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The Greatest Food Debates of Our Generation

The Greatest Food Debates of Our Generation

Are burgers and hot dogs sandwiches?

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Food is universal. But how people enjoy, eat and talk about food varies widely, sparking some truly contentious food debates.

For example, purists might think coffee creamer doesn’t belong anywhere near their morning cup of joe, when others can’t live without it. Some shake people to their very core and cause quite a stir on social media. These food debates, in particular, have taken hold of the discourse around food, sparking countless fights and conversations.

Is a Pop-Tart a ravioli?

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One of the biggest internet food questions of the last few years has wondered whether a Pop-Tart can be considered ravioli. While this seems like a joke, it actually brings up a valid question. Is any sort of food item in which an outer shell that fully envelops a filling a ravioli? There are so many encased foods from around the world, from empanadas to dumplings. But what sets each apart is the dough and the cooking method. Ravioli are a type of pasta, often filled with meat or cheese and cooked in boiling water. A Pop-Tart, on the other hand, is a hand pie, a pastry made with biscuit-style dough with either a sweet or savory filling that is baked, fried or deep-fried. So we can conclusively say that the answer to this question is a firm no.

Is deep-dish a pizza or a casserole?

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Pizza may just be the most debatable food out there. There are so many incredible pizzas across America, but some stoke controversy just by existing. Yes, we’re talking about deep-dish pizza. Even the best deep-dish in the country is subject to scrutiny: Is a pizza that has a deep, thick crust actually a pizza pie or is it more like a casserole than a flatbread? Former “Daily Show” host Jon Stewart went after deep-dish pizza in 2013, calling it “tomato soup in a bread bowl,” causing many Chicagoans to staunchly defend their signature pie.

Should chili have beans?

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If you ask a Texan, beans have no business being in chili. But in other regional American styles of chili, beans are a must. Another debate entirely is how chili should be served. Cincinnati-style comes on a bed of spaghetti, for example.

Does ketchup belong on a hot dog?

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Chicagoans like a lot of things on their hot dogs. The typical Chicago-style dog comes with yellow mustard, green relish, chopped onion, a dill pickle spear, sport peppers, tomato and celery salt. But ketchup? Forgeddaboutit. In 2017, Heinz tried to market ketchup as “Chicago dog sauce” to Windy City residents, who were not buying it. However, sports stadiums in Chicago still do have the condiment on hand if you’re willing to weather some judgemental side-eye while dressing your dog. You also won’t find ketchup on traditional New York-style dogs, which are usually topped with sauerkraut and mustard, in the German style.

Are burgers and hot dogs sandwiches?

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How you top your hot dog isn’t the only debate around that ballpark classic. Many people debate this food’s very identity: Are hot dogs and burgers sandwiches? From a classification standpoint, they are. Merriam Webster defines sandwiches as “two or more slices of bread or a split roll having a filling in between.” By this definition, hot dogs and burgers should indeed be considered sandwiches.

Is it a sub, hoagie or hero?

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There are a lot of regional word debates around America, few of which cause the confusion and commotion of what to call a long sandwich. An elongated sandwich with various meats, cheeses and toppings is known by many names. It is predominantly known as a submarine sandwich, or "sub" for short, in most of the country. It’s also called a grinder in New England, a hero in New York and a hoagie in Philadelphia.

Which chicken wing part is better?

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Not all chicken wings are created equal, even among the best Buffalo wings in America. Just as some people prefer a cake slice with a lot of frosting and others prefer an interior piece, some people like the drumettes (the mini-drumsticks) on a plate of chicken wings and others prefer the flats. Drum proponents like the easier eating that comes with that shape, while flat proponents like the sauce-to-skin-to-chicken ratio.

How do you make a peanut butter and jelly sandwich?

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A peanut butter and jelly sandwich should be the easiest recipe in the world. You just take two slices of bread and slather them with peanut butter and jelly. But apparently there is more than one way to do everything, including making a basic sandwich. Some people will take one piece of bread, add peanut butter, put jelly on top of the peanut butter and then add the final slice of bread. Others will put peanut butter on one slice of bread, put jelly on the second slice of bread and then bring the two pieces together. How do you make yours?

How crispy should bacon be?

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Although diet trends like going vegan are all the rage, Americans are still obsessed with bacon. But how should bacon be cooked? Should it be like an all-you-can-eat buffet, where it’s floppy and chewy, or should it be all but burnt to a crisp?

In what order do you remove eggs from the carton?

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Twitter users have lots of opinions; there’s even discourse on how best to remove eggs from their container. Do you start on one side and work your way to the other? Do you grab equally from each side to keep the carton in balance or do you just grab whatever egg looks best in the moment? Yes, this is something people actually think about. As for us, as long as we’re cooking up a delicious egg dish, we don’t care where in the carton it comes from.

Does pineapple belong on pizza?

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Everyone has their favorite pizza toppings. Some folks won’t eat a slice without pepperoni, while others think that simple sauce and quality cheese is the way to go. But no pizza topping divides a group as much as pineapple. Some people like the sweet and salty contrast when it’s paired with ham, while others think pineapple on pizza ruins this beloved dish.

Does ranch belong on pizza?

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Speaking of things that do or do not belong on pizza: Is ranch a suitable dipping sauce or drizzle on a pie? New Yorkers generally rage against ranch on pizza, with New York food writer Ed Levine calling it “a crime against nature.” However, most national pizza chains let you order your pizza with a side of ranch.

What’s the proper way to eat pizza?

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You might be surprised to learn that there’s more than one way to eat pizza. Some people insist on folding their slices, while others just dive right in. More unorthodox pizza eaters will go for a sideways slice, head in crust-first or choose to eat their ‘za with a fork and knife. According to body language experts, how you eat your pizza actually says something about your personality, and publications have style guides so those who seek out the best pizza in America can get the most from their slice.

Should you eat mac and cheese with a fork or spoon?

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You’re not going to try to eat a creamy bowl of ice cream with a knife, and attempting to eat a steak with a spoon would be an exercise in futility. But some foods come with a less obvious cutlery choice, like macaroni and cheese. A 2018 survey conducted by mac and cheese brand Annie’s found that 71% of adults eat their macaroni with a fork, while 28% work with a spoon.

What do you call the end slice on a loaf of bread?

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What do you call the end piece of a loaf of bread? You know, the one with a full side of crust? These two slices are the cause of much discussion, as they go by many names. According to a Twitter debate, this piece of bread is alternately referred to as the butt, knob, heel, outside, crust, ender and other weird names. But, according to the Atlantic, heel is the most commonly used term.

How do you pronounce caramel?

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“Cahr-uh-MEL” or “CAR-mul?” This sweet, sticky treat should be easy enough to pronounce (unless you have a mouthful of it), but there’s plenty of regional debate across America. The Western half of the country pronounces caramel with two syllables, completely ignoring that second “a.” Meanwhile, Southerners and East Coasters embrace that second vowel and spread this candy out to three syllables.

In-N-Out or Shake Shack?

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Regional food debates aren’t just limited to what to call something or how to pronounce it. It’s also about cheeseburgers. While many locals are loyal to their regional chains, the two biggest regional titans are In-N-Out and Shake Shack. While both have expanded, In-N-Out spread from the West Coast over to Texas, and Shake Shack began on the East Coast. Both spots offer budget-friendly fast food-style burgers with special sauces, fries and milkshakes, and both have cult followings. Why can’t these burger chains get along? And more importantly, why can’t In-N-Out go national?

Where do you put the cheese on a burger?

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At its core, a cheeseburger is just a patty, cheese and a bun. It should be simple, but of course, there’s room for debate. Namely, where does the cheese go on said burger? Google sparked this particular food debate in 2017 when it launched its burger emoji with the cheese on the bottom. In the tiny illustration, the burger had the toppings and patty sitting atop the cheese, while competitor Apple’s emoji had the cheese on the top of the stack. Though some people defended this ordering, Google caved to the pressure and changed the design to have the cheese on top a month later.

How do you slice bagels?

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You might think there is a universal consensus on how to prepare a bagel. You take the bagel, slice it in half, maybe toast it then add your desired toppings and eat. Enter the city of St. Louis, where, for years, people have been slicing their bagels like a normal loaf of bread. This results in biscotti-shaped slices of bagel that truly confound people outside of Missouri. Proponents of the “bread-sliced” bagel claim that it allows for maximum amounts of cream cheese or other toppings per bagel piece.

Did Millennials ruin everything?

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Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Mary McPartlan obituary: &lsquoOne of the greatest traditional singers of her generation&rsquo

Mary McPartlan

Born: January 8th, 1955

Died: April 6th*, 2020

Mary McPartlan was a singer who mined the seam of every song she sang to its deepest core. She was a woman of many parts. A trade union activist and a director of the Galway Simon community, she championed the rights of those marginalised at home and away. An arts administrator, a television and theatre producer, a Fulbright scholar, Mary McP (as she was widely known) possessed powers of persuasion that would have been the envy of the wiliest diplomat.

Mary was the eldest of six children, reared in the townland of Comalth, outside of Drumkeeran. Her mother, Betty Ward, was from Plumbridge in Co Tyrone, her father was known as Tom Patsy, to distinguish him from the many other McPartlans in Leitrim. Growing up, Mary was often in loco parentis, playing a big, generous part in the rearing of her three younger brothers, Pakie, Séamus and Martin, and her two younger sisters, Gertie and Pauline. The depth of her heartache at Pakie’s untimely passing in 2015 was a measure of her lifelong allegiance to kith and kin, and to the riches she recognised that came from growing up in rural Leitrim.

Mary’s compass pointed her in the direction of a life in the arts early on. Founder of the Riabhóg Singers Club and of the Skehana Theatre Company, her boundless energy led her to play a memorable part in the Druid’s production of The Midnight Court. Forever intent on supporting artists in the best and most imaginative ways possible, it was she who conceived of what are now the TG4 Gradam Ceoil Awards, produced many TV programmes including Flosc, and over the past decade, founded the Medical Orchestra in NUI Galway. At the same time, Mary led the visionary Arts in Action programme, a jewel in the university’s crown, drawing the finest artists and countless international students to NUIG.

Her Fulbright scholarship led to another remarkable odyssey, this time to Kentucky’s Berea College, from where she researched the songs and legacy of Jean Ritchie. Her final, superb album, From Mountain to Mountain, celebrated the rich shared histories of Kentucky’s Appalachian communities and those of her own home place, Drumkeeran, and led to yet another inspired collaboration, this time with American jazz pianist, Bertha Hope.

Boundless energy

Mary was indefatigable in everything she did. She could be impatient and occasionally cranky, as she struggled to understand why everyone else didn’t possess the boundless energy and enthusiasm which characterised her stewarding of every artistic odyssey she embarked on.

She was the powerhouse who conceived and produced She Moved Through The Fair: The Legend of Margaret Barry, bearing rich testament to her commitment to sharing Barry’s extraordinary life and talent with those who knew nothing of her.

Even in the midst of her medical treatment, Mary’s ear was poised for musical adventure. While in hospital in Galway, she detected the inherent musicality of the numerous beeps emanating from the machinery that surrounded her. Before her doctors knew what was happening, she had persuaded them to allow her dear friends, musicians Máirtín O’Connor and Garry Ó Briain, in to record the sounds, which formed the basis of a new composition, subsequently premiered in Galway.

At her core though, Mary was a singer. Her singing of The Holland Handkerchief, Sanctuary (based on a poem by her lifelong friend, Vincent Woods) and of Shane MacGowan’s Rainy Night in Soho saw her plant a depth charge in each song, making them utterly her own while, at the same time, delicately revealing the universal truths in each. And when Mary sang that iconic line from Rainy Night in Soho, “You’re the measure of my dreams,” the words reverberated long after she left the stage.

Her long time close friend and touring companion, President Michael D Higgins, paid fitting tribute to her, saying that “Mary brought the truth of emotion and empathy to her singing, and her acclaimed debut album, The Holland Handkerchief, established her as one of the greatest traditional singers of her generation.’

Mary is survived by her husband, Paddy (Noonan), daughters, Mairéad, Méabh and Niamh, son David, brothers, Martin and Séamus and her sisters, Pauline and Gertie,and her grandchildren Cillian, Kate and Molly.*

*This article was edited on April 30th 2020 to correct the date of death and ammend the list of surviving relatives.


Watch the video: Θέματα Ασφάλειας των πρόσθετων τροφίμων, (November 2021).