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Swashbuckling giant Kyle Hayes divides opinion like no other GAA star

Swashbuckling giant Kyle Hayes divides opinion like no other GAA star

Of all the high-profile residents holding deeds to one of those prized condos on hurling's Main Street, none comes close to Kyle Hayes in their ability to ignite a wildfire.
On or off the pitch, Hayes is the preferred accelerant for social media arsonists seeking to set the online world ablaze.
Drop his name — his genius as a sportsman trailed by his deeply unsavoury past — into a conversation and, typically, it has the effect of a Molotov cocktail.
Neither the game's alley fighters nor its most dementedly combative figures, not even Ireland's dean of the perpetually highly-strung, the hyper-emotional Davy Fitzgerald, can set summer so instantly aflame as Limerick's skyscraping five-time Allstar.
That he was back in court less than 24 hours after last month's Man of the Match masterclass against today's Munster final opponents Cork reconfigured the entire All-Ireland debate, was a reminder of how the threads of his two lives have become so inextricably knotted.
And of how seeking to disentangle one from the other will remain an exercise in futility for as long as the Kildimo Pallaskenry leviathan remains a lead player on championship Broadway.
The swashbuckling giant who led the shattering undressing of the Rebels, whose blistering impact on the long days has exhausted the pundits' store of superlatives, co-habits with the author of an infinitely more sinister off-field backstory.
A five time All-Ireland winner; a young man who avoided jail after receiving a two-year suspended sentence on two counts of violent disorder inside and outside a nightclub in Limerick in 2019.
He was later ordered to do 180 hours community service.
Ironically, the more successful Hayes is at invading the vital moments in Limerick's mission to reclaim their status as the alpha males on the hurling landscape, the higher the volume is turned up on the chorus of outrage.
When he is awarded a Man of the Match or, as he was last season, an Allstar (the awards entirely justified by on-field displays, the lone criteria the judging panels are empowered to assess), the condemnation screeches to a deafening crescendo.
There are two constituencies feeding the frenzy.
The first and the loudest are the social media attack dogs who instantly scramble for the high moral ground every time a controversy arises, their arguments shrill and one-dimensional and lacking nuance or perspective.
But there are others, often compassionate, empathetic individuals, who are nonetheless alarmed that an individual found guilty of violent disorder, who has never expressed remorse and who received just 180 hours community service even after breaching the terms of his original sentence, retains a starring role in one of Ireland's most high-profile cultural celebrations.
Their reasoning is more subtle, more heartfelt and not so easily dismissed.
Some commentators in a counter-argument believe it irrational to hold athletes up as moral exemplars, that once the courts have spoken, life must go on. Even if it is an entirely logical assertion, it ignores the extreme emotions involved.
That Hayes is able to shut out all the white noise each time he plays, that he shows no sign of surrendering his place at the centre of the hurling world even while finding himself surrounded by such ceaseless tumult, is, of itself, quite remarkable.
At 6'5', his physique as muscular and streamlined and carrying the same sense of majesty as the thoroughbreds who will contest today's Epsom Derby, he is the Platonic ideal of an athlete so often imagined by ancient Greek sculptors.
He has maybe the greatest arsenal of gifts - the pulverising power and torque of an Airbus A330, an Apache helicopter's lift and nimble manoeuvrability, a B-52 bomber's deadly payload of obliterating missiles — of anybody who has played the game.
Cork, propelled into that recent round-robin tie on a tide of anticipation, departed less than two hours later nursing the kind of traumas that must have invaded their night time imaginings ever since.
With Hayes rampant, Limerick were again a force of invincible self-belief, a reborn team delivering perhaps the magnum opus of John Kiely's star-spangled reign.
In full flight and fizzing like a well-fletched arrow across a rectangle of grass, their number six offered a jolting reminder of why he rates among sport's most arresting and magnificent vistas.
Watching again the footage of his wonder goal against Tipp in the 2021 Munster final, different elements of his jinking, jaw-dropping solo gallop — a run at once thunderous and balletic — evoke Lamine Yamal, Rudolph Nureyev, Roger Federer, the Road Runner confounding Wile E Coyote, a Lamborghini Aventador and an 18-wheel juggernaut.
Tipp's defence appear as helpless as traffic cops trying to stop a runaway buffalo from breaking a red light.
The fever of excitement surrounding Hayes that afternoon, his capacity to deliver such irresistible moments, was a key component in Limerick's four-in-a-row champions announcing their separation from the rest of the field.
His success in combining demonic intensity with flourishes of artistic beauty in the most recent meeting with Cork — the player exhibiting what one Joe DiMaggio biographer describes as a 'glint of godhood' — strengthens the arguments of those who are happy to declare the 26-year-old the greatest hurler in the country.
He is unquestionably the most divisive.
If Hayes has one or two rivals for the title of Ireland's most influential hurler — led by his Limerick teammate, the lyrical master conductor Cian Lynch — he is unrivalled as the most contentious.
Ahead of tonight's rematch, there will be discussion of a sporting life bejewelled by achievement, a freakish talent who combines an engraver's touch with the kind of physical dimensions that might eclipse the sun.
As he swatted the Rebels aside 20 days ago, a rampaging Hayes had Dónal Óg Cusack flicking through the history books in search of a meaningful reference point.
'This Limerick team...have we ever seen a better team than them? What a machine they looked, so well engineered, resilient, strong, every part is working and up for the fight everywhere.'
Anthony Daly was just as effusive: 'Hayes is like a gazelle. It's not just his breaking out, it's the tackling, it's the handling at the last second, it's the whole package he gives you there at six.'
'Hayes is the leader of this Limerick team,' was the unequivocal verdict of Ger Loughnane's one-time sideline Sancho Panza, Tony Considine.
Many, horrified by the court case that put Hayes on the front pages, look at his story from a different angle, declining to see beyond the self-inflicted wounds of his past.
His suspended sentence on two charges of violent disorder inside and outside the Icon nightclub in 2019 — charges he denied at the 2023 trial — sits like an ugly, distinguishing visible-to-the-world birthmark.
The evidence heard in court was authentically shocking.
Many took issue with John Kiely's courthouse character reference, particularly the suggestion that Hayes 'accepts his part in that very disappointing night' and was 'very sorry'.
How could that be, how could he have accepted his part and be sorry, went the counter argument, when he had pleaded not guilty?
The feelings of his harshest critics are perhaps evoked in a memorable line from the political writer and former Clinton adviser, Sidney Blumenthal, in discussing Donald Trump's serial refusal to embrace the negative consequences of his actions.
'Trump's psychological equilibrium requires the constant rejection of his responsibility for the abrasive reality he churns up,' wrote Blumenthal.
Whether or not Hayes is entangled by his conscience or is armoured against self-examination only he can truly say.
What is certain is that he will race onto a Shannonside meadow this evening and the arena will rise to a fever pitch.
Some to acclaim a phenomenal player, one they believe has advanced into the territory of competitive excellence accessible only to the all time greats.
Others to toss their disgust like a Molotov cocktail onto the wildfire triggered every time Kyle Hayes steps onto one of summer's great stages.
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Why did so many punishment burials occur in Limerick after 1798 rebellion?
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Analysis: The scale of brutal punishment burials and interments was such that the burial pits became known as 'Croppies' Holes' By Shane McCorristine, Newcastle University Archaeologists in Limerick city recently uncovered the skeletal remains of 36 individuals on the site of the old city gaol, which operated from 1813 to 1904 near Merchant's Quay. There was some surprise at this number, and it was thought that they were the remains of prisoners who were buried there after execution or died from other causes in the prison hospital. But this is less surprising given the scale of punishment burials and gaol-yard interments in Ireland in the aftermath of the 1798 rebellion. The legal framework for prison burial as a form of postmortem punishment was established with the Hanging in Chains Act 1834 and Offences Against the Person Act 1861. This punishment was for executed murderers only and it replaced the previous sentencing options of dissection or hanging in chains. Prison burials took place on unconsecrated ground, without traditional burial rites, and without any memorial or marker. In addition to this mark of disgrace, quicklime was used to hasten decomposition and erase the condemned body as quickly as possible, although it was also needed to prevent contagion from corpses in busy prison yards. Long before it was mandated by the law, prison burials were common in Ireland where there was a particular custom of interring bodies in pits known as "Croppies' Holes". People hanged for crimes in Ireland other than murder could also end up being buried in this disgraceful manner. As the name indicates, these pits date back to the 1798 rebellion when United Irishmen were nicknamed "croppies" due to their cropped hair. Limerick appears to be the region where this practice was first recorded: United Irishman Patrick 'Staker' Wallis was hanged in Kilfinane in July 1798 for insurrection. His head was then spiked on his own pike and his body buried in a pit there (human remains suspected to be his were uncovered during works in 2006). In the same month, William Ryan Stephen was hanged at Caherconlish. It was reported that after execution "his body was brought back and thrown into Croppie's Hole, in the New Jail yard, appropriated for the interment of Rebels". This place was the "New Gaol" on Mary Street (built on the site of the old Tholsel in 1750), which was overcrowded with "the victims of suspicion and the men on the 'black list'" in 1798. What started as a temporary place to dump rebel bodies became a macabre landmark in Limerick, raising much disquiet among the people over its use as a postmortem punishment, even for those who were not convicted of capital offences. In 1809, the leader of a gang demanding arms, Garrett Howard, was shot dead during a robbery. His body was sent to the Croppies' Hole. The next year, another bandit died during a raid and was sent to the hole "as a warning to those villains". When the next prison was built in Limerick in 1813 – the city gaol at Merchant's Quay – this custom of using the Croppies' Hole as an extra-judicial form of punishment continued. At a Select Committee meeting on prisons in 1819, the Whig magistrate for Limerick Thomas Spring Rice (later Chancellor of the Exchequer, 1835-39) confirmed the practice of punishment burials in the hole for offences "of a very atrocious nature". Spring Rice was asked if there was not a law sentencing murderers to be dissected: "We have a law", he said, "but I have not known it to be carried into effect. I have known the plan I have described substituted in its stead". Spring Rice was deceiving his audience as it would have been difficult to forget the notorious executions and dissections of at least nine men for the murder of Thomas Dillon and his wife in Pallaskenry in 1815. So why were prison burials used as a postmortem punishment so often in Limerick? Spring Rice's evidence to parliament gives us the answer. He noted the importance of the wake to the people of Ireland and said that "the deprival of that rite is one of the greatest punishments to which the surviving relations can be subject". The wake was (and is) a key funeraral ritual in Irish culture, an opportunity to craft a "good death" and cleanse the body physically and symbolically of its sin. Wakes had the additional value of confirming the death of executed offenders in an era when premature burials or resuscitations of the hanged were a real possibility. In the bloody decades following the 1798 rebellion, interfering in wake customs was one of the many coercive policies designed to deter offenders and aggravate the feelings of communities in "disturbed" districts. From RTÉ Archives, Aoife Kavanagh reports for RTÉ News in 1998 on a memorial service at the Croppies' Acre in Dublin where United Irishmen leader Wolfe Tone died in 1798 This can be seen in a notorious incident in 1821 after a skirmish in Askeaton when a party of police attempted to arrest "disturbers of the peace" at an assembly. According to Major Richard Willcocks, giving evidence to another parliamentary inquiry, two injured men were taken prisoner and brought to Rathkeale. Willcocks reported that "the vital spark was not extinct" in one of them when he was brought in. "I did hear that shortly after they were brought into Rathkeale, they were thrown into some pit or hole that was dug for that purpose". Quicklime was thrown over them despite the people's clamour that he was still alive. When the next prison was completed in Limerick in 1821 - the County Gaol on Musgrave Street, which is now Limerick Prison – the Croppies' Hole continued to be used. In 1822 Major General Richard Bourke (later Governor of New South Wales) sent a petition to Dublin Castle requesting a cessation of "burying the bodies of executed Criminals within the walls of the Jail, in a place called Croppy's Hole, without the rites of Sepulture, and throwing quick lime upon them to ensure their speedier dissolution". This custom, Bourke noted, was "unauthorized by the Laws of the Land or the Order of Government". By this period, the Croppies' Hole was being used to inter ordinary prisoners who had died and even those who died before trial. Bourke was worried about the risk of disease with the yard becoming a "Charnel House", but also the fact that it was generating a "spirit of revenge" among local people. Prison burials continued long after the 1820s and we are still coming to terms with the legacy of the burials of combatants of the 1916-23 revolutionary period in Kilmainham Gaol, Mountjoy Prison and elsewhere. All that remains today of the old city gaol in Limerick is its limestone façade, which is preserved as part of civic offices on Crosbie Row. It is possible that some of the remains recently uncovered can be identified as those who suffered the extra-judicial punishment of burial in the Croppies' Hole. One of the ironies of quicklime is that it can occasionally act as a preservative, slowing down decomposition and maintaining, in some tenuous way, the identities of the silent dead.

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