Latest news with #Walsh
The Irish Sun
3 hours ago
- Entertainment
- The Irish Sun
Kevin Prendergast dead: Ruby Walsh leads tributes to ‘trailblazer' Irish horse racing trainer
RUBY Walsh is among many prominent horse racing figures to pay tribute to Kevin Prendergast after his death at the age of 92. The son of the legendary Paddy 'Darkie' Prendergast, he carried on the family business by establishing himself as a hugely successful flat trainer. Having been an amateur jockey early on in life, he obtained his trainer's licence in 1963 and embarked upon a glittering career with over 2000 winners. Speaking on today's ITV coverage from Royal Ascot, Walsh hailed Prendergast on a personal as well as professional level. Walsh emphasized: "He followed in the footsteps of his father Darky, and he trailed for long enough to compete against the great Vincent O'Brien and Aidan O'Brien, and he was a trailblazer. "His horses always looked impeccable. He was a brilliant racehorse trainer. Read More On Irish Sport "He was a legend in the sport, but he was a massive character, and he will be sadly missed." His final winner came in August when Chris Hayes rode Copie Conforme to victory at Bellewstown. More to follow... Moment Royal Ascot racegoers hurl punches in vicious brawl in front of shocked punters 1 He's been hailed as 'a brilliant racehorse trainer'
Los Angeles Times
6 hours ago
- Politics
- Los Angeles Times
Families of trans kids worry about what's next after Supreme Court rules on gender-affirming care
NASHVILLE, Tenn. — A U.S. Supreme Court decision upholding Tennessee's ban on gender-affirming care for minors is leaving transgender children and their parents uncertain and anxious about the future. The court on Wednesday handed President Trump's administration and Republican-led states a significant victory by effectively protecting them from at least some of the legal challenges against many efforts to repeal safeguards for transgender people. The case stems from a Tennessee law banning puberty blockers and hormone treatments for transgender minors. Opponents of gender-affirming care say people who transition when they're young could later regret it. Families of transgender children argue the ban amounts to unlawful sex discrimination and violates the constitutional rights of vulnerable Americans. Eli Givens, who is transgender and testified against Tennessee's gender-affirming care bill in 2023, said it's devastating that lawmakers 'who have called us degenerates, have told us that we're living in fiction' are celebrating the court's ruling. The nonbinary college student from Spring Hill received mastectomy surgery in 2022 at age 17. They said the legislation inspired their advocacy, and they attended the Supreme Court arguments in the case last December, on their 20th birthday. 'We're not making a world that trans youth are welcomed or allowed to be a part of,' Givens said. 'And so, it's just a really scary kind of future we might have.' Jennifer Solomon, who supports parents and families at the LGBTQ+ rights group Equality Florida, called the ruling a decision 'that one day will embarrass the courts.' 'This is a decision that every parent should be concerned about,' she said. 'When politicians are able to make a decision that overrides your ability to medically make decisions for your children, every family should worry.' Chloe Cole, a conservative activist known for speaking about her gender-transition reversal, posted on social media after the court's decision that 'every child in America is now safer.' Cole was cited as an example by Tennessee Republicans as one of the reasons the law was needed. Matt Walsh, an activist who was one of the early backers of Tennessee's law, applauded the high court. Three years ago, Walsh shared videos on social media of a doctor saying gender-affirming procedures are 'huge moneymakers' for hospitals and a staffer saying anyone with a religious objection should quit. 'This is a truly historic victory and I'm grateful to be a part of it, along with so many others who have fought relentlessly for years,' Walsh posted on social media. Rosie Emrich is worried the court decision will embolden legislators in New Hampshire, where legislation banning hormone treatments and puberty blockers for children is expected to reach the governor's desk. Lawmakers are weighing whether to block the treatments from minors already receiving them, like Emrich's 9-year-old child. 'It's definitely disappointing, and I'm trying to figure out how I'm going to talk to my kid about it,' Emrich said. Emrich said she and her husband have considered moving from New Hampshire and are waiting to see what will happen. 'The hard part is, like, I've grown up here, my husband has grown up here, we very much want to raise our family here,' she said. 'And we don't want to leave if we don t have to.' Erica Barker and her family moved from Jackson, Mississippi, to North Las Vegas, Nevada, a little over two years ago so one of her children could start receiving gender-affirming care. Barker's transgender daughter, then 12, had been in therapy for three years, and the family agreed it was time for medical treatments. Mississippi passed a ban on gender-affirming care for minors the next year, which Barker said she saw coming. Barker said the move was complicated, involving a new job for her husband and two mortgages when their Mississippi home was slow to sell, but it also brought access to care for her daughter, now 14. 'Our hearts are hurting for folks who are not having the same experience,' Barker said. In another state with a ban on gender-affirming care for minors, Oklahoma resident Erika Dubose said finding care for her 17-year-old nonbinary child, Sydney Gebhardt, involves a four-hour drive to Kansas and getting prescriptions filled in Oregon and mailed to their home. 'I just wish the younger folks wouldn't have to go through this,' Gebhardt said. 'These folks deserve to be focusing on their academics and hanging out with their friends and making memories with their families and planning out a safe and happy future.' Sarah Moskanos, who lives near Milwaukee, said her 14-year-old transgender daughter went through nearly a decade of counseling before she started medical gender-affirming care but has been sure since the age of 4 that she identified as a girl. 'I would say that there is decades of research on this very thing,' she said. 'And we know what works and we know what will save trans kids' lives is gender-affirming care.' Wisconsin doesn't have a gender-affirming care ban, but Moskanos said getting her daughter that care has not been easy. She now worries about what the future holds. 'We are but one election cycle away from disaster for my kid,' she said. Mo Jenkins, a 26-year-old transgender Texas native and legislative staffer at the state Capitol, said she began taking hormone therapy at 16 years old and has been on and off treatment since then. 'My transition was out of survival,' Jenkins said. Texas outlawed gender-affirming care for minors two years ago, and in May, the Legislature passed a bill tightly defining a man and a woman by their sex characteristics. 'I'm not surprised at the ruling. I am disheartened,' Jenkins said. 'Trans people are not going to disappear.' Mattise, Mulvihill and Seewer write for the Associated Press. Mulvihill reported from Cherry Hill, N.J., and Seewer reported from Toledo, Ohio. AP journalists Susan Haigh in Hartford, Conn.; Kenya Hunter in Atlanta; Laura Bargfeld in Chicago; Nadia Lathan in Austin, Texas; and Daniel Kozin in Pinecrest, Fla., contributed to this report.
Irish Daily Mirror
10 hours ago
- Sport
- Irish Daily Mirror
The coolest head in inter-county management - Shane Walsh hails Padraic Joyce
Shane Walsh has credited Padraic Joyce for staying cool under pressure when Galway stared down the barrel of a Championship exit last Saturday. The Connacht champs were on the brink of an early exit until Joyce lifted the team with a calm, studious team talk at half time. The upshot was they came from behind to defeat Armagh and secure a preliminary quarter final away to Down this Sunday. Read more: Tipperary star says he retired knowing good times were coming again Read more: Joe Brolly weighs in on Mayo's latest All-Ireland heartbreak: 'The culture is all wrong' Star player Walsh said: 'We went in at half-time knowing that they'd probably been a bit hot and that we weren't executing our chances. 'Padraic obviously wanted us to up the level a bit and just bring a bit more intensity in the second half. It never felt like we were gone. 'We then knew after the positive start we made (in the second half) we were in a good position and it was just about trying to see it out then. We worked a really good opportunity at the end and Paul (Conroy) showed all his experience as well to win the free.' And that was a free Walsh converted to seal the deal. The former All Star outlined what went through his head as he stood over the ball to secure Galway's win over last year's All-Ireland champs. He said: 'Probably three different things. Firstly, when you're walking over, you're just saying 'calm, this is my job now.' 'Then there's a few words coming your way from opposition and then the heart rate starts to go up a bit. 'Then you're coming back in saying, you've dreamt of this as a young lad. This is what you grew up dreaming about, saying you want to be in these situations and just commit to the kick, be yourself. That's all I could do, I suppose, and thankfully it went over.' All of which brings another Ulster team - Down - onto their radar, the third Ulster side they have played in a row. Walsh said: 'Down are probably the most in-form team. Even with the Donegal game, they were probably unlucky with a lot of goal chances they had that day. And you see the way they've been building since the league, they're a completely different proposition. 'We all know about going up to Newry, you never get that easy up there either. Conor Laverty always has his team as well drilled. 'So it's a great challenge. Again, no more than the group that we had with Dublin and Derry and Armagh, having Down again, it's another unbelievable challenge if you get through it to build your confidence, build the belief in the team and build a bit of momentum.'
Sydney Morning Herald
10 hours ago
- Entertainment
- Sydney Morning Herald
One of the most powerful artworks I've seen is on show in Tasmania
The exhibition takes its name from one of the installations, a new work made up of a series of five water wells sitting in pitch darkness behind a glass wall. Into these, molten steel drips at hypnotic intervals, generating sparks reminiscent of a working foundry, although these sparks are artfully curated. An earlier version debuted at the 2022 Venice Biennale, where Sassolino used fiery droplets of molten steel to evoke what he described as the dramatic chiaroscuro of Caravaggio's 17th-century paintings, specifically The Beheading of Saint John the Baptist. In this version, the chiaroscuro is certainly dramatic. While it's difficult to imagine a saintly beheading amid the sparks, the eight-minute sequence, observed from pews placed for this purpose, is mesmerising, in the tradition of the transcendent religious artworks adorning Europe's great cathedrals. In the end, the beginning is a perfect addition to a gallery famed for its kinetic displays and its inherent subversion of the Catholic faith in which MONA founder David Walsh was raised. Sassolino's precision engineering is 21st century, but his choice of materials and fascination with old-fashioned masculine energy are furiously at odds with a planet economically realigning around the rare earth mineral economy as it gears up for the decarbonisation revolution. Elegant as it is, the exhibition feels like one last loving look over the shoulder as we move into a future where harnessing the energy of wind and sun assures the survival of the species. Being sensorially receptive is an essential state for visiting MONA, the privately owned art museum and collection of Tasmanian gambling millionaire Walsh. Since it opened in January 2011, it has been an undisputed curatorial game changer in the Australian art world. MONA's growing permanent collection and temporary displays owe more to the practices of contemporary biennales than art museums, yet its arrival freed up Australia's public galleries to be more experimental and playful. Before MONA, they tended to be wedded to chronological white-wall exhibitions, but this unashamedly gonzo new entrant was cashed up and unconstrained by curatorial committees, boards, public funding, or the need to observe rules or regulations. Walsh led from the front, encouraging his collaborators to move fast and break things. MONA is firmly part of the art establishment now, the sum of the considerable experience Walsh and his team have amassed, and of Australian galleries having relaxed. Coinciding with the exhibition's early June opening was Dark Mofo, David Walsh's festival encompassing live music, the sprawling Winter Feast food market, and various indoor and outdoor art activations throughout Hobart CBD. The festival made its return this year under new artistic director Chris Twite, following a hiatus in 2024. With its music, food, numerous bars, and warming fire pits for the bundled-up crowds, Dark Mofo evokes a blokey theme park. It carries the air of a last hurrah of the heterosexual white man. In the right-on landscape of Australian arts, there's something incredibly quaint about experiencing what feels like a Gen X fun park. Indeed, Dark Mofo offers a wondrously unique and intriguing experience, almost as if it's an arts festival from a world that froze in 1994, upon Kurt Cobain's death. Loading Unapologetically created in Walsh's image, music headliners ranged across punk, electronica and the 'extreme metal and absurdist mayhem' of US outfit Clown Core. Winter Feast is as visually arresting as its offerings are smokey and delicious, by no mistake. There is wild goat, wallaby and camel on the menu, their skeletons arranged above the grill long after the flesh has been stripped. A free public event during opening weekend's prime-time Saturday night was a theatrical car crash featuring two BMWs, complete with doughnuts, pungent rubber burnouts, and dazzling sound and lighting. Look out for the video. Crash Body, conceived by Brazilian artist Paula Garcia, drew thousands to the wet, windy Regatta Grounds overlooking the Derwent, framed by the Tasman Bridge. This site is also earmarked for the proposed AFL stadium, a controversial project that led to the state's premier being ousted the day before. Dark Mofo's free public art program is like a biennale in style, albeit on a walkable Hobart scale. Visually, the event is connected throughout Hobart by red lights and inverted crucifixes. These deliciously symbolise the humility of St Peter, who asked to be crucified upside down to put himself beneath Jesus Christ, but are alternatively symbolic of Satanism. Choose your own adventure. Loading Among the legacies of David Walsh's everyman approach to MONA is the enthusiasm with which audiences in Tasmania engage with the arts. Free events on the opening weekend were packed, many ticketed events sold out, and the general confidence of people interacting with artworks was impressive. Nicholas Galanin's Neon Anthem called on people to kneel on one knee and scream, a comment on the Black Lives Matter movement possibly lost in this execution, but in which nearly everyone who walked past nonetheless participated, generating waves of screams like you might hear near a roller coaster. Brigita Ozolins' beautiful exhibition on banned books, Revolution and Silence at the State Library and Archives of Tasmania, will remain open until October. It's a gentle meditation on social mores in stark contrast to Dark Mofo's in-your-face headliners. Dark Mofo's highly sought-after Night Mass events were, once again, sold out. Thousands of revellers explored the multi-stage, all-night jamboree of music, performance art, and installations that transformed a city block into something resembling a sticky-carpet nightclub adorned with share-house decor. I haven't even mentioned Simon Zoric's Coffin Rides (as it says on the tin) or the Sex + Death Day Spa installation at MONA, where a nana in a white towelling robe at the entry deadpanned options: 'Do you want anal bleaching or a Brazilian?' Did I mention the 90s?
The Age
10 hours ago
- Entertainment
- The Age
One of the most powerful artworks I've seen is on show in Tasmania
The exhibition takes its name from one of the installations, a new work made up of a series of five water wells sitting in pitch darkness behind a glass wall. Into these, molten steel drips at hypnotic intervals, generating sparks reminiscent of a working foundry, although these sparks are artfully curated. An earlier version debuted at the 2022 Venice Biennale, where Sassolino used fiery droplets of molten steel to evoke what he described as the dramatic chiaroscuro of Caravaggio's 17th-century paintings, specifically The Beheading of Saint John the Baptist. In this version, the chiaroscuro is certainly dramatic. While it's difficult to imagine a saintly beheading amid the sparks, the eight-minute sequence, observed from pews placed for this purpose, is mesmerising, in the tradition of the transcendent religious artworks adorning Europe's great cathedrals. In the end, the beginning is a perfect addition to a gallery famed for its kinetic displays and its inherent subversion of the Catholic faith in which MONA founder David Walsh was raised. Sassolino's precision engineering is 21st century, but his choice of materials and fascination with old-fashioned masculine energy are furiously at odds with a planet economically realigning around the rare earth mineral economy as it gears up for the decarbonisation revolution. Elegant as it is, the exhibition feels like one last loving look over the shoulder as we move into a future where harnessing the energy of wind and sun assures the survival of the species. Being sensorially receptive is an essential state for visiting MONA, the privately owned art museum and collection of Tasmanian gambling millionaire Walsh. Since it opened in January 2011, it has been an undisputed curatorial game changer in the Australian art world. MONA's growing permanent collection and temporary displays owe more to the practices of contemporary biennales than art museums, yet its arrival freed up Australia's public galleries to be more experimental and playful. Before MONA, they tended to be wedded to chronological white-wall exhibitions, but this unashamedly gonzo new entrant was cashed up and unconstrained by curatorial committees, boards, public funding, or the need to observe rules or regulations. Walsh led from the front, encouraging his collaborators to move fast and break things. MONA is firmly part of the art establishment now, the sum of the considerable experience Walsh and his team have amassed, and of Australian galleries having relaxed. Coinciding with the exhibition's early June opening was Dark Mofo, David Walsh's festival encompassing live music, the sprawling Winter Feast food market, and various indoor and outdoor art activations throughout Hobart CBD. The festival made its return this year under new artistic director Chris Twite, following a hiatus in 2024. With its music, food, numerous bars, and warming fire pits for the bundled-up crowds, Dark Mofo evokes a blokey theme park. It carries the air of a last hurrah of the heterosexual white man. In the right-on landscape of Australian arts, there's something incredibly quaint about experiencing what feels like a Gen X fun park. Indeed, Dark Mofo offers a wondrously unique and intriguing experience, almost as if it's an arts festival from a world that froze in 1994, upon Kurt Cobain's death. Loading Unapologetically created in Walsh's image, music headliners ranged across punk, electronica and the 'extreme metal and absurdist mayhem' of US outfit Clown Core. Winter Feast is as visually arresting as its offerings are smokey and delicious, by no mistake. There is wild goat, wallaby and camel on the menu, their skeletons arranged above the grill long after the flesh has been stripped. A free public event during opening weekend's prime-time Saturday night was a theatrical car crash featuring two BMWs, complete with doughnuts, pungent rubber burnouts, and dazzling sound and lighting. Look out for the video. Crash Body, conceived by Brazilian artist Paula Garcia, drew thousands to the wet, windy Regatta Grounds overlooking the Derwent, framed by the Tasman Bridge. This site is also earmarked for the proposed AFL stadium, a controversial project that led to the state's premier being ousted the day before. Dark Mofo's free public art program is like a biennale in style, albeit on a walkable Hobart scale. Visually, the event is connected throughout Hobart by red lights and inverted crucifixes. These deliciously symbolise the humility of St Peter, who asked to be crucified upside down to put himself beneath Jesus Christ, but are alternatively symbolic of Satanism. Choose your own adventure. Loading Among the legacies of David Walsh's everyman approach to MONA is the enthusiasm with which audiences in Tasmania engage with the arts. Free events on the opening weekend were packed, many ticketed events sold out, and the general confidence of people interacting with artworks was impressive. Nicholas Galanin's Neon Anthem called on people to kneel on one knee and scream, a comment on the Black Lives Matter movement possibly lost in this execution, but in which nearly everyone who walked past nonetheless participated, generating waves of screams like you might hear near a roller coaster. Brigita Ozolins' beautiful exhibition on banned books, Revolution and Silence at the State Library and Archives of Tasmania, will remain open until October. It's a gentle meditation on social mores in stark contrast to Dark Mofo's in-your-face headliners. Dark Mofo's highly sought-after Night Mass events were, once again, sold out. Thousands of revellers explored the multi-stage, all-night jamboree of music, performance art, and installations that transformed a city block into something resembling a sticky-carpet nightclub adorned with share-house decor. I haven't even mentioned Simon Zoric's Coffin Rides (as it says on the tin) or the Sex + Death Day Spa installation at MONA, where a nana in a white towelling robe at the entry deadpanned options: 'Do you want anal bleaching or a Brazilian?' Did I mention the 90s?
