silk-lined box accompanied by a certificate of authenticity. It is one of the most expensive blended Scotch whiskies on the market, with prices in the range of US$174–450.Over 25 Limited Editions have been released to date.
- Johnnie Walker Swing: Supplied in a distinctive bottle whose irregular bottom allows it to rock back and forth. This type of bottle design was originally used aboard sailing ships. It was Alexander Walker II's last blend: it features a high proportion of Speyside malts, complemented by malts from the northern Highlands and Islay.
Accolades
Johnnie Walker spirits have received strong scores at international spirit ratings competitions and from liquor review bodies. The Green Label received a string of three double gold medals from the San Francisco World Spirits Competition between 2005 and 2007. The Gold Label received double gold medals from the San Francisco competition in 2008 and 2009 and won a gold in 2010. Spirits ratings aggregator proof66.com, which averages scores from the San Francisco Spirits Competition, Wine Enthusiast, and others, puts the Black, Blue, Gold and Green Labels in its highest performance category ("Tier 1" Spirits).Johnnie Walker spirits have several times taken part in the Monde Selection's World Quality Selections and have received a Gold and Grand Gold Quality Award. Johnnie Walker was voted India's Most Trusted Premium Whisky Brand according to the Brand Trust Report 2014, a study conducted by Trust Research Advisory.Johnnie Walker Gold Label Reserve won the World's Best Blended -- Best Scotch Blended in World Whiskies Awards 2018.Sponsorships
Johnnie Walker is the official whisky of Formula One,and are a sponsor of two F1 teams McLaren and Racing Point. Johnnie Walker is also the title namesake for the F1 Grand Prix race in Spa Belgium. Johnnie Walker sponsored the Johnnie Walker Classic, an Asia-Pacific golf tournament, up to 2009 and the Johnnie Walker Championship at Gleneagles, a golf tournament in Scotland up to 2013.Diageo sold the Gleneagles Hotel and Golf Course, the site of the tournament, mid-2015 to focus on its core business.Cultural figures
Winston Churchill's favourite whisky was Johnnie Walker Red Label, which he mixed with water and drank throughout the day. Vanity Fair writer Christopher Hitchens was partial to Johnnie Walker Black Label cut with Perrier and referred to it as "Mr Walker's Amber Restorative". Johnnie Walker Blue Label was a favourite of the late US president Richard Nixon's; Nixon used to enjoy it with ginger ale and a wedge of lime. A number of singers and songwriters have referenced Johnnie Walker in their works, from Amanda Marshall to ZZ Top.Elliott Smith's Oscar-nominated "Miss Misery" has the narrator "[making] it through the day with some help from Johnnie Walker Red." Heavy metal band Black Label Society was named after Johnnie Walker Black Label whisky, as Zakk Wylde was very fond of the drink. George Thorogood name checks “Johnny Walker and his brothers Black and Red” in "I Drink Alone". Polish fictional humorous character Jakub Wędrowycz is a word play based on Polish translation of "Johny Walker".Gallery
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Johnnie Walker Red Label
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Johnnie Walker Black Label
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Johnnie Walker Double Black
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Johnnie Walker Swing
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Johnnie Walker Green Label & Green Label 180 Cask
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Johnnie Walker Gold Label Reserve
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Johnnie Walker Platinum Label
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Johnnie Walker Blue Label
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The Striding Man advertising imageOrigins :Co Limerick Dimensions :40cm x 54cm
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30cm x 30cm If ever a time symbolised flag-waving, delirious, green white and orange national pride, Italia '90 was that time. It all came down to one single glorious moment on a steamy June night in the Stadio Luigi Ferraris in Genoa when Packie Bonner saved that penalty and a deafening Une Voce roar erupted, ricocheting through every home and bar across Ireland. Seconds later when David O'Leary's winning penalty unleashed tears of unbridled joy Irish tricolours billowed like crazy in the breezeless stands and cascaded from the terraces to seemingly endless choruses of 'Olé, Olé, Olé, Olé'. We had made it through to the quarter-finals of the World Cup but we might as well have won and no-one wanted to let that moment go. Back home, cars catapulted onto the streets of every town and village with horns honking and flags wavering precariously from rolled-down windows. In Donegal an impromptu motorcade, suddenly, impulsively headed for Packie's home place in the Rosses, where fans danced in the front garden and waved the tricolour. It was an epic display of patriotic fervour and a defining moment, not just for Irish football but for our sense of identity. Historian and author, John Dorney describes it as the moment when Irish identity and international football collided. In his analysis of the era, he concludes that the Irish team's English manager, Jack Charlton neither knew nor cared about the multiple divisions in Irish society. Likewise, many of the team had been born in England of Irish ancestry and were "a clean slate" without baggage. -
Charming 1940s advert from the merchant bottler Wm Kearney & Sons Limerick City.These bottling merchants would bottle for the major brands such as Jamesons and Bushmills and very often would distill their own single malt whiskey as well, usually for the local market.The "real Irish beauty " featured smoking a cigarette certainly added to the allure of the Wm Kearney brand ! Doon Co Limerick 56cm x 50cm -
Commemorative team photo of the 3 in a row winning Kerry Footballers 1978,1979 & 1§980 Sneem Co Kerry Dimensions :63cm x 45cmT
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Original,commemorative team photo of the 3 in a row winning Kerry Footballers as sponsored by the Kerry Eye Newspaper.As can be seen, some Kerry children had a bit of fun with it one the years in their classroom near Sneem Co Kerry Origins ; Sneem Co Kerry Dimensions :52cm x 65cm. GlazedThe 80s was a time when Ulster football was considered a distant cousin to the majesty of Kerry, even when the Kingdom's golden age was ending.
But such was Tyrone's initial dominance of the 1986 All-Ireland final against Kerry by half-time their fans began to panic about not having accommodation in Dublin that night. They needn't have worried as a seven-point lead turned into an eight-point pounding in the final 20 minutes.
The crucial moment was a Tyrone penalty, which was sent over the bar by Kevin McCabe. From the kick-out, Kerry whizzed downfield and Pat Spillane finished the move with a goal that reduced the arrears to four points. A Mikey Sheehy goal completed a nightmarish capitulation.
It was the last hurrah from a great Kerry team who had taken Sam Maguire home eight times in 12 years. An 11-year drought followed.
Moy's Plunkett Donaghy was Tyrone's class act back then but the loss of Eugene McKenna and John Lynch through injury coincided with the late collapse.
Moy send another marauding midfielder out against Kerry on Sunday in Seán Cavanagh along with clubmates Philip Jordan and Ryan Mellon.
KERRY: C Nelligan; P Ó Sé, S Walsh, M Spillane; T Doyle (captain), T Spillane, G Lynch; J O'Shea, A O'Donovan; W Maher, D Moran (0-2), P Spillane (1-4); M Sheehy (1-4, three points from frees), E Liston (0-2), G Power (0-1). Sub: T O'Dowd (0-2) for O'Donovan.
TYRONE: A Skelton; J Mallon, K McGarvey, J Lynch; K McCabe (0-1, from a penalty), N McGinn, P Ball; P Donaghy, H McClure; M McClure (0-1), E McKenna, S McNally (0-2); M Mallon (0-4, three frees), D O'Hagan (0-1), P Quinn (1-1). Subs: S Conway for Lynch, S Rice for McKenna, A O'Hagan for M Mallon.
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35cm x 45cm Caherciveen Co Kerry Framed print of one of there greatest Gaelic Footballers of all time - the legendary Mick O'Connell. Michael "Mick" O'Connell (born 4 January 1937) is an Irish retired Gaelic footballer. His league and championship career with the Kerry senior team spanned nineteen seasons from 1956 to 1974. O'Connell is widely regarded as one of the greatest players in the history of the game. Born on Valentia Island, County Kerry, O'Connell was raised in a family that had no real link to Gaelic football. In spite of this he excelled at the game in his youth and also at Cahersiveen CBS. By his late teens O'Connell had joined the Young Islanders, and won seven South Kerry divisional championship medals in a club career that spanned four decades. He also lined out with South Kerry, winning three county senior championshipmedals between 1955 and 1958. O'Connell made his debut on the inter-county scene at the age of eighteen when he was selected for the Kerry minor team. He enjoyed one championship season with the minors, however, he was a Munster runner-up on that occasion. O'Connell subsequently joined the Kerry senior team, making his debut during the 1956 championship. Over the course of the next nineteen seasons, he won eight All-Ireland medals, beginning with lone triumphs in 1959 and 1962, and culminating in back-to-back championships in 1969 and 1970. O'Connell also won twelve Munster medals, six National Football League medals and was named Footballer of the Year in 1962. He played his last game for Kerry in July 1974. Recollecting his early years on RTÉ Raidió na Gaeltachta and Radio Kerry, O’Connell spoke of how he was introduced to Gaelic football.He also revealed he had regularly played soccer with Spanish fishermen on his native Valentia Island. “Well, I remember I was 11 or 12, my father bought them (boots) in the shop in Cahirsiveen. I remember playing beside the house at home and I remember the first day I got those from the shop I was delighted. But after that there wasn’t a lot of people with football boots. “We would play barefoot often during the summer — and we were happy to play barefoot — that’s the way it was back then. “My father bought us a ball, a size 4. It wasn’t too big but it was fine. We would play at home and coming home from school a lot of people would come in playing with us, schoolboys, and often, very often, the Spanish would come in taking shelter from the weather, they would come in and play soccer with us. “If there was bad weather, they’d take shelter here in the harbour. They wouldn’t have a penny but a drop of wine in bags but they had no money and they’d come in and play. It was nice to watch them. I was practicing left and right but we had no trainers or coaches at the time. It was just a case of practicing between ourselves, nice and gently. There were no matches but games between ourselves and that’s all we had at the time.” It was O’Connell’s father Jeremiah who helped begin his son’s love of Gaelic football although he himself had no background in the game. “My own mother (Mary), she was never at a match and my uncle who was born in 1880 or that, he was living with us on Valentia Island, he was never at a match.“My father had an interest every now and again going to the matches. I remember them coming from Portmagee, Derrynane and Cahirciveen to play. That’s when I remember feeling that was something special about playing sport. “I remember going to a game on a boat with my father. The Islanders were playing, that was in 1945, and those memories from long ago come back to me every so often. And a lot of those players and a lot of the inter-county players are dead now. But I remember the first time I played in a Munster final in Killarney, in 1956, and only two of those players are still alive (Tom Long and Seán Ó Murchú).” But for a job in which he worked at for most of his Kerry playing days, O’Connell said he would never have worn the green and gold. “Between 1956 and ‘66, I worked for the Western Union company on Valentia Island, five full days and a half day on Saturday. It was a very useful job; it facilitated me in a great way. Otherwise, it was a job that would be too demanding and it also meant I was free at the weekends. “Any person playing amateur sport without an appropriate job would find it very hard to find perfection in it. Otherwise, I would never have played for Kerry.” O’Connell has questioned the Government’s grants scheme for inter-county Gaelic players. The Valentia Island man believes the funding mechanism, which will rise to €3 million per annum by 2018, has been signed off without the authority of the Irish tax-payers.Interviewed by Raidió na Gaeltachta on his 80th birthday yesterday, O’Connell criticised the Government for what he determines as directing remuneration towards county footballers and hurlers. “I have no involvement in the games today, except for watching it, but something I don’t agree with... it’s okay for the GAA to generate money in Croke Park and to spend it on the players if they want to, but I don’t agree at all that Government money, money of the Government of Ireland collected through taxes from the ordinary person, is being paid to the players. “I don’t think they have any permission to do that. That money should be spent on health and education rather than what’s being done now that I read in the paper, which is the way it is now.” In a wide-ranging interview with Helen Ní Shé on the An Saol ó Dheas programme, O’Connell also took a dim view of outgoing Kerry minor footballer Mark O’Connor’s switch to AFL club Geelong on a two-year rookie contract. “I’m not too impressed with that game in Australia at all. If Gaelic football was played properly, without pulling and dragging out of each other, and things like that, it would be a much better game than the game in Australia. “But again, in this country, the money isn’t in this country to give money to the players professionally at all and people have jobs now. If they had a good job and time to train, it’s a pastime. It’s a pastime. “Sport is a pastime. And people are saying there is pressure on them because they have to train... it’s a pastime for the trainer too, meeting and in contact with people the same age as them and things like that. That’s a great thing.” O’Connell doesn’t buy the idea more Gaelic players want to be involved in a full-time sport“Ah, that’s the kind of talk the media presents before them, that there is pressure on them. Give it up if you’re not happy, that’s the way it should be. To be good at anything, you enjoy anything that you’re good at, and practice that, you understand.” He marvels at what modern day players are provided with. “They have the facilities now. The facilities weren’t there long ago. But they have a lot of facilities now. Look at Fitzgerald Stadium in Killarney, there wasn’t a stand, there wasn’t a dressing room or anything when I started playing. As far as I remember, I don’t know what you called it, the mental hospital, we had a room in that place where we togged out. Every place throughout Kerry and throughout Ireland, the facilities are at a very high standard now in comparison to years ago.” Speaking to Jerry O’Sullivan on Radio Kerry’s Kerry Today programme, O’Connell bemoaned where Gaelic football was going and the negativity attached to it.“The (current) game doesn’t appeal to me. For me anyway it was always ball first, man second. To try and negate the other player it wasn’t my style.” O’Connell insisted he wasn’t criticising current players but the game itself and how it was taken too much from other codes. Although the mark has been championed as a means of safeguarding the high-fielding O’Connell was renowned for, he sees it as another example of a foreign rule. Even in my own time, there was no clear-cut set of rules stated in print for a referee. “I always thought as a player that a referee’s job should be almost to mark the scores and players playing the game should know what the game was and play accordingly.O’Connell continued: “Gaelic football has been played for about 120 years or whatever so and there is no bit of original wisdom within it to have your own game and to be powerful of your own game and not to be borrowing from other (sports), mark or no mark, red card, yellow card. It’s borrowing from other codes and that’s the negativity. It’s been always there, especially so now.” In an at times awkward conversation on Newstalk’s Off The Ball last night, O’Connell played down the significance of his sporting accomplishments. “Winning the game was not triumph and losing the game was not disaster. It was winning and losing games and that was all part of sport.” He remarked he had no passion in life. “Passion in life? None. None whatsoever. Playing football afforded me the chance to do exercise and play games locally and sometimes in Dublin. It was a nice way of associating with other people and so on. “It wasn’t a passion as such. Some people might think because living on an island (that it was) but it just happened that I occurred to be very good at it and got my place on the county team and got some games in Dublin.” He admitted his reluctance with the adulation he has received over the years. “That’s only comment. There’s no such thing as one player being better than the next because football is about a style of play. Some people have different styles and if one style satisfies some people other people might like the do-or-die effort. “Beloved? I don’t know what that means. If your style of play satisfies, all well and good but maybe I wasn’t ruthless enough. I wouldn’t do anything to win. The end to me wasn’t as important as the means. The means in which I played was a justification and if it won all well and good. “When I see people talking about Kerry beaten and a disastrous result, there is no such thing in the game of sport. Win or lose, you take your win or your beating in your stride, that’s it. “Another thing, coming from Valentia Island, I was kind of unique. Being an islander, it was unusual and that was why a lot of attention was put on me. It was difficult because you had difficult, bad weather sometimes here and you could never really practice to your extent. “That was often attributed to me, being in a kind of an unique and odd situation, that there must be something strange about a person to play from an island. It wasn’t. It was the game, the code of the area, and I played from an early age. “It wasn’t the be-all and end-all because in my household there was no discussion on football.” ‘Any day if I caught a few good balls and kicked a few good balls, that was success’ Mick O’Connell says the simple satisfaction of having “caught a few good balls and kicked a few good balls” is what remains with him most from his playing time with Kerry. Looking back, he doesn’t like to use the word “career” and when asked if the battles with the famed Galway of the 1960s were what come back to him most he replied: “I enjoyed all games whether it was here in Cahirsiveen, Tralee, Fitzgerald Stadium or New Ross, Tuam or any other place I was. “Any day if I caught a few good balls and kicked a few good balls that was success. “I played in 10 All-Irelands and lost a bigger percentage than I won (four victories). So be it, I had involvement. Success is a bit sweeter when you taste a bit of defeat as well. “That was my view. Looking back on it, it gave me a great association with people from different parts of Kerry and different parts of Ireland and abroad as well. Sport was a great dimension to my life but not everything.” O’Connell also returned to 1959 when he captained Kerry to an All-Ireland crown and left the Sam Maguire Cup in the dressing room. “I got the cup from Dr (Joseph) Stuart who was the president of the GAA at the time and my knee was injured the same day. I left the cup in the dressing room and I came home on the train and people asked me the reason I didn’t take the Sam Maguire with me. It was the team’s cup, I was no bigger than any other member of the team. The people who were in charge should have taken it home. It came home to the island a few weeks or so afterwards.”He doesn’t know the location of his four Celtic Crosses. “It doesn’t matter. I don’t know. I gave one of them to somebody. There was a raffle or something on years ago.”“The purpose of the game was to deliver it (the ball) as distinct from now when carrying the ball, running with it and passing with it. That’s the big change. I don’t blame the players at present. It’s very confusing. Even in my time, the elders never clearly stated a rule about obstruction or anything like that. It’s very hard in Ireland to get a discussion on the game.” -
32cm x 24cm Caherciveen Co Kerry Framed print of one of there greatest Gaelic Footballers of all time - the legendary Mick O'Connell. Michael "Mick" O'Connell (born 4 January 1937) is an Irish retired Gaelic footballer. His league and championship career with the Kerry senior team spanned nineteen seasons from 1956 to 1974. O'Connell is widely regarded as one of the greatest players in the history of the game. Born on Valentia Island, County Kerry, O'Connell was raised in a family that had no real link to Gaelic football. In spite of this he excelled at the game in his youth and also at Cahersiveen CBS. By his late teens O'Connell had joined the Young Islanders, and won seven South Kerry divisional championship medals in a club career that spanned four decades. He also lined out with South Kerry, winning three county senior championshipmedals between 1955 and 1958. O'Connell made his debut on the inter-county scene at the age of eighteen when he was selected for the Kerry minor team. He enjoyed one championship season with the minors, however, he was a Munster runner-up on that occasion. O'Connell subsequently joined the Kerry senior team, making his debut during the 1956 championship. Over the course of the next nineteen seasons, he won eight All-Ireland medals, beginning with lone triumphs in 1959 and 1962, and culminating in back-to-back championships in 1969 and 1970. O'Connell also won twelve Munster medals, six National Football League medals and was named Footballer of the Year in 1962. He played his last game for Kerry in July 1974. Recollecting his early years on RTÉ Raidió na Gaeltachta and Radio Kerry, O’Connell spoke of how he was introduced to Gaelic football.He also revealed he had regularly played soccer with Spanish fishermen on his native Valentia Island. “Well, I remember I was 11 or 12, my father bought them (boots) in the shop in Cahirsiveen. I remember playing beside the house at home and I remember the first day I got those from the shop I was delighted. But after that there wasn’t a lot of people with football boots. “We would play barefoot often during the summer — and we were happy to play barefoot — that’s the way it was back then. “My father bought us a ball, a size 4. It wasn’t too big but it was fine. We would play at home and coming home from school a lot of people would come in playing with us, schoolboys, and often, very often, the Spanish would come in taking shelter from the weather, they would come in and play soccer with us. “If there was bad weather, they’d take shelter here in the harbour. They wouldn’t have a penny but a drop of wine in bags but they had no money and they’d come in and play. It was nice to watch them. I was practicing left and right but we had no trainers or coaches at the time. It was just a case of practicing between ourselves, nice and gently. There were no matches but games between ourselves and that’s all we had at the time.” It was O’Connell’s father Jeremiah who helped begin his son’s love of Gaelic football although he himself had no background in the game. “My own mother (Mary), she was never at a match and my uncle who was born in 1880 or that, he was living with us on Valentia Island, he was never at a match.“My father had an interest every now and again going to the matches. I remember them coming from Portmagee, Derrynane and Cahirciveen to play. That’s when I remember feeling that was something special about playing sport. “I remember going to a game on a boat with my father. The Islanders were playing, that was in 1945, and those memories from long ago come back to me every so often. And a lot of those players and a lot of the inter-county players are dead now. But I remember the first time I played in a Munster final in Killarney, in 1956, and only two of those players are still alive (Tom Long and Seán Ó Murchú).” But for a job in which he worked at for most of his Kerry playing days, O’Connell said he would never have worn the green and gold. “Between 1956 and ‘66, I worked for the Western Union company on Valentia Island, five full days and a half day on Saturday. It was a very useful job; it facilitated me in a great way. Otherwise, it was a job that would be too demanding and it also meant I was free at the weekends. “Any person playing amateur sport without an appropriate job would find it very hard to find perfection in it. Otherwise, I would never have played for Kerry.” O’Connell has questioned the Government’s grants scheme for inter-county Gaelic players. The Valentia Island man believes the funding mechanism, which will rise to €3 million per annum by 2018, has been signed off without the authority of the Irish tax-payers.Interviewed by Raidió na Gaeltachta on his 80th birthday yesterday, O’Connell criticised the Government for what he determines as directing remuneration towards county footballers and hurlers. “I have no involvement in the games today, except for watching it, but something I don’t agree with... it’s okay for the GAA to generate money in Croke Park and to spend it on the players if they want to, but I don’t agree at all that Government money, money of the Government of Ireland collected through taxes from the ordinary person, is being paid to the players. “I don’t think they have any permission to do that. That money should be spent on health and education rather than what’s being done now that I read in the paper, which is the way it is now.” In a wide-ranging interview with Helen Ní Shé on the An Saol ó Dheas programme, O’Connell also took a dim view of outgoing Kerry minor footballer Mark O’Connor’s switch to AFL club Geelong on a two-year rookie contract. “I’m not too impressed with that game in Australia at all. If Gaelic football was played properly, without pulling and dragging out of each other, and things like that, it would be a much better game than the game in Australia. “But again, in this country, the money isn’t in this country to give money to the players professionally at all and people have jobs now. If they had a good job and time to train, it’s a pastime. It’s a pastime. “Sport is a pastime. And people are saying there is pressure on them because they have to train... it’s a pastime for the trainer too, meeting and in contact with people the same age as them and things like that. That’s a great thing.” O’Connell doesn’t buy the idea more Gaelic players want to be involved in a full-time sport“Ah, that’s the kind of talk the media presents before them, that there is pressure on them. Give it up if you’re not happy, that’s the way it should be. To be good at anything, you enjoy anything that you’re good at, and practice that, you understand.” He marvels at what modern day players are provided with. “They have the facilities now. The facilities weren’t there long ago. But they have a lot of facilities now. Look at Fitzgerald Stadium in Killarney, there wasn’t a stand, there wasn’t a dressing room or anything when I started playing. As far as I remember, I don’t know what you called it, the mental hospital, we had a room in that place where we togged out. Every place throughout Kerry and throughout Ireland, the facilities are at a very high standard now in comparison to years ago.” Speaking to Jerry O’Sullivan on Radio Kerry’s Kerry Today programme, O’Connell bemoaned where Gaelic football was going and the negativity attached to it.“The (current) game doesn’t appeal to me. For me anyway it was always ball first, man second. To try and negate the other player it wasn’t my style.” O’Connell insisted he wasn’t criticising current players but the game itself and how it was taken too much from other codes. Although the mark has been championed as a means of safeguarding the high-fielding O’Connell was renowned for, he sees it as another example of a foreign rule. Even in my own time, there was no clear-cut set of rules stated in print for a referee. “I always thought as a player that a referee’s job should be almost to mark the scores and players playing the game should know what the game was and play accordingly.O’Connell continued: “Gaelic football has been played for about 120 years or whatever so and there is no bit of original wisdom within it to have your own game and to be powerful of your own game and not to be borrowing from other (sports), mark or no mark, red card, yellow card. It’s borrowing from other codes and that’s the negativity. It’s been always there, especially so now.” In an at times awkward conversation on Newstalk’s Off The Ball last night, O’Connell played down the significance of his sporting accomplishments. “Winning the game was not triumph and losing the game was not disaster. It was winning and losing games and that was all part of sport.” He remarked he had no passion in life. “Passion in life? None. None whatsoever. Playing football afforded me the chance to do exercise and play games locally and sometimes in Dublin. It was a nice way of associating with other people and so on. “It wasn’t a passion as such. Some people might think because living on an island (that it was) but it just happened that I occurred to be very good at it and got my place on the county team and got some games in Dublin.” He admitted his reluctance with the adulation he has received over the years. “That’s only comment. There’s no such thing as one player being better than the next because football is about a style of play. Some people have different styles and if one style satisfies some people other people might like the do-or-die effort. “Beloved? I don’t know what that means. If your style of play satisfies, all well and good but maybe I wasn’t ruthless enough. I wouldn’t do anything to win. The end to me wasn’t as important as the means. The means in which I played was a justification and if it won all well and good. “When I see people talking about Kerry beaten and a disastrous result, there is no such thing in the game of sport. Win or lose, you take your win or your beating in your stride, that’s it. “Another thing, coming from Valentia Island, I was kind of unique. Being an islander, it was unusual and that was why a lot of attention was put on me. It was difficult because you had difficult, bad weather sometimes here and you could never really practice to your extent. “That was often attributed to me, being in a kind of an unique and odd situation, that there must be something strange about a person to play from an island. It wasn’t. It was the game, the code of the area, and I played from an early age. “It wasn’t the be-all and end-all because in my household there was no discussion on football.” ‘Any day if I caught a few good balls and kicked a few good balls, that was success’ Mick O’Connell says the simple satisfaction of having “caught a few good balls and kicked a few good balls” is what remains with him most from his playing time with Kerry. Looking back, he doesn’t like to use the word “career” and when asked if the battles with the famed Galway of the 1960s were what come back to him most he replied: “I enjoyed all games whether it was here in Cahirsiveen, Tralee, Fitzgerald Stadium or New Ross, Tuam or any other place I was. “Any day if I caught a few good balls and kicked a few good balls that was success. “I played in 10 All-Irelands and lost a bigger percentage than I won (four victories). So be it, I had involvement. Success is a bit sweeter when you taste a bit of defeat as well. “That was my view. Looking back on it, it gave me a great association with people from different parts of Kerry and different parts of Ireland and abroad as well. Sport was a great dimension to my life but not everything.” O’Connell also returned to 1959 when he captained Kerry to an All-Ireland crown and left the Sam Maguire Cup in the dressing room. “I got the cup from Dr (Joseph) Stuart who was the president of the GAA at the time and my knee was injured the same day. I left the cup in the dressing room and I came home on the train and people asked me the reason I didn’t take the Sam Maguire with me. It was the team’s cup, I was no bigger than any other member of the team. The people who were in charge should have taken it home. It came home to the island a few weeks or so afterwards.”He doesn’t know the location of his four Celtic Crosses. “It doesn’t matter. I don’t know. I gave one of them to somebody. There was a raffle or something on years ago.”“The purpose of the game was to deliver it (the ball) as distinct from now when carrying the ball, running with it and passing with it. That’s the big change. I don’t blame the players at present. It’s very confusing. Even in my time, the elders never clearly stated a rule about obstruction or anything like that. It’s very hard in Ireland to get a discussion on the game.”
