
‘My first proper job was Ents Officer at UCD. It was incredible'
Paul Davis has more than three decades of experience in the Irish and international events and entertainment industries. In 2013, he founded Davis Events Agency, which in 2023 was listed in the 2023 Global Eventex Top 100 Event Organisers and Agencies.
Are you a saver or a spender?
I would lean more towards being a spender than a saver. I've been running my business for a long time, and I think I recognise when something is a good investment.
What was the first job you received money for, and how much were you paid?
My first proper job was Ents Officer at
UCD
. It was incredible. Club culture was just arriving in Ireland and, as well as organising events all over the place, I got to bring amazing acts like the Chemical Brothers, The Shamen, Urban Cookie Collective and David Holmes in for gigs at the university. I was paid a few hundred pounds a month, but it was all about the fantastic experience and memories.
Do you shop around for better value?
I love getting a bargain in music and clothes – you can get amazing value in second-hand vinyl, in particular. Dublin was full of great second-hand and thrift shops in the 1990s before they died away, but it's great to see some coming back now. I was in San Francisco recently and had a brilliant time going around Haight Street and all the vintage stores.
READ MORE
What has been your most extravagant purchase, and how much did it cost?
I spent £2,000 on a set of SL1210 decks when I was much younger. It was a massive expense for me at the time. I couldn't really afford them but I got them anyway. They were worth every penny.
What purchase have you made that you consider the best value for money?
When the Walkman came out, I thought it was the best thing ever invented. I love music so much and being able to access music whenever and wherever I went was a game changer. Likewise, when the iPod came out. It wasn't cheap, but being able to access even more music meant it was totally worth it.
Is there anything you regret spending money on?
It's not quite a regret but I wish I didn't have to have a car. I live in the city and ride my bike everywhere so having a car feels counterintuitive. I regularly use DublinBikes and the like in other cities, too. In Nice, for example, you can take a public bike at the airport and cycle into the city!
Do you haggle over prices?
I haggle because I like to get value, although I've been known to embarrass my family at times.
Do you invest in shares and/or cryptocurrency?
I have invested in shares. The concept makes sense to me because you're investing and helping to build a business large or small, albeit while hoping to get a return for yourself. Cryptocurrency doesn't feel tangible enough for me, so I haven't invested so far.
Do you have a retirement or pension plan?
At the moment, retirement doesn't seem to factor into my thinking. I have no plans in that area because I love what I do so much. Enjoying your job is a real gift, so it would be very hard to stop. I have a pension plan, however, which involves a set of funds that I manage myself.
What was the last thing you bought, and was it good value for money?
I recently bought another copy of Carol Dweck's Growth Mindset book, and I'm reading it again. It reminds me of the need to stay positive and to have a positive outlook. I love reading so, for me, a book is always great value.
Have you ever successfully saved up for a relatively big purchase?
It took me about a year to save up for the SL1210 decks.
Have you ever lost money?
Yes, when I was younger. I began organising gigs when I was a teenager. The nature of the business means you lose money more than you make – you've got to love it and figure out how to make a living out of it.
Are you a gambler and, if so, have you ever had a big win?
I'm not a gambler but when I was about 12, I made a pound from a bet on the Grand National. That was a big deal! These days, I occasionally take a punt during big racing festivals.
What is your best habit when it comes to money? And your worst?
I think my best is spending it on the right things. I'm not a big spender in general, but I'm happy to do so to look after family, have a holiday and the like. My worst is probably that I'm not careful enough with it.
How much money do you have on you now?
I keep an emergency €5 note in the back of my phone. That's it!
In conversation with Tony Clayton-Lea
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Irish Times
41 minutes ago
- Irish Times
Siobhán Flynn and Sarah Davy win Mairtín Crawford Awards
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Irish Times
an hour ago
- Irish Times
New poetry: Frank McGuinness, Erica McAlpine, James Harpur and Dane Holt
'Did he know he trespassed where none should pry?' Frank McGuinness writes in Flight, 1909. In context, he's discussing 'the first flight over Lisfannon', taken by his father's father, but the poem also gestures to some of his latest collection's concerns, and obsessions. Many of the poems in The River Crana (Gallery Press, €12.95/€19.50) move towards and away from revelation and confession – they paint scenes that offer self-exposure and dwell among the risks involved in finally taking the plunge. Touch, 1976 is a sequence of poems pivoting around a brief encounter with 'the kind of guy you should not trust in bars' and its aftermath, from several perspectives (including the bed itself, in the slightly odder poem of the set). McGuinness's eye for portraiture, carnality and psychology all come to the fore in the telling, and his shifts of perspective allow for a bruised kind of empathy, 'never again looking/the length of his life and out of my own'. Elsewhere we hear about 'saviours who have lost the plot' and others 'full of remorse/and craving compassion'. It's a various book, elegiac, playful and intertextual; McGuinness is fond of and adept at the dramatic monologue form, bringing in a whole chorus of unexpected voices, ably thrown, from the ancient world, Shakespeare and Maeve Binchy at Croagh Patrick. READ MORE His eye for the telling image, too, shines out, from Armenian orchards that 'smell of pomegranates/the colour of veal' to lambs 'licking us sticky clean as honeycomb'. One of the sharpest poems, Lack of Sleep, also shows off his skill in form, and reaches for a kind of universalist timelessness – a note he also strikes in a touching version of Cavafy , Bandage, which is similarly rich in a sense of being vulnerably observant in the midst of all the action: 'I liked looking,/looking at the blood/that belonged to him'. Traditional form is the keystone for Erica McAlpine, and in Small Pointed Things (Carcanet, £11.99) she brings her scrupulous musicality to bear on the natural world, retellings of Ovid and 'the point of no return'. She's particularly good at turning scenes from nature and the quotidian into something at times almost parable-like, ruminative while never abandoning the physical or concrete realm. In Bats and Swallows, the book's opening poem, the speaker addresses someone whose nature it is 'always to side one way/or the other' while she prefers an approach where 'either, or both, hold sway'. This having it both ways instinct serves her well here, allowing her to at once debunk the idea of ideas , 'They can be elliptical/in the worst way,/or too convoluted even to say' while taking them for a walk, in carefully chiselled stanzas; to see poetry as 'a dazzle/of pure thought/about itself' while simultaneously clinging to its gravity, and craftiness. [ Paul Durcan: 'Poetry was a gift that he loved to give others' Opens in new window ] There's something of Marianne Moore to her animal poems, another poet who, like McAlpine, 'cares for delicacy of stroke', especially in her muscular, rebarbative scorpion who is 'a prizefighting champion/posing and preposterous/and plated like a tiny rhinoceros'. Throughout, in her many studies of the natural world, she aims for something more than simple taxonomy, or voyeurism: 'But life gives//itself over/purely to whatever/is near it', she writes in Kingfishers, and that sort of companionable generosity spotlights the book as a whole, whether finding fellow feeling for The Second Warthogs 'not-quite-worthy/of being seen' or the labour of the spider and its web, 'this feeling/like combing through a baby's hair'. These are poems which, however well built and apparently ordered, know that 'some things can't be straightened out' and, for all their enviable sprezzatura, legislate for the dark undertone beneath the music and 'felt the sting/of knowing we draw/from our own grave/to water what we have'. James Harpur, whose new collection is The Magic Theatre. Photograph: Alan Betson James Harpur's new collection The Magic Theatre (Two Rivers Press, £12) is steeped – at times stewed – in nostalgia for his days as an undergraduate at Cambridge University, a 'power station that burns on brains'. There's something charmingly guileless, a quality that lends it a slightly Rupert Brooke-ish idealism and helps to disarm the cynical reader who fears the experience of reading it will be akin to gatecrashing someone else's college reunion. The Brooke scent is strongest in moments of reverie, such as Summer Term – 'Begins mid spring: days of moon-white suns/The punts still smoky in their pens/And trees along the Backs pubescent green.//At first, insouciance of students, phoney war'. It isn't all blissful punting and sepia-tinged lost content, however, and the most moving – and compelling – strain of the collection is found in the relationship revealed between father and son, played out subtly and in small gestures. The divide brought about between the son's growing erudition and learning threatens to cause a schism, 'These are perhaps the final moments/Our worlds will still connect/Before I get more bookish by the month/And make him feel inadequate' but later revelations, of tenderness and more complicated elements, add depth – 'he'll let on/From the cosmos of his wheelchair/That he could only pay my fees/By gambling. Roulette in Kensington'. Friendships and relationships are formed and lost, and the world of acting entered into – the whole thing at times a meditation on performance, on and offstage, and the 'tinnitus of humiliation' which sometimes accompanies it. Self-sabotage and a perennial tendency towards running counter to his own interest's seems to stymie the narrator at several crucial moments, and aside from the odd Pooterish moment it's hard not to be won over by a poet capable of resurrecting his school days in such vivid colour, 'A gold balloon arcing from the river/Through a mist of atomised champagne'. Dane Holt's debut Father's Father's Father (Carcanet, £11.99) is full of tall tales, an often surrealist narrative instinct and a tendency to turn on a sixpence, or pull various rugs out, just as the reader starts to get comfortable. This can – at times – risk settling into a groove of sorts itself, one starts to wait for the twist or the volte-face, but throughout there's a clarity and precision to the language, and a fine knack for image and phrasemaking, which largely wins out. It's not an accident that the first line of the first poem, John Cena, about the professional wrestler, is 'Everything you do you do precisely'. Ironically, that narrator's exhortations might, in the end, be usefully applied to some of the poems here – 'f**k up once in a while, why don't you,/in a way we don't anticipate'. The best work here is that which is willing to walk the tightrope over sentiment, such as an unexpectedly moving poem riffing on the narrator's grandmother by utilising Tammy Wynette: 'how saying one thing so/exactly to someone intent on hearing//the opposite is art' or another family-related one, Humphrey Bogart, about a grandfather and his son, 'They both loved/the men Humphrey Bogart played'. There's something analogous about this idea of performing, or wearing masks, and Holt makes hay with the subject in a series of poems which use wrestling – that ultimate mix of pantomime and physicality – as their means of talking about being 'unmoored/from dramatic structure', a plight many of the masks and characters come to share. Avoidance, and variations on the theme, are at the heart of Father's Father's Father, and while the urge towards following WS Merwin's advice 'I could do anything' occasionally results in some slightly arbitrary-seeming, simile-heavy wackiness, often it leads to something original, well-seen and entertaining.


Irish Times
3 hours ago
- Irish Times
Comedian Emma Doran on sitting the Leaving: ‘I forget my bank card PIN most days, but I know I got 335 points'
When and where did you sit the Leaving Cert exams? 2003. I went to school at Sancta Maria College in Dublin. I had just given birth to my daughter 13 days before, so I was in a room alone with a supervisor. What is your most vivid Leaving Cert memory? Opening English Paper 1 on the first day, and panic setting in that I wouldn't be able to do it. I was reading it, but nothing was sinking in. I took a deep breath and had a talk to myself. READ MORE Who was your most influential teacher and why? My drama teacher, Ms Martin, told me I'd be good on television and I never forgot it! I had loads of really kind teachers in 6th year. Another teacher, Ms Hiney, even offered me childcare if I needed it, so that I could do my exams. What was your most difficult subject? Probably honours Irish. I learned an essay that I was doing regardless of what title came up. If it wasn't past tense, I knew I was pretty much lost. And your favourite? I loved art, and the fact that you could be tipping away at it all year, and it didn't all come down to one exam. Can you recall what grades or points you received? I forget my PIN for my bank card most days, but I know I got 335 points. How important were the results for you ultimately? At the time, they were very important. I didn't want to repeat the Leaving and put myself under huge pressure to make sure I got into a degree course. In my mind, I had to get a degree and get a good job. I started at the school as a teenager and finished it as a single mother. Getting 'enough' points was a huge personal focus. If I got what I needed, then in my mind, it meant I wasn't a complete failure. What did you go on to do after secondary school? I went to IADT and did a degree in business and arts management. What would you change about the Leaving Cert? Ask me in six years when my son is doing it! What advice would you give to your Leaving Cert self? I don't think 18-year-old me would listen to 40-year-old me, and she'd start asking me what questions came up. I could tell my 18-year-old self that the Leaving Cert doesn't matter, but I feel that would be unfair. In the context of my life [back then], it felt very important. You can't teach hindsight. In conversation with Tony Clayton-Lea. Emma Doran is a comedian and podcaster. Her forthcoming UK and Ireland tour, Emmaculate , begins next September.