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A white badge for RTÉ Radion with a picture of an old-fashioned radio set with RTÉ Radio written along the bottom and 2 2 2 coming out of it.

RTÉ created a second radio station in 1979, to focus more on popular music. Called Radio 2 between 1979 and 1988, the name was later changed to 2FM. The first song broadcast was ‘Like Clockwork’ by the Boomtown Rats.

A pink poster with a black and white design of a radio and the caption 'RTÉ News - Are you getting the full facts' 'Repeal section 31 of the Broadcasting Act'

During the Troubles, censorship was used to silence Sinn Féin and the IRA. Under Section 31 of the Broadcasting Authority Act, it was forbidden to broadcast the voice of Sinn Féin members. This rule was brought in by Fianna Fáil’s Gerry Collins in 1971 and strengthened by Labour’s Conor Cruise O’Brien in 1977. The ban was upheld by the European Commission of Human Rights in 1991, but repealed two years later as part of the peace process.

A black and white photographic portrait of Roddy Doyle taken by Conor Horgan

A black and white photographic portrait of Liam O'Maonlai taken by Conor Horgan.

Set of 2 badges for the Lambert Puppet Theatre.

1. Picture of Mr. Crow on a white background with red text.
2. Picture of a dog on a red background with white text.

These two badges were produced by the Lambert Puppet Theatre, a much-loved local institution. Founded in 1972 by Eugene Lambert and his family, it was Ireland’s first purpose-built puppet theatre. The theatre also produced television programmes, including Wanderly Wagon and Bosco. Mr. Crow, depicted on one of the badges, was a character from Wanderly Wagon.

Irish Times board used to show main headlines by street sellers and shops.

A black and white photo taken on Camden Street by Tony O'Shea showing a dog on a man's lap riding a motorbike, creating the illusion that the dog is riding the bike, in front of a 16A bus.

A black and white photograph of an old man on a bus sitting upstairs at the front taken by Tony O'Shea.

Tony O’Shea was arguably the city’s greatest press photographer in the latter half of the century. His ability to capture the reality of a situation was such that some luminaries feared being photographed by him. As Colm Tóibín once put it, “he is not the sort of photographer who helps politicians to win elections.”