Russian Foreign Minister Sergei Lavrov has blasted the Polish government for inculcating anti-Russian attitudes among the population. Speaking to Sputnik, political observer Eduard Popov said that while Warsaw regularly uses Russophobia for political reasons, there’s no evidence to suggest that Poles have a sort of natural hostility toward Russia.
Speaking to students and teachers at the Moscow State Institute of International Relations on Friday, the Russian foreign minister lamented that the Polish public is being “brainwashed” into holding “unequivocally anti-Russian” attitudes.
“I see here an obsession with creating an atmosphere of total resentment by society of anything related to Russia,” the diplomat said, answering a question about the reasons behind Warsaw’s anti-Russian policy, including the recent decision to demolish hundreds of Soviet-era war monuments.”
According to Lavrov, Poland’s Russophobia is being whipped up by people who “diligently” rewrite history, who are working to revise Polish nationalism based on ideals of superiority over others, and who would like to “pin the blame for all of Poland’s misfortunes on [Russia].”
The West propagates the narrative of an aggressive Russia constantly attacking poor defenses Poland but in reality, Poland was regional power in its day, which often launched aggressive unprovoked invasions against Russia. Poland invaded Russia long before Russia ever invaded Poland. The above painting by Jan Matejko shows Polish King Boleslav the Brave capturing the capitol of ancient Russia, Kiev, in 1018. Legend has it he damaged his sword on the golden gate and since then it was called the notched sword. During the time of troubles in 1600’s, Poland even occupied Moscow.
This includes Warsaw’s claim that the Molotov-Ribbentrop Pact was the real reason behind World War II, the diplomat said. In Lavrov’s view, by focusing on the Nazi-Soviet non-aggression pact, Polish leaders seem to forget that “at the time of the Munich Conspiracy, when Czechoslovakia was divided up, Poland quietly took for itself a very tasty morsel.”
“The fact that this was a very serious impetus for creating potential for conflict in Europe is something Poland prefers not to speak about, just as it prefers not to mention that long before the Molotov-Ribbentrop Pact, Great Britain and France concluded their own, similar treaty with Nazi Germany,” Lavrov emphasized.
Ultimately, the senior diplomat noted that in this environment of hostility, even elementary communication and diplomacy is difficult.
Asked to comment on Lavrov’s remarks, Eduard Popov, a Moscow-based political analyst whose areas of expertise include Russian-Polish relations, said that the idea of Poles’ naturally-occurring anti-Russian sentiment is really only one part of the equation.
“Poland’s anti-Russian traditions have a long history,” the observer said, speaking to Radio Sputnik. “Here we can recall the three divisions of the Polish-Lithuanian Commonwealth,” in which Russia took part, “the subsequent participation of the Poles in aggression against Russia on the side of the Napoleonic armies, and so on and so forth.”
During their occupation of Moscow, they imprisoned, beat, and starved to death Patriarch Hermogenes of Moscow, the leader of the Russian Orthodox Church, over a century before any Russian army would set foot on Polish Soil, and partition it. One could argue the Poles started the conflict, and Russia merely won.
“But anti-Russian sentiment in Poland is just one side of the coin. The other side is pro-Russian sentiment. This too shouldn’t be discounted,” Popov stressed.
The world popular Polish video game series, The Witcher, based on the book of the same name, was hugely successful in Russia due to it being based on their common Slavic mythology and culture. Whilst the game was popular enough in America, that Obama was given a copy by the Polish government, it will always be closer to the hearts of Slavic Russians. Below is a character who is clearly inspired by Russian-Ukrainian Cossacks, note the distinctive hairstyle and sabre. Despite Russophobia in Polish culture, Poles and Russians are very close.
The analyst drew attention to Lavrov’s choice of words in saying that Poles were being “brainwashed.” This was true, he said, noting that to some extent, anti-Russian views really are being artificially inculcated among the Polish public.
“Polish Russophobia, even though it has its historical roots, is something that is sufficiently engineered, something artificially imposed on Polish society. I recently spoke to representatives in the Polish opposition, and was told the following fact: about 70% of Polish media is controlled by German media structures, while the remaining 30% is controlled by Americans. Do we really need any more evidence that Polish public opinion is being formed along a deliberately anti-Russian slant?”
Ultimately, Popov said that he was optimistic, and that it wasn’t worth getting hung up exclusively on the negative aspects of Russian-Polish relations.
“We must remember that along with official diplomacy there is unofficial diplomacy – people’s diplomacy. Not all Poles adhere to the anti-Russian perspective being imposed on them. This is something that manifests itself in personal communication. According to polls, about 35% of Poles have positive attitudes toward Russia. This is a very important factor on which to build the foundation of future relations between Russia and a Poland that’s free and independent of the West,” Popov concluded.
Despite their political differences, Polish and Russian peoples are both Slavic, and share cultural and linguistic roots. Many Russians and Poles see through the Anti-Slavic agenda imposed on them by foreign powers and see each other as Slavic brothers. Check out this video to see two beautiful women comparing the Polish and Russian languages.
Lou Reed: The Velvet Underground: an inside look at the band that gave a voice to the outsiders | USA
The importance of The Velvet Underground has been endlessly discussed. They are, with a nod to The Beatles, the modern rock group par excellence. Formed by Lou Reed and John Cale in New York in 1965, the band was immediately endorsed by Andy Warhol, with whom they would collaborate until 1967, although his influence would never leave them. The Velvet Underground were a sixties group that, during its five years of existence, failed to fit into their era for a single day. While others sung of love and good vibrations, they designed a revolutionary and perverse alternative for rock.
It was an alternative that remains valid to this day, half a century after the group was mortally wounded by the departure of Reed in August 1970. To corroborate this, Apple TV will premiere The Velvet Underground in October. Directed by Todd Haynes, the documentary is full of never-before-seen footage and interviews with people who were in the thick of it at the time, more than compensating for a dearth of movies about a band that can be described as legendary without fear of slipping into musical nepotism.
The documentary arrives in good company. At the end of September I’ll be your mirror: A tribute to The Velvet Underground & Nico was released, an album of cover versions of the group’s influential debut album when the line-up consisted of Reed, Cale, Sterling Morrison and Moe Tucker. A posthumous work by producer Hal Willner, who died of Covid-19 in 2020, it features contributions by Thurston Moore, Sharon van Etten, Iggy Pop, Kurt Vile, Courtney Barnett and Michael Stipe, among others.
Speaking about the original The Velvet Underground & Nico, released in 1967, Haynes said in an interview with Uncut magazine earlier this year that it is music that makes you think about how fragile identity is, and also about life. The journalist Susana Monteagudo concurs with Haynes. “The Velvet Underground were the first punk group in terms of transgression of codes and creative freedom,” says the author of books including Illustrated History of Rock and Amy Winehouse. Stranger than her. “As well as practicing the philosophy of do-it-yourself and rejecting the commercial course of the music industry, they subverted the establishment by making dissidence visible on every level, not just in artistic terms. They embraced the marginal and they were too nihilistic, cynical and sinister for the Flower Power era.”
The Velvet Underground did not belong to their time, but to the future. Cale wanted to fuse rock and roll with experimental music. Reed’s lyrics were open to the influence of writers like Burroughs, Delmore Schwartz and John Rechy. They were a loud and screeching band, but they also composed melodic songs. This contrast is most evident on The Velvet Underground & Nico, which contains some of the group’s most beautiful songs. I’ll be your mirror and Femme Fatale are sung by Nico (who also provides vocals on the chorus of Sunday morning, originally written for her but eventually sung by Reed), one of the most conflicting elements of the band.
For trans artist Roberta Marrero, Nico, the German model and singer who died in 1988, was an “icon of undisputable beauty, as well as being a pioneer who opened the door for other greats like Siouxsie.” In spite of her beauty, Nico did not fit the prevailing pop girl model of the time. Her singing style was far removed from traditional rock and openly reflected her Germanic and Gothic roots. Her inscrutable personality was married to a talent that after she left the Velvet Underground would manifest itself in unclassifiable works such as The marble index (1969), whose idiosyncrasy – tearing up the blueprint of pop music and exploring musical latitudes reserved for men – would inspire Kate Bush and Björk, as well as more contemporary artists such as Julia Holter, St Vincent and Anohni.
The Velvet Underground also broke with the heterosexual tradition of rock music. In Monteagudo’s view, in addition to creating a literary imagery “where there was room for homosexuals, trans women, prostitutes, junkies and outsiders in general,” they were also “a band not exclusively made up of males, and men who at the same time did not identify with a heteronormative masculinity, especially in the case of Lou Reed. They integrated and normalized diversity in their sphere because their way of life was linked to this concept. It was also the dawning of the ambiguous, the queer.” Marrero believes that “they brought non-normative sexualities to the forefront, such as sadism, more so than homosexuality. Although when I think about it, I’m waiting for my man could be talking about a gigolo and not a drug-dealer. In reality, it’s very ambiguous.”
This divorce from the prevailing canons also had a lot do with the presence of Maureen “Moe” Tucker. Her drum work with the band anticipated a trend that would not take hold until 1977, with the explosion of punk. From that point on, the female role in groups ceased to be principally pigeon-holed into certain instruments and roles. In Monteagudo’s opinion, Tucker is “a key element of this breaking of stereotypes and, as such, a figure to be held up by feminism. Her playing style, as unorthodox as it was influential, is one of those achievements that should be emphasized by the movement. Furthermore, her androgynous image and her discretion made her a counterpoint to Nico’s glamour.”
Revered by bands such as The Jesus and Mary Chain, who dedicated a song to her, and as Marrero asserts, a precursor to drummers such as Hannah Billie, formerly of Gossip, Tucker is, along with Cale, one of the survivors of the Velvet Underground’s original line-up. Due to her social media stance on Donald Trump and gun ownership, Tucker has also become the band’s least popular member.
Warhol’s influence was a determining factor behind The Velvet Underground developing such a peculiar personality. In the strictly musical sense, the band projected through their instruments some of the ideas on repetition, improvisation and saturation that the artist applied to his experimental movies. On the literary side, the people who frequented Warhol’s Factory left their mark on songs including That’s the story of my life (inspired by Billy Name, the Factory’s archivist) Femme fatale (inspired by the ‘it’ girl Edie Sedgwick) or the Reed-penned Candy says, which is about Candy Darling, an icon of the trans community.
“When Candy says was released in 1969 nothing changed,” says Marrero, “but I think it was a marvelous celebration of trans culture on the part of the group. It is one of my favorite songs. You have to read the lyrics in a historical context because all that stuff about being trans and hating your body is a discourse that is now quite outdated in our community.” Marrero also notes that, years later, Reed was in a relationship with a trans colleague, Rachel Humphries, the two sharing a “romantic relationship that was utterly silenced by the hetero-ciscentric music press.”
When he started his solo career Reed would again talk about Candy Darling and other trans actresses on Walk on the wild side, one of the hits on his acclaimed 1972 album Transformer, a record that finally delivered many of The Velvet Underground’s artistic ideas to a wider audience. By that time, David Bowie, Patti Smith, Suicide, Modern Lovers and New York Dolls we ready to do the group’s legacy justice.
A Treasure of Old Christian Paintings in a Russian Church in a Remote Forest
One of the editors of RI actually visited this church this summer, and we can assure you, it is REMOTE! Brumfield, in his understated way, doesn’t describe the condition of the road leading to this village, but it is barely passable at times. The number of remarkable architectural and other treasures hiding in the Russian hinterlands, especially in the north, is rather extraordinary.
This article is from a series by the invaluable William Brumfield, (Wikipedia), Professor of Slavic Studies at Tulane University, New Orleans, USA.
Brumfield is the world’s leading historian of Russian architecture. He makes frequent trips to Russia, often to her remote regions, and records the most unusual examples of surviving architecture with detailed, professional photography.
His most recent book is a real treasure, Architecture At The End Of The Earth, Photographing The Russian North (2015). (Amazon). This truly beautiful book was made possible by the support of a US philanthropist, and its true cost is 3 times its retail price, and we can’t recommend it highly enough. Here is our 2015 review of it.
Bravo to RBTH for making Brumfield’s work possible, and providing such a great platform for his beautiful photography. We recommend visiting the RBTH page, which has a slide show for each article with many more pictures than we can fit in here.
Don’t believe in miracles? Well, we can assure you, Brumfield’s work is undoubtedly just that. You can find a complete list of his articles on RI here.
The original headline for this article was: The Church at Korovye: Abandoned Treasure of Russian Art
The turbulence of the past century has left many abandoned architectural monuments in Russia’s regions — parish churches, former estate houses, log houses and churches in villages where no one lives. However modest, they all reflect the history of their area, and some of them are — or were — masterpieces of creativity.
One of these monuments is located in the tiny village of Korovye near the Viga River just off the road to Chukhloma. Although the village name is modestly derived from the word for “cow,” its church has the imposing and unusual dedication to the Convocation of the Mother of God. Within the abandoned church is one of the most unusual displays of religious art in all Russia. On the walls of the main structure, the artist in effect created a miniature Renaissance palazzo for the display of the sacred images.
The village of Korovye was originally known as Verkhniaia pustyn (“Upper wilderness”), a reference to one of the three monastic retreats founded in the Chukhloma area by St. Avraamy Gorodetsky. Dissolved in the middle of the 18th century, the small monastery’s two wooden churches — dedicated to the Convocation of the Virgin and to Elijah the Prophet — were converted to use as parish churches. In 1797, parishioners provided resources to rebuild the former as a large brick church that would serve a group of 34 villages (most of which no longer exist).
Attributed to the noted Kostroma architect Stepan A. Vorotilov (1741-1792), the design reveals a professional mastery unusual for a rural church. Whereas typical parish churches had a sprawling refectory with additional altars that pushed the main structure away from the bell tower, here all the components are tightly integrated.
The structure rests on a ground floor that contained secondary altars and was used for worship in the winter months. Above the ground floor rise the essential components of a parish church: the main worship space with two rows of windows and five cupolas, a rectangular apse for the primary altar at the east end and on the west, a compact refectory and magnificent bell tower over the main entrance.
This sophisticated, technically demanding design created a coherent visual tie between the primary components of the church: the bell tower and the core structure with five cupolas. The main interior space on the upper floor was dominated by an elegant neoclassical iconostasis.
The majestic character of this design was demonstrated when the Convocation Church was chosen for a visit by Emperor Alexander I and his wife Empress Elizabeth on their way back from a visit to the Urals territory in the fall of 1824. Indeed, during the first half of the 19th century, this church could claim to be the most imposing in the Chukhloma region, surpassing even those in Chukhloma itself.
A fire in the late 1890s damaged much of the interior and led to a major renovation that extended from 1903 to 1906. On the ground floor, a refectory (containing altars to Elijah the Prophet, St. Nicholas and St. Avraamy Gorodetsky) was expanded on the north and south sides. The expansion was artfully hidden by a grand staircase that curved upward from both sides to the main portal on the second level of the bell tower. This skillful renovation — and particularly the stairway — gave the church a still more imposing appearance as it soared above the two main streets of the village.
Yet the great miracle occurred on the interior, whose walls were repainted under the direction of a Moscow artist identified as Anufry A. Bakhvalov, a native of this area. Although the work of Anufry Bakhvalov is little known, the scope of imagination represented by these wall paintings is extraordinary, even daring. The artist did not simply depict the religious subjects in a Renaissance-based style typical of academic painting, he painted the subjects within imposing Renaissance frames situated between neoclassical columns with lavish composite capitals — and all of this in trompe l’oeil (on a flat, two-dimensional surface). At some points, Bakhvalov even painted the shadows cast by the illusory frames. The interior space had become a miniature Renaissance art gallery.
Surviving fragments of the paintings on the north and south walls include full-length figures of St. Vladimir, St. Catherine, St. Nicetas and St Macarius on the lower level between the windows. The upper level of the north and south walls is devoted primarily to a portrayal of the Evangelists Matthew, Mark, Luke and John with their symbols — another unusual artistic decision. (The Evangelists are often depicted on spandrels beneath the main dome, but spandrels are absent in this structure.) On the south wall are John (now effaced) with the eagle, and Mark with an endearingly vivid depiction of a guardian lion. On the north wall are Matthew, compelling in his concentration and assisted by an adoring angel; and Luke with the bull (both largely destroyed). The north wall also contains a depiction of Christ with Mary and Martha, the sisters of Lazarus — one of the most moving episodes in the Gospel account of the life of Christ.
Equal to the Evangelists in their artistry are the three scenes above the arch in the west wall: the Miracle of the Loaves and the Fishes (Christ feeding the Multitudes) on the left side; Pentecost (Mary and the Apostles) in the center; and a vivid depiction of Balthazar’s Feast on the north side of the west wall. Throughout, there is evidence of the artist’s knowledge of Renaissance art, particularly in Balthazar’s Feast, which depicts armed horsemen storming through the gate of the burning city. On the east, the apse contained a depiction of the Last Supper, now almost effaced.
The ceiling vaults in their height represented a culmination of the visual program. Although much has been lost, fragments remain of the august display of the Synaxis (Gathering) of the Archangels, part of the larger concept of the Convocation of the Virgin. Crowned archangels and angels gather on the north and south flanks, while the east flank was devoted to the cartouche with the Crucifixion (destroyed). The west flank presumably had a depiction of the Mother of God enthroned.
Unfortunately, the Convocation Church’s glory days were soon eclipsed by the rise to power of an avowedly atheistic regime. Although it survived longer than many other churches, the Convocation Church was closed in 1937 during a renewed wave of terror against religion. Subsequently the icons were removed, and the ground level was used as a storehouse for various purposes. The cupolas were destroyed, and in the 1980s, the area of the church was apparently used as a detention center for juvenile delinquents.
Unprotected and exposed to the elements as well as vandalism, the artwork of the upper level began to collapse. Recently, the roof of the church was replaced and the arch in the upper west wall was reinforced with a firm wooden brace. The upper level has been swept of debris, but the interior is still exposed and under threat of further deterioration. The fate of the remains of this extraordinary artistic creation is still in question.
Munster grind it out to shatter Connacht hearts at the death
Munster 20 Connacht 18
In time-honoured fashion, Munster dug deep and needed their 16th man to overcome their own faultlines and a smart, hugely motivated Connacht to ensure they marked the fifth anniversary of Anthony Foley’s passing with a win.
Somehow, because of the day that was in it, you sensed they would do so in the end, and in dramatic fashion as well. Their skillset and execution, especially in the opposite 22, was flawed albeit they rolled their sleeves up and threatened to bludgeon Connacht into submission.
Save for the pre-ordained tactic of Joey Carbery cross-kicking for Andrew Conway and Mike Haley’s fine counter-attacking into the first-half wind, their outside backs hardly featured. Simon Zebo hardly saw the ball.
It was hard luck on Connacht, who weren’t remotely in the mood to be sacrificial lambs, with the width of the upright and two questionable decisions heavily influencing the outcome.
Their launch plays were better, they opportunistically took their scores and were defiant in the midst of Munster’s second-half storm and Thomond Park’s traditional fervour when the going gets tough for their team.
Connacht’s defeat came at a cost too, with their outstanding flanker Cian Prendergast wheeled off the pitch with his leg in a brace. Encouragingly he didn’t look in much pain, but he’s a tough young player.
Prior to the game, in a classy touch, the visiting captain Jack Carty presented a Connacht jersey inscribed with the number 8 and Axel on the back to Peter O’Mahony.
Closer to kick-off, the date was formerly acknowledged over the PA system, with mention for his wife Olive and kids Tony and Dan (all of whom had been invited to the game along with the extended family) as an image of Foley in that familiar ball-carrying gait was displayed on the big screen.
This prompted a minute-long standing ovation as the Munster players completed their traditional lap after their warm-up.
Heavy rain up until an hour before kick-off ensured the pitch was very greasy before there was that rarity, a clean break with a strike move off the game’s first lineout.
Even in defeat last week, Connacht’s launch plays were well executed and off Niall Murray’s take at the front, Carty used the decoy run of ex-Munsterman Sammy Arnold to hit Mack Hansen up the middle before he linked with Bundee Aki who had Conor Oliver, also returning to his old haunt, on his inside. When Tadhg Beirne went off his feet, Carty opened the scoring.
Connacht’s scrum, not unexpectedly, was in difficulty from the off, but Paul Boyle adroitly scooped the ball from between his feet and, but for Zebo racing back and diving full-length, Carty would have executed a 50-22 from inside his own 22.
As it was, he soon did manage the feat, although Munster survived thanks to Gavin Coombes’ strength over the ball.
As expected it soon became a feisty affair. When Peter O’Mahony took exception to Boyle trying to retrieve the ball from Niall Scannell after Arnold had won a penalty in the jackal it prompted the first two bouts of scuffling.
Aki wouldn’t have been alone in thinking the penalty against him for holding on was ridiculous but, when he came charging again, Cloete was pinged for not releasing, although not for the first or last time in the match Chris Busby showed no inclination to wait for an advantage.
Connacht went to the corner and after the maul was held up and Aki carried up, Tiernan O’Halloran cleverly palmed a loose ball out to Hansen for a finish in the corner, but replays showed the ball had gone forward.
Only Munster’s work over the ball, Cloete winning another turnover penalty, was keeping them above water. Cue a big maul and the option to go to the corner, only for Scannell’s overthrow to be gathered by Oliver.
It was very stop-start.
Prendergast also thought he had scored from 45 metres but there had been a preceding knock-on, before Arnold was harshly binned for going in higher in a double hit with Aki and clashing heads with Haley. Not even the home crowd could summon much in the way of complaint when the incident was replayed.
Indicative of a patchy first-half performance, initially Munster couldn’t translate their numerical advantage into anything tangible. There was a clean break by Conway from Craig Casey’s sumptuously disguised left-handed behind-the-back flick, but Carty made the covering tackle and Carbery couldn’t gather the low offload.
But the best feature of Munster’s game had been Haley’s counter-attack, and he ran Crossfield to link with Conway for a trademark grubber.
When a sliding O’Halloran couldn’t gather the slippery pill, Munster recycled it and Rory Scannell crosskicked to four unmarked teammates on the left. Beirne tried to trap the ball on the volley before hacking on for Cloete to win the touchdown.
Surprisingly, TMO Brian MacNeice and Busby overlooked the still replay which clearly showed, with the help of the 10 metre line, that Beirne had been in front of the ball when Scannell kick-passed.
Carbery converted to give Munster a flattering 7-6 interval lead, and Connacht could feel rightly aggrieved with the Arnold yellow card and the award of the try.
On the resumption, Munster sought to maximise their advantage by going to the corner but Cloete was held up over the line by Carty, Matthew Burke and John Porch.
From a Coombes charge and offload to Beirne, Munster resorted to a route one, pick-and-jam assault, but when Cloete burrowed toward the line, Boyle won a penalty in the jackal.
However, Dave Heffernan’s overthrow went straight to Scannell and a penalty for offside enabled Carbery to make it 10-6.
Connacht weren’t done though, going up the line and stretching Munster on both edges after another clever launch saw Heffernan wrap around and hit Blade on an out-and-in line.
Boyle tapped a close-range penalty and when Jean Kleyn and Cloete both went low, he simply dived over them to score but, crucially, Carty’s conversion drifted onto the outside of the post.
Connacht mucked up the restart and Munster mucked up another attack before a maul penalty lead to Carbery restoring the home lead.
In one of the season’s more unusual entries, Shane Delahunt came on, immediately gathered a Munster overthrow inside his own half, hoofed upfield, saw the ball squirm away from Conway for a 50-22 and punched the air in celebration. Alas, his ensuing throw was crooked.
Even so, Connacht kept coming, Abraham Papali’i putting them on the front foot from turnover ball as they went through the phases up to the Munster 22 before he knocked on.
Whereupon, out of nothing, Carbery took too long in winding up for a downfield punt which was charged down by the alert Carty. He gathered and scored gleefully under the posts before adding a conversion.
Crucially, the referee awarded Fineen Wycherley a turnover scrum when seeming to continue playing the ball on the deck after Ultan Dillane’s take.
Coombes tapped one penalty before Munster opted for a five metres and then tapped another after an exhaustive pick-and-jam before, by way of variety, Jack O’Donoghue popped the ball for Diarmuid Barron to plunge over.
Carbery calmly nailed the conversion to nudge Munster in front at the last.
Scoring sequence: 2 mins Carty pen 0-3; 10 mins Carty pen 0-6; 39 mins Cloete try, Carbery con 7-6; (half-time 7-6); 49 mins Carbery pen 10-6; 53 mins Boyle try 10-11; 59 mins Carbery pen 13-11; 69 mins Carty try and con 13-18; 78 mins Barron try, Carbery con 20-18.
Munster: Mike Haley; Andrew Conway, Keith Earls, Rory Scannell, Simon Zebo; Joey Carbery, Craig Casey; Dave Kilcoyne, Niall Scannell, John Ryan; Jean Kleyn, Tadhg Beirne; Peter O’Mahony (C), Chris Cloete, Gavin Coombes. Replacements: Diarmuid Barron for N Scannell, Jeremy Loughman for Kilcoyne, Stephen Archer for Ryan (all 54 mins), Dan Goggin for R Scannell (57 mins), Fineen Wycherley for Kleyn (60 mins), Jack O’Donoghue for Cloete (68 mins). Not used: Neil Cronin, Jake Flannery.
Connacht: Tiernan O’Halloran; John Porch, Sammy Arnold, Bundee Aki, Mack Hansen; Jack Carty (capt), Caolin Blade; Matthew Burke, Dave Heffernan, Finlay Bealham, Niall Murray, Ultan Dillane; Cian Prendergast, Conor Oliver, Paul Boyle. Replacements: Jarrad Butler for Prendergast (47 mins), Shane Delahunt for Heffernan, Abraham Papali’i for Boyle (59 mins), Kieran Marmion for Blade (61 mins), Jack Aungier for Bealham (64 mins), Greg McGrath for Burke, Eoghan Masterson for Dillane (74 mins). Not used: Tom Daly.
Referee: Chris Busby (IRFU)
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