Vintage (1960s) Guinness Toucan -lovely day for a Guinness Advertising Sign of amazing character and in our opinion,a most unusual sign despite the ubiquitous ,beloved toucan.Metal construction with distressed, timber frame.
Dimensions :75cm x60 cm x 8cm
The legendary Guinness Toucan goes back to 1935 and the advertising firm S.H. Benson. Artist John Gilroy had been recently hired, and Dorothy Sayers, a famous crime writer and playwright, wrote advertising copy for the company.
For nearly two centuries of existence, the brewery had almost no need to formally advertise, allowing word-of-mouth to sell the beer, and sell it did. By the late 19th century, Guinness was one of the top three breweries between Britain and Ireland. In 1862, the company adopted an Irish harp as their logo and trademarked it in 1875. However, by the late 1920s, sales were declining, and in 1929, Rupert Guinness, then chair of the company, ran the first-ever Guinness print ad with the slogan “Guinness is good for you.” The very next year, the brewery hired advertising firm S.H. Benson. It was then, in 1930, that the story of the Guinness toucan began.
The man responsible for the iconic bird and his animal companions is the English illustrator and draftsman John Gilroy. He was born in 1898 in Newcastle upon Tyne into a family of eight children, and his father, William, was a landscape painter. From a young age, Gilroy began copying the drawings in magazines, and it was quickly evident he would follow in his father’s professional footsteps.
By 15, he was a cartoonist for the local newspaper. He won a scholarship to art school, and although World War I interrupted his studies, he entered London’s Royal College of Art in 1919. While he was still a student, he received his first commission for commercial art—a promotional pamphlet for the Hydraulic Engineering Co. Not long after graduating, Gilroy began working for S.H. Benson, where he would eventually work on Guiness.
John Gilroy, illustrator of some of Guinness’s most well-known advertisements.
His first work with the firm was on campaigns for Skipper Sardines and Virol (a brand of malt extract). In his early years at Benson, he and his colleagues created clever characters to make their designs memorable: Baron de Beef, Signor Spaghetti, Miss Di Gester. All these playful characters likely primed Gilroy for the fun and whimsical designs he would eventually draw for Guinness in his 35 years working with the company.
In the early 1930s S.H. Benson boasted an impressive staff of creatives beyond John Gilroy; the aforementioned Dorothy Sayers, now famous as a crime writer and poet, wrote copy for the agency. When Guinness approached the firm, they had an interesting request: the final advertising campaign should not be too much to do with beer, despite the fact that it was advertising—well—beer. They thought it would be vulgar. Instead, they preferred something that appealed to families and that highlighted the purported health benefits of the brew.
They asked Gilroy to draft an ad showing a family drinking Guinness, but no one could seem to agree on what the family should look like, nor how they should be presented. Luckily, it was precisely family that led Gilroy to the particular idea that eventually spawned Guinness’s most famous ad campaigns. The artist had recently taken his son to the circus, recounts Guinness archive manager Fergus Brady, and had watched a sea lion balancing a ball on its nose. He realized how fun it would be to draw a sea lion balancing a pint of Guinness on its nose, and pitched the idea to Guinness. From there the series expanded to an entire menagerie. Gilroy drew ostriches, bears, pelicans, kangaroos, and of course, the toucan.
Paired with Sayers’s inventive copy, the ads took off. In her most clever ad, she plays on the toucan / two-can homophone and on the idea that drinking Guinness offers a range of health benefits: “If he can say as you can / Guinness is good for you / How grand to be a Toucan — / Just think what Toucan do.” The illustration features a smiling toucan perched next to two shining pint glasses full of Guinness stout.
With John Gilroy’s illustrations and Dorothy Sayers’s copy, the Guinness toucan ads were an immediate hit. (Guinness)
Gilroy even created toucan ads specifically for the American market with the birds flying over landmarks like the Statue of Liberty, Mount Rushmore, and the Golden Gate Bridge—always carrying two pints on their beaks. Sadly, Guinness never approved and ran the ads.
Over the years, Gilroy created nearly 100 advertisements and 50 poster designs for Guinness. Though he left S.H. Benson as an in-house artist in the 1940s, he continued to freelance for them and continued to create the beloved Guinness zoo ads, crafting new scenarios for his Guinness-loving animals and their beleaguered zookeeper.
Other
vintage Guinness ads from the time feature simpler jingles and catchphrases. “My goodness—my Guinness” often features an animal stealing a man’s pint in comical fashions—an ostrich swallows it, a kangaroo hides the bottle in its pouch, a crocodile holds the pint between his massive jaws, and so on. In another, a smirking tortoise carries a pint on its back under the text, “Have a Guinness when you’re tired.” A man pulls a cart while his horse relaxes and goes for a ride—“Guinness for strength.” There is a playfulness to all of them. Even the ad in which
a man is being chased by a lion feels funny—of course, the lion is chasing the man not to eat him, but to steal his beer. The lion is smiling, his tongue lolling out of his mouth as he runs, and we’re in on the joke: he’ll get the Guinness in the end, and the man is panicking not to save his skin, but to save his beer.
Guinness coasters featuring the menagerie of John Gilroy’s advertisements. (Guinness)
The ads ran primarily in the U.K. and in the 1930s and 1940s were immensely popular—likely the cheerful, cheeky animals and bright colors provided a small antidote to the horrors going on in Europe at the time. In 1939, all troops in the British Expeditionary Force in France received a bottle of Guinness with their Christmas dinner.
The company remained committed to adding a touch of whimsy to their generally solid and forward-thinking business practices. To celebrate Guinness’s bicentennial in 1959, the company dropped 150,000 embossed bottles containing Guinness-related information and paraphernalia into the Atlantic Ocean. It is the same year, as well, that Guinness employed scientists to create the Guinness Draft we know today by pairing nitrogen gas and carbon dioxide—it is that combination that gives the beer its prized silky texture. In in 1963 and 1965, Guinness opened breweries in Nigeria and Malaysia, respectively, cementing the company’s global reach and impact.
As the company modernized, so too did their advertising strategies. In 1982, the Guinness brewery switched ad firms and stopped running the zoo-themed ads—the toucan and its friends were no longer considered effective advertising techniques. However, nostalgia for the Guinness toucan remained, and the company has released limited-edition cans and merchandise featuring the original Gilroy drawings. In 2017, the 200th anniversary of Guinness in America, they released a number of decorative itemsimprinted with the image of the two-pint-touting toucans flying over Mount Rushmore. The image of Gilroy’s toucan still immediately brings Guinness to mind, and it remains an immensely memorable mascot of the world’s premier dark beer.
Arthur Guinness started brewing ales in 1759 at the St James Gate Brewery,Dublin.On 31st December 1759 he signed a 9,000 year lease at £45 per annum for the unused brewery.Ten years later, on 19 May 1769, Guinness first exported his ale: he shipped six-and-a-half barrels to Great Britain before he started selling the dark beer
porter in 1778.
The first Guinness beers to use the term were Single Stout and Double Stout in the 1840s.
Throughout the bulk of its history, Guinness produced only three variations of a single beer type: porter or single stout, double or extra and foreign stout for export.
“Stout” originally referred to a beer’s strength, but eventually shifted meaning toward body and colour.
Porter was also referred to as “plain”, as mentioned in the famous refrain of
Flann O’Brien‘s poem “The Workman’s Friend”: “A pint of plain is your only man.”
Already one of the top-three British and Irish brewers, Guinness’s sales soared from 350,000
barrels in 1868 to 779,000 barrels in 1876.
In October 1886 Guinness became a public company, and was averaging sales of 1,138,000 barrels a year. This was despite the brewery’s refusal to either advertise or offer its beer at a discount.
Even though Guinness owned no
public houses, the company was valued at £6 million and shares were twenty times oversubscribed, with share prices rising to a 60 per cent premium on the first day of trading.
The breweries pioneered several quality control efforts. The brewery hired the statistician
William Sealy Gosset in 1899, who achieved lasting fame under the pseudonym “Student” for techniques developed for Guinness, particularly
Student’s t-distribution and the even more commonly known
Student’s t-test.
By 1900 the brewery was operating unparalleled welfare schemes for its 5,000 employees.
By 1907 the welfare schemes were costing the brewery £40,000 a year, which was one-fifth of the total wages bill.
The improvements were suggested and supervised by Sir
John Lumsden. By 1914, Guinness was producing 2,652,000 barrels of beer a year, which was more than double that of its nearest competitor
Bass, and was supplying more than 10 per cent of the total UK beer market.
In the 1930s, Guinness became the seventh largest company in the world.
Before 1939, if a Guinness brewer wished to marry a
Catholic, his resignation was requested. According to Thomas Molloy, writing in the
Irish Independent, “It had no qualms about selling drink to Catholics but it did everything it could to avoid employing them until the 1960s.”
Guinness thought they brewed their last porter in 1973.
In the 1970s, following declining sales, the decision was taken to make Guinness Extra Stout more “drinkable”. The gravity was subsequently reduced, and the brand was relaunched in 1981.
Pale malt was used for the first time, and isomerized hop extract began to be used.
In 2014, two new porters were introduced: West Indies Porter and Dublin Porter.
Guinness acquired the
Distillers Company in 1986.
This led to a
scandal and criminal trialconcerning the artificial inflation of the Guinness share price during the takeover bid engineered by the chairman, Ernest Saunders. A subsequent £5.2 million success fee paid to an American lawyer and Guinness director, Tom Ward, was the subject of the case
Guinness plc v Saunders, in which the House of Lords declared that the payment had been invalid.
In the 1980s, as the IRA’s bombing campaign spread to London and the rest of Britain, Guinness considered scrapping the Harp as its logo.
The company merged with
Grand Metropolitan in 1997 to form
Diageo.
Due to controversy over the merger, the company was maintained as a separate entity within Diageo and has retained the rights to the product and all associated trademarks of Guinness.
The Guinness Brewery Park Royal during demolition, at its peak the largest and most productive brewery in the world.
The Guinness brewery in
Park Royal, London closed in 2005. The production of all Guinness sold in the UK and Ireland was moved to
St. James’s Gate Brewery, Dublin.
Guinness has also been referred to as “that black stuff”.
Guinness had a fleet of ships, barges and yachts.
The Irish
Sunday Independent newspaper reported on 17 June 2007 that Diageo intended to close the historic St James’s Gate plant in Dublin and move to a greenfield site on the outskirts of the city.
This news caused some controversy when it was announced.The following day, the
Irish Daily Mail ran a follow-up story with a double page spread complete with images and a history of the plant since 1759. Initially, Diageo said that talk of a move was pure speculation but in the face of mounting speculation in the wake of the
Sunday Independent article, the company confirmed that it is undertaking a “significant review of its operations”. This review was largely due to the efforts of the company’s ongoing drive to reduce the environmental impact of brewing at the St James’s Gate plant.
On 23 November 2007, an article appeared in the
Evening Herald, a Dublin newspaper, stating that the Dublin City Council, in the best interests of the city of Dublin, had put forward a motion to prevent planning permission ever being granted for development of the site, thus making it very difficult for Diageo to sell off the site for residential development.
On 9 May 2008, Diageo announced that the St James’s Gate brewery will remain open and undergo renovations, but that breweries in Kilkenny and Dundalk will be closed by 2013 when a new larger brewery is opened near Dublin. The result will be a loss of roughly 250 jobs across the entire Diageo/Guinness workforce in Ireland.
Two days later, the
Sunday Independent again reported that Diageo chiefs had met with
Tánaiste Mary Coughlan, the deputy leader of the Government of Ireland, about moving operations to Ireland from the UK to benefit from its lower corporation tax rates. Several UK firms have made the move in order to pay Ireland’s 12.5 per cent rate rather than the UK’s 28 per cent rate.
Diageo released a statement to the London stock exchange denying the report.
Despite the merger that created Diageo plc in 1997, Guinness has retained its right to the Guinness brand and associated trademarks and thus continues to trade under the traditional Guinness name despite trading under the corporation name Diageo for a brief period in 1997.
In November 2015 it was announced that Guinness are planning to make their beer suitable for consumption by vegetarians and vegans by the end of 2016 through the introduction of a new filtration process at their existing
Guinness Brewery that avoids the need to use
isinglass from fish bladders to filter out yeast particles.
This went into effect in 2017, per the company’s FAQ webpage where they state: “Our new filtration process has removed the use of isinglass as a means of filtration and vegans can now enjoy a pint of Guinness. All Guinness Draught in keg format is brewed without using isinglass. Full distribution of bottle and can formats will be in place by the end of 2017, so until then, our advice to vegans is to consume the product from the keg format only for now.
Guinness
stout is made from water,
barley, roast malt extract,
hops, and
brewer’s yeast. A portion of the barley is roasted to give Guinness its dark colour and characteristic taste. It is
pasteurisedand
filtered.
Until the late 1950s Guinness was still
racked into wooden casks. In the late 1950s and early 1960s, Guinness ceased brewing cask-conditioned beers and developed a keg brewing system with aluminium kegs replacing the wooden casks; these were nicknamed “iron lungs”.
Until 2016 the production of Guinness, as with many beers, involved the use of
isinglass made from fish. Isinglass was used as a fining agent for settling out suspended matter in the vat. The isinglass was retained in the floor of the vat but it was possible that minute quantities might be carried over into the beer.
Diageo announced in February 2018 that the use of isinglass in draught Guinness was to be discontinued and an alternative clarification agent would be used instead. This has made draught Guinness acceptable to vegans and vegetarians.
Arguably its biggest change to date, in 1959 Guinness began using nitrogen, which changed the fundamental texture and flavour of the Guinness of the past as nitrogen bubbles are much smaller than CO
2, giving a “creamier” and “smoother” consistency over a sharper and traditional CO
2 taste. This step was taken after
Michael Ash – a mathematician turned brewer – discovered the mechanism to make this possible.
Nitrogen is less soluble than carbon dioxide, which allows the beer to be put under high pressure without making it fizzy. High pressure of the dissolved gas is required to enable very small bubbles to be formed by forcing the draught beer through fine holes in a plate in the tap, which causes the characteristic “surge” (the
widget in cans and bottles achieves the same effect). This “widget” is a small plastic ball containing the nitrogen. The perceived smoothness of draught Guinness is due to its low level of carbon dioxide and the creaminess of the head caused by the very fine bubbles that arise from the use of nitrogen and the dispensing method described above. “Foreign Extra Stout” contains more carbon dioxide, causing a more acidic taste.
Contemporary Guinness Draught and Extra Stout are weaker than they were in the 19th century, when they had an
original gravity of over 1.070. Foreign Extra Stout and Special Export Stout, with abv of 7.5% and 9% respectively, are perhaps closest to the original in character.
Although Guinness may appear to be black, it is officially a very dark shade of
ruby.
The most recent change in alcohol content from the Import Stout to the Extra Stout was due to a change in distribution through North American market. Consumer complaints have influenced recent distribution and bottle changes.
Studies claim that Guinness can be
beneficial to the heart. Researchers found that “‘
antioxidantcompounds’ in the Guinness, similar to those found in certain fruits and vegetables, are responsible for the health benefits because they slow down the deposit of harmful
cholesterol on the artery walls.”
Guinness ran an advertising campaign in the 1920s which stemmed from market research – when people told the company that they felt good after their pint, the slogan, created by
Dorothy L. Sayers–”Guinness is Good for You”. Advertising for alcoholic drinks that implies improved physical performance or enhanced personal qualities is now prohibited in Ireland.
Diageo, the company that now manufactures Guinness, says: “We never make any medical claims for our drinks.”
Limerick 5-2 Dublin 2-6
D Clohessy 4-0, M Mackey 1-1, J O’Connell 0-1
The 1938 All-Ireland Football Final Replay on October 23rd, 1938 ended in the most bizarre fashion imaginable when with 2 minutes left to play, Galway supporters, mistakenly believing the referee had blown for full-time, invaded the pitch, causing a 20 minute delay before the final minutes could be played out.
Even more dramatic was the fact that by the time the pitch was cleared, most of the Kerry players seemed to have disappeared.
The confusion all began with a free awarded to Kerry by referee Peter Waters of Kildare with Galway leading the defending champions, by 2-4 to 0-6.
The referee placed the ball and blew his whistle for the kick to be taken while running towards the Galway goals. He looked round just as Sean Brosnan was taking the kick and seeing a Galway player too close he blew for the kick to be retaken.
Thinking that he had blown for full-time the jubilant Galway supporters invaded the pitch.
It took all of twenty minutes to clear the pitch but only then did the real problems come to light. Jerry O’Leary Chairman of the Kerry Selection Committee outlined their dilemma.
Somehow or other Kerry managed to re-field even if the team which played out the remaining minutes bore little resemblance to the starting fifteen.
More remarkable again was the fact that Kerry went on to add another point to their total before the referee finally blew for full-time with Galway winners by 2-4 to 0-7.
It was generally agreed that the confusion was of the crowd’s and not the referee’s making but questions remained about the total number of players Kerry had been permitted to use in those final few minutes.
The National and Provincial papers and indeed all available Records to this day list only those 16 Kerry players who were involved prior to the 20 minute interruption but now (80 years on) for the first time all the players who played for Kerry in that October 23rd, 1938 All-Ireland Final Replay can be given their rightful place in the Record Books.
KERRY’s 24:
That night, in front of a 1,500 crowd, at a Gaelic League organised Siamsa Mór in the Mansion House in Dawson Street, Art McCann presented the Galway team with their winners’ medals.
The Kerry players meanwhile joined 300 of their suppoeters at a Ceilidhe hosted by the Kerrymen’s Social Club in Rathmines Town Hall.
The National Newspapers may not always have reported the facts to Galway’s satisfaction but there can be no questioning the support of Galway County Council.
Needless to say the Galway players received an unprecedented welcome on their return to Galway having first been feted along the way in Mullingar, Streamstown, Moate and Athlone.
GALWAY – 1938 ALL-IRELAND SENIOR FOOTBALL CHAMPIONS
Back (L-R) Bobby Beggs, Ralph Griffin, John Burke, Jimmy McGauran, Charlie Connolly, Brendan Nestor, Dinny Sullivan, Mick Connaire, Martin Kelly. Front (L-R) Frank Cunniffe, Jackie Flavin, Mick Higgins, John ‘Tull’ Dunne (Capt), Ned Mulholland, Mick Raftery.
Substitutes: (not in photograph) Mick Ryder and Pat McDonagh.
TIME ADDED ON:
Not far behind the controversy surrounding the last few minutes of 1938 All-Ireland Football Final Replay was the controversy surrounding the last few seconds of the drawn match played a month earlier.
The sides were level, Kerry 2-06 Galway 3-03, when Kerry’s J.J. Landers sent the ball between the Galway uprights for what looked like the winning point. However the thousands of celebrating Kerry supporters making for the Croke Park exits were soon stopped in their tracks.
It was cruel luck on Kerry and while there were many who criticised the referee, Tom Culhane from Glin, County Limerick, for blowing the final whistle while John Joe Landers was it the act of shooting, Kerry’s County Board Chairman Denis J. Bailey wasn’t among them.
At the next Central Council meeting, in a remarkably generous response to the Referee’s Report being read he stated that ‘they in Kerry were quite satisfied with the result’ and ‘They wished to pay a tribute to Galway for their sporting spirit and also to the referee who, in their opinion, carried out his duties very well.’
The Central Council then awarded the two counties £300 each towards the costs of the two-week Collective Training Camps both counties had planned in the lead up to the Replay on October 23rd. Munster Council granted Kerry (pictured here in Collective Training) an additional £100.
Prior to that Central Council meeting, General Secretary, Pádraig Ó’Caoimh, received a telephone call from the New York GAA suggesting the replay take place in New York but the request (which was successfully repeated nine years later in 1947) was on this occasion turned down.
However doubts about the Replay even going ahead were immediately raised.
Satisfactory transport arrangements were eventually agreed and the match went ahead although the Kerry supporters who left Tralee on the so-called ‘ghost’ train at 1am on the morning of the October 23rd may still have felt hard done by.
In the lead-up to the game the Galway selectors expressed their delight at the success of their forwards short hand-passing game against the Kerry backs in the drawn match although there were some worries that not all their players had been able to attend the first week of Collective Training and of course there was Kerry’s Replay record to be considered.
Kerry had previously played in 4 All-Ireland Replays and won them all, a great source of encouragement to the Kerry supporters.
However amid some reports of disharmony within the Kerry camp, following a ‘trial match’ on the Sunday before the Replay, the Kerry selection Committee dropped a real bombshell.
Joe Keohane (Dublin Geraldines) who had been Kerry’s regular full-back for the previous two years and was one of the stars of their 1937 All-Ireland win over Cavan was replaced by young Paddy ‘Bawn’ Brosnan a member of the 1938 Kerry Junior team.
A back injury to Kerry’s best forward, J.J. Landers made him an extreme doubt for the Replay with Martin Regan on stand-by to take his place if required which is exactly what happened before that fateful free-kick, that infamous 20 minute delay and Kerry’s unprecedented use of 24 players.
Most definitely an All-Ireland Final and Final Replay never to be forgotten.
The Galway and Kerry players parade in front of the newly opened (1938) Cusack Stand
.jpg)
Tom Moloughney, Jimmy Doyle, and Kieran Carey relax in the dressing room after Tipperary’s victory over Dublin in the 1961 All-Ireland final, a success that was to be repeated the following year. Picture from ‘The GAA — A People’s History’
Cork’s Ray Cummins (right) flicking the ball past Clare fullback Jim Power. Cummins goal in the 1977 Munster final turned the match around.
Many years on, Stuart Wilson vividly recalled the Dennison tackles and spoke about them in remarkable detail and with commendable honesty: “The move involved me coming in from the blind side wing and it had been working very well on tour. It was a workable move and it was paying off so we just kept rolling it out. Against Munster, the gap opened up brilliantly as it was supposed to except that there was this little guy called Seamus Dennison sitting there in front of me.
“He just basically smacked the living daylights out of me. I dusted myself off and thought, I don’t want to have to do that again. Ten minutes later, we called the same move again thinking we’d change it slightly but, no, it didn’t work and I got hammered again.”
The game was 11 minutes old when the most famous try in the history of Munster rugby was scored.
Tom Kiernan recalled: “It came from a great piece of anticipation by Bowen who in the first place had to run around his man to get to Ward’s kick ahead. He then beat two men and when finally tackled, managed to keep his balance and deliver the ball to Cantillon who went on to score. All of this was evidence of sharpness on Bowen’s part.”
Very soon it would be 9-0. In the first five minutes, a towering garryowen by skipper Canniffe had exposed the vulnerability of the New Zealand rearguard under the high ball. They were to be examined once or twice more but it was from a long range but badly struck penalty attempt by Ward that full-back Brian McKechnie knocked on some 15 yards from his line and close to where Cantillon had touched down a few minutes earlier. You could sense White, Whelan, McLoughlin and co in the front five of the Munster scrum smacking their lips as they settled for the scrum. A quick, straight put-in by Canniffe, a well controlled heel, a smart pass by the scrum-half to Ward and the inevitability of a drop goal. And that’s exactly what happened.
The All Blacks enjoyed the majority of forward possession but the harder they tried, the more they fell into the trap set by the wily Kiernan and so brilliantly carried out by every member of the Munster team.
The tourists might have edged the line-out contest through Andy Haden and Frank Oliver but scrum-half Mark Donaldson endured a miserable afternoon as the Munster forwards poured through and buried him in the Thomond Park turf.
As the minutes passed and the All Blacks became more and more unsure as to what to try next, the Thomond Park hordes chanted “Munster-Munster–Munster” to an ever increasing crescendo until with 12 minutes to go, the noise levels reached deafening proportions.
And then ... a deep, probing kick by Ward put Wilson under further pressure. Eventually, he stumbled over the ball as it crossed the line and nervously conceded a five-metre scrum. The Munster heel was disrupted but the ruck was won, Tucker gained possession and slipped a lovely little pass to Ward whose gifted feet and speed of thought enabled him in a twinkle to drop a goal although surrounded by a swarm of black jerseys. So the game entered its final 10 minutes with the All Blacks needing three scores to win and, of course, that was never going to happen.
Munster knew this, so, too, did the All Blacks. Stu Wilson admitted as much as he explained his part in Wardy’s second drop goal: “Tony Ward banged it down, it bounced a little bit, jigged here, jigged there, and I stumbled, fell over, and all of a sudden the heat was on me. They were good chasers. A kick is a kick — but if you have lots of good chasers on it, they make bad kicks look good. I looked up and realised — I’m not going to run out of here so I just dotted it down. I wasn’t going to run that ball back out at them because five of those mad guys were coming down the track at me and I’m thinking, I’m being hit by these guys all day and I’m looking after my body, thank you. Of course it was a five-yard scrum and Ward banged over another drop goal. That was it, there was the game”.
The final whistle duly sounded with Munster 12 points ahead but the heroes of the hour still had to get off the field and reach the safety of the dressing room. Bodies were embraced, faces were kissed, backs were pummelled, you name it, the gauntlet had to be walked. Even the All Blacks seemed impressed with the sense of joy being released all about them. Andy Haden recalled “the sea of red supporters all over the pitch after the game, you could hardly get off for the wave of celebration that was going on. The whole of Thomond Park glowed in the warmth that someone had put one over on the Blacks.”
Controversially, the All Blacks coach, Jack Gleeson (usually a man capable of accepting the good with the bad and who passed away of cancer within 12 months of the tour), in an unguarded (although possibly misunderstood) moment on the following day, let slip his innermost thoughts on the game.
“We were up against a team of kamikaze tacklers,” he lamented. “We set out on this tour to play 15-man rugby but if teams were to adopt the Munster approach and do all they could to stop the All Blacks from playing an attacking game, then the tour and the game would suffer.”
It was interpreted by the majority of observers as a rare piece of sour grapes from a group who had accepted the defeat in good spirit and it certainly did nothing to diminish Munster respect for the All Blacks and their proud rugby tradition.
