logo
Pádraig Harrington's legacy is seen everywhere at the PGA Championship - even in the size of the trophy

Pádraig Harrington's legacy is seen everywhere at the PGA Championship - even in the size of the trophy

The 4213-05-2025

PÁDRAIG HARRINGTON'S LEGACY runs so deep we're all still excavating it, but happily the man himself is occasionally willing to point us in the right direction.
Ambling off the putting green at Quail Hollow, Harrington gladly stops for a quick chat on his way to the driving range. Not that Harrington is particularly loyal to the whole brevity being the soul of wit shtick. Twenty minutes later, his caddie comes to find him in full flow and the interview is finished as a walk-and-talk to the range.
Harrington's major success changed Irish golf forever – Rory McIlroy praised him last year as the man who lighted the path for the talents who followed – but he tells us he has changed this week's championship in subtler ways.
When Harrington won the 2008 PGA Championship at Oakland Hills, he was handed the giant, 27 pound Wanamaker Trophy at the on-site presentation but given a replica half the size to take home with him.
One problem.
Harrington says the world recognises the Wanamaker trophy solely by its size, and so this diet version went neglected during trophy tours and house visits.
'Basically when people saw the PGA trophy they didn't know it was the PGA trophy and they pushed it aside and took a photo with the Open trophy', says Harrington, who naturally saw another flaw to be addressed.
'I completely changed it! I did change it, I'm 100% sure. I went to them and said, 'Guys, you are ruining your brand. Nobody cares about this trophy.''
Advertisement
Harrington lifts the full-size Wanamaker trophy in 2008. Alamy Stock Photo Alamy Stock Photo
And so the PGA of America responded to Harrington by building a replica 90% the size of the original Wanamaker Trophy. The first of these larger replicas was given to Harrington, and has been given out to every winner since. (He also got to keep the original 50% replica, which he now thinks is at Stackstown Golf Club.)
If major championships have been Tigerproofed, then some of their trophies have been Pádraigproofed.
The conversation wends further on to the Claret Jug, as Harrington tells us winners have to pay for their keep-at-home replicas. Realising this in 2007, Harrington decided to fill his boots and asked for five of them, after which the Royal and Ancient brought in a rule that limited the number of replicas that can be ordered by any champion.
'I can't believe nobody else asked for more, I would have bought 10!', exclaims Harrington.
Along with his Russian Doll-style Wanamakers, Harrington has a lifetime exemption to play this event, hence why he's in Charlotte this week rather than at the Regions Tradition in Alabama, which is one of the five majors on the seniors' tour.
'They have their silliest major this week and I'm not playing it', says Harrington. 'I believe my limited chance of winning this event is much more important than my good chance of winning that event.'
He is playing in Quail Hollow this week partly to reset and set himself up for a two-month stretch on the champions' tour that culminates with the Open Championship at Portrush.
His game, he says, is fine, but he is playing to get his mind in the right condition. To that end, his long-time sports psychologist Bob Rotella is on site this week.
'I always say Bob's like a school teacher,' says Harrington. 'He gives you your homework and you've to go and do it. But when he's standing there you're more likely to do it. That's not a respect [thing]. It's more about the relationship you have with him. You don't want to let him down. He stands there and says 'right, let's do it!' and you realise 'god I wasn't doing it'. You have to have that buy-in.'
Harrington has long-preached Rotella's gospel and McIlroy and Shane Lowry have joined the congregation. The trio played the front nine in a practice round on Tuesday afternoon, and Harrington joked that they are each allowed to use Rotella for three holes only.
The 42 weren't alone in probing Harrington's legacy on Tuesday afternoon. Earlier in an adjacent press conference room, Jon Rahm was asked for his lessons from a decade of major championship golf and alighted on an article from the Harrington doctrine.
'You always feel like, to win a major, you have to play perfect, which is not true', said Rahm. 'I remember the R&A did this 20-minute documentary with Open champions, and Pádraig Harrington said in Muirfield in '02, when he played about as good as he could play and didn't win, and at that point he thought he had to get lucky to win a major championship.'
Harrington is a kind of influencer in his own right, and he's not exactly leaning away from it. While he's not quite a Bryson-DeChambeau-trying-to-break-50-with-Donald-Trump-level content creator, his Paddy's Golf Tips on YouTube have become a roaring success.
'The most common thing that'll be said to me this week on the golf course is 'I love your videos'', says Harrington. But like all great artists, he is frustrated by the base desires of his audience. Where all of his tips on swing technique are hugely popular, the analytics on his mental tips never do anywhere near the same numbers.
'My technical stuff is very much aimed at a 10-handicap. Technically I wouldn't know what to teach these guys, but mentally I do', says Harrington, gesturing at the world class pros behind him on the putting green. 'If I was a coach I would be either coaching the mental game at the top level or the physical game at the weekend warrior level. But the weekend warrior doesn't like my mental videos.'
Not that Harrington is going to stop posting his mental tricks. He happened to play a few practice holes on Monday with Jordan Spieth, not by design but because they were among the very few golfers on a rain-lashed course. The rain fell so hard that fans were barred from entry and puddles pooled across the course, but Harrington persisted partly out of his addiction to hard work, and partly to get an edge. He wanted to see flooded greens so as to be able to easily read their breaks and undulations.
He took a photo of the flooded 18th green, and says he'll post it online rather than secreting the hard-earned info for himself.
'I'm not afraid of putting it up but when I do mental stuff like that it does help my competitors more,' he says. 'I don't worry about it. They still have to do it, that's my attitude.'
Then again, it would be absurd for Harrington to worry about helping his competition, given his restless, singular mind has been doing that for decades.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

30 years since Riverdance blew our minds and our 'holy f**ks' still echo'
30 years since Riverdance blew our minds and our 'holy f**ks' still echo'

Irish Daily Mirror

time41 minutes ago

  • Irish Daily Mirror

30 years since Riverdance blew our minds and our 'holy f**ks' still echo'

IT remains a flame that will never burn low for anybody gifted a ringside seat for its mighty, ecstatic, hot-blooded, jaw-dropping, spine-tingling, seven-minutes-of-wonderment unveiling. In truth, we were more than a little tipsy that night, yet even through that long-ago fug of alcohol, the wave of rapture that invaded the packed bar where we witnessed - stupefied, teary, a chorus of astonished "holy f***s" the only words we could summon - Riverdance being midwifed into the world remains as vivid three decades on as Michael Flatley's immaculately waxed chest. It felt like a detonation of some new Irishness, a marriage of ancient dance and modern expression, something liberating and fresh invading both the evening and the heart with its riveting beauty, mesmerising a global audience of some 300 million. Before writing this piece, to reassure myself my memory wasn't playing tricks, I re-watched Flatley and, first, Jean Butler thundering onto the stage at The Point Theatre on April 30th 1994, the interval act at the Eurovision Song Contest. It is gobsmacking, electrifying, primal, emotional, an authentic "wow" moment that retains all its capacity to fire a lovely cascade of shivers down the spinal chord. A cocktail of fiddles and bodhráns, the lead dancers owning the coliseum, alone under the klieg lights, a triumph of athletic movement, rhythmic tempo, exquisite balance and beguiling cadence. Master and Mistress of the universe. The urge then was to lock away the memory, retain it for the rest of time, the same compulsion that might overwhelm an art lover on encountering a renaissance master's brushstrokes hanging on the gallery walls of the Louvre. At that moment it felt unsurpassable. Perfect. Before it became a commercial behemoth - one watched live by more than 30 million people (five times the population of Ireland) at some 15,000 performances in 49 countries, selling over 10 million DVDs worldwide) - there was this. Just this. A seven minute slot. A transfixed house erupting in spontaneous, orgasmic acclaim. An 'is this really happening?' sense of disbelief and awe. And, as the camera pans to a breathless Flatley, giggling as he accepts the rapture of the audience, the vertigo of new possibilities opening dizzyingly before him, an impossibly youthful Gerry Ryan asking his audience a rhetorical question. "What about that, stunning music, amazing dancing, was that or was it not the most spectacular performance you have ever seen?" Few who had watched Flatley's feet move as if fired from the mouth of a howitzer were inclined to raise a dissenting voice. Looking at it now through the telescope of all those years, Ryan's words don't feel remotely contrived or rehearsed, but, rather an instinctive and visceral response to something irresistible. I was 25 years of age and Irish dancing was so far distant on the polar opposite side of the bandwidth to my interests that it might have existed on the dark side of the moon. And yet, like half the nation, I was entranced by the orchestra of sounds and the sway of elegant, angelic movement. Flatley and Butler had carried the night into another dimension. Our football team was in the long since vanished O'Dwyer's Bar on Dublin's Mount Street, celebrating a league title we had claimed that afternoon courtesy of our own exhibition of superior, Flatley-esque footwork (for some reason I still haven't figured we never toured the world, never had to fight off groupies, never made tens of millions, but, hey, them's the breaks). The Eurovision was on in the background. Nobody was too bothered. Then Bill Whelan's score exploded into life and it was like every living creature in that bustling tavern had been hypnotised. There was never a moment over the next 500 or so seconds when our attention was allowed veer from the TV screen. It was that good, that instantly stimulating, dance as mainlined narcotic, a mood-altering Celtic opiate. Sense of place played a significant role in the elemental ache of joy. It was one of the few times since Italia 90 four years earlier that I had felt that sudden surge - call it patriotism, call it a sense of belonging, call it pride in our heritage - that fills a room to the brim with something I can only describe as heartsoar. We embraced and emoted as we had at the end of the game a few hours earlier. I think there might even have been an eruption of the dreaded Oles. It was a slightly self-conscious way of trying to mask the fact that we were all on the verge of sobbing. It really was that powerful. There we were, a group whose preferred music ranged from The Jam to Bowie to Ska to The Stones, incontinent with emotion because of something we might have scoffed at ten minutes earlier. We were in our native city, yet for some reason the lyric that best describes how I felt in that moment comes from U2's A Sort of Homecoming. "For tonight, at last/I am coming home/I am coming home." So many of those Eurovision interval slots tend to be twee and insecure, but here was an exhibition of rip-roaring Irish self-confidence. A visual, aural, comfortable-in-its-skin feast of excellence. A year later, Riverdance went on the road, and it is that 30th anniversary landmark that was celebrated this week at The Gaiety and at various afterparties that ran long into the night. A confession: I have never been to the full show and never felt an urgent need. In some perverse way, I find the vast global ATM - churning out dollars and yen and all the currencies of the world - into which it has transformed, slightly off-putting. But, we'll always have O'Dwyer's. The emotions awakened by that seismic seven minute rumble in 1994 were sufficiently pure to last a hundred lifetimes. Its innocence; the bone-shaking delight of Flatley hot-footing across the floor with manic, charismatic glee; Butler's effortless elegance and natural-born class; the blur of feet; the way the music hit you beneath the rib cage; the astonishment as we observed the birth of something magical and, the way it made us all all remains gloriously evocative. Ireland would win the Eurovision that night - back then, as invincible as a team co-managed by Jim Gavin and John Kiely, we almost always won - courtesy of Charlie McGettigan and Paul Harrington performing Rock 'n' Roll Kids. Harrington watched the interval act from backstage and still recalls how the arena convulsed. "That night," he says, "felt like the beginning of the roar of the Celtic Tiger and I was right at the epicentre." Riverdance became a synonym for excellence, for a slightly mythical Irish form of self-expression, a way of articulating a cultural moment that triggered a wash of reverence. Liam Griffin, the messianic and erudite Wexford manager who led the county to a first All-Ireland title for 28 years in 1996, lovingly depicted hurling as the "Riverdance of sport." His poetic description was both arresting and apt. Here were two uniquely Irish forms of cultural expression, both dances, one using feet, the other a sliotar and a wand of ash, each seeming to eloquently express a powerful sense of Irishness. In their liquid movement, their natural flow, Cian Lynch or Patrick Horgan or TJ Reid might well be riverdancing. A great hurling match is both a spectacle and a feeling. It finds your gut. It lifts you to a place of brighter light, this tumultuous choir of stick and ball and galloping athletes. At its best, it dresses itself in a cloak of myth. As Flatley and Butler did all those years ago. On Anna Livia's banks, they danced their dance and the ancient river was not alone in nodding its damp, splashing head in approval, in understanding it had witnessed the shifting of Irish art to the highest ground.

Jockey Jake Coen rushed to hospital and racing delayed after parade ring incident
Jockey Jake Coen rushed to hospital and racing delayed after parade ring incident

The Irish Sun

timean hour ago

  • The Irish Sun

Jockey Jake Coen rushed to hospital and racing delayed after parade ring incident

JOCKEY Jake Coen has been rushed to hospital after a terrifying parade ring incident. Racing at Punchestown was delayed while the jumps jockey was attended to. Advertisement 1 Jake Coen was said to be fully conscious as he was rushed to hospital as a precautionary measure Credit: Alamy A post from IHRB Stewards on X confirmed a delay while a message posted on Irish Racing's page read: "Delay to the first race at Punchestown as Jake Coen is receiving medical attention following his fall from Arch Empire in the chute leaving the parade ring." Racing TV presenter Kevin O'Ryan said: "Jake is moving everything and he is talking and fully conscious, which he has been from the word go. "He has been taken to Tallaght Hospital as a precautionary measure. "But he is fully conscious and moving everything after that nasty incident." Advertisement The incident came before the first race at Irish track Punchestown on Epsom Derby day. The medical crew on-track were able to get to Coen quickly meaning the start time was knocked back by just under ten minutes. Coen had been due to ride the Gordon Elliott-trained Arch Empire in the 2m contest. But the horse was withdrawn after unseating the young jockey and getting loose. Advertisement Most read in Horse Racing Coen had been booked for two more rides on Saturday but they will go elsewhere as he is checked out by doctors. He was booked for a further four rides on Sunday but it will be down to the doctors whether he is well enough to take them. FREE BETS - GET THE BEST SIGN UP DEALS AND RACING OFFERS Commercial content notice: Taking one of the offers featured in this article may result in a payment to The Sun. You should be aware brands pay fees to appear in the highest placements on the page. 18+. T&Cs apply. . Remember to gamble responsibly A responsible gambler is someone who: Establishes time and monetary limits before playing Only gambles with money they can afford to lose Never chases their losses Doesn't gamble if they're upset, angry or depressed Gamcare – Gamble Aware – Find our detailed guide on responsible gambling practices here. Advertisement

Beyond the Pale festival cancelled just days before kickoff at Glendalough Estate
Beyond the Pale festival cancelled just days before kickoff at Glendalough Estate

Irish Examiner

timean hour ago

  • Irish Examiner

Beyond the Pale festival cancelled just days before kickoff at Glendalough Estate

One of Ireland's most popular music festivals, Beyond the Pale, has been cancelled just days before it was due to begin next weekend. Crews had been working on-site for weeks, setting up stages and preparing the grounds at Glendalough Estate, Co Wicklow. The festival was scheduled to run this Friday to Sunday, June 13–15. However, the main stage was being dismantled today. A funfair, large marquees, tents, toilets, and security fencing had already been erected across the scenic site, which is backed by woodland and bordered by both a river and a lake. Suppliers began removing infrastructure today after being told by organisers that the festival could no longer proceed. The industry was slammed by the Covid pandemic and never fully recovered, a supplier at the festival said. Independent festivals, in particular, are still struggling. 'It seems to be the state of affairs at the moment that Irish festivals are going bust," someone working at the festival said. 'So many of them are gone. 'I think it's an overhang from covid. Insurance premiums going up. A lot of suppliers went bust over covid, suppliers that were left were trying to make up the money they lost so they raised their prices putting pressure on festivals again. It's like a vicious circle. 'Then the cost of living and everything else, there's not as much money around as there was before so they're probably struggling with ticket sales. 'There's pressure coming from everywhere. 'Last year Forever Young went, Indiependence in Cork, Sea Sessions in Donegal." Headliners for this year's Beyond the Pale included Jon Hopkins, Róisín Murphy, TV on the Radio, Boney M, and Jeff Mills. As recently as Saturday morning, tickets were still available on the festival's website — €268.95 for a three-day camping pass and €126.90 for a single-day ticket. Beyond the Pale won Best Small Festival at last year's Irish Music Rights Organisation (IMRO) awards. It launched in 2022 with fewer than 5,000 attendees but grew rapidly — doubling to 10,000 by 2024 with 15 stages. This year, it was set to host 12,000 people. Read More Robert Pether's family to hear of restrictions put on engineer next week

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store