text:
Jocelyn Rickards (JR)
Costume Designer
BECTU No.493
Interviewer: Roy Fowler (RF)
Date 7-8/3/2001 & 5/4/2001
7 Tapes
Side 1
00:00:00 – 00:17:35 Born 1924, in Melbourne; when she was 11 her family moved to Sydney; at 14 she went to art school where she studied for 6 years; she came from a nice middleclass family which had no connection to her later career; after the first two years at college she was required to choose a specialist subject and started in the painting school; her ambition at this time was to become a painter and had no interest in working in the cinema; after finishing at art school JR set up a studio overlooking the harbour where she worked on her painting; her paintings sold very well but she wanted a larger canvas to work with and decided to move to London; her parents were very supportive of her decision to go to art school; her studio in Sydney was located at Merioola House which was also occupied by a number of other artists who formed part of an art movement in Australia; there was a constant flow of artists moving through Merioola; the painters at Merioola were rooted in contemporary European.
00:17:35 – 00:35:15 She moved to London in 1948 with her partner Alec Murray; Harry Watt had been in Australia shooting Eureka Stockade prior to JR leaving for England; Julian Spiro had a room at Merioola for a period; JR talks about the journey from Australia and her arrival in London during times of austerity; JR talks about photographer John Deakin and theatre designer Loudon Sainthill.
00:35:15 – 00:43:30 By 1950, JR is still painting; she talks about some of the paintings sold during this period; Loudon Sainthill was asked to storyboard a film version of A Midsummer Night's Dream for which he sought the help of JR and Margaret Olley; JR discusses some of her other activities during this period including the Diaghilev exhibition in London featuring variety of period dresses.
Side 2
00:00:00 – 00:10:30 JR continues to discuss her involvement with the Diaghilev exhibition in London.
00:10:30 – 00:17:00 JR's paintings would be used as set dressing; decorator John Bannenberg hired JR's paintings for some of the films he had been working on; she was asked to meet with Anatole Litvak to discuss The Deep Blue Sea; she met Terrance Rattigan at Shepperton; Vincent Korda was the production designer on the film.
00:17:00 – 00:26:30 JR describes her initial designs for The Deep Blue Sea which Vincent Korda agreed to purchase; JR worked on the actual screens used in the film but had little more involvement; discussion of Graham Greene, Alex Korda and Merle Oberon.
00:26:30 – 00:43:20 1956, no longer with her partner Alec but still shared a flat with him; JR had a relationship with philosopher Freddie Ayre for three years; JR talks about costume designer Beatrice 'Bumble' Dawson; JR worked with Loudon Sainthill on a musical 'Bloomer Girl'; at this time JR had been working at Nathan's costumier and was asked to work as assistant to Roger Furse on The Prince and the Showgirl; they worked at Furse's home before moving on to Pinewood; JR became friends with Doris Box; for The Prince and the Showgirl, Dawson worked on the women's costumes and Furse the men's and sets; JR discusses her experiences on the set and begins talking about Marilyn Monroe's white dress in the film before the tape ends.
Side 3
00:00:00 – 00:03:55
RF: This is Jocelyn Rickards take two. Yes, you were describing…
JR: Marilyn's costume. And I wouldn't have put her in a white costume. She had three identical costumes in case anything was spilled on it and we didn't want hold ups. It was a scene of a court ball and there was Larry, in uniform, with his hair parted in the middle, than which nothing is less attractive. It didn't even give him a very good period aspect, you could have done it in several other ways and there was… in that scene there was Sybil Thorndike, Maxine Audley and Esmond Knight, I can't remember who else, but they were people I got to know, I mean, Sybil looked marvellous in violet velvet and it was a beautiful, sort of, weird period recreation. Maxine Audley was in shaded lace, very beautiful rose pink shading to shell pink. Immensely elaborate, she looked beautiful but I heard Bumble say "Uh, my god, I had no idea that Roger would people the ballroom with men in scarlet jackets." I'd done it in fact because I had chosen all the period costumes, I mean all the ballroom costumes, and there were dark green jackets that I liked, I mean, given that in a ballroom the jackets are more important than the trousers. There were marvellous dark blue privy councillor's uniforms I think, dark blue gold braided frock coats and… Richard Wattis was in it too, he played Larry's aide-de-camp… but Bumble said "All these red jackets and I thought the centre of the piece would be Maxine in rose and pale pink." And I thought "Why didn't you talk to Roger, why didn't you talk to me. Why did you leave it to chance, Bumble." I didn't have to choose red jackets, but it was limited what you can choose… those remarkably swept up grand uniforms for a ballroom scene – don't keep your hand over your work, communicate far and wide. But I didn't say anything.
00:03:55 – 00:11:00 JR talks about some of her other experiences on The Prince and the Showgirl; JR earned £30 a week for the film; Jack Cardiff had no input on the designs, the film was very compartmentalised; Carmen Dillon worked on the film alongside Roger Furse.
00:11:00 – 00:23:10 JR talks about Alec's operation; JR then worked with Loudon Sainthill on stage musical 'Expresso Bongo' whilst continuing painting; costumes for Expresso Bongo were made at Berman's and Elizabeth Cuzon.
00:23:10 – 00:45:30 JR met Tony Richardson after a performance at the Court Theatre; Loudon Sainthill was working on Look Back in Anger and asked JR to design the costumes; on working with Harry Saltzman, Tony Richardson, John Osborne and Mary Ure; the film was a real act of collaboration; Monty Berman asked JR to redesign the costumes for the UK version of 'West Side Story' as the original designs had been lost; JR talks about the cast and crew of Look Back in Anger; JR took Edith Evans shopping for clothes for her character; Richard Burton was derisory toward the script but was easy to work with at this stage; JR talks more about her work on 'West Side Story'.
Side 4
00:00:00 – 00:18:15 Costumes for the stage production of 'West Side Story'; friendship with John Osborne and Mary Ure; relationships with Wolf Mankowitz and John Osborne
00:18:15 – 00:45:25 JR designed the costumes for John Osborne's musical 'The World Of Paul Slickey' which wasn't a success; JR recounts a trip she took with John Osborne across France following the premiere of 'Paul Slickey'; JR talks more about her relationship with Alec Murray; JR talks about the period surrounding the theatre productions of 'The Entertainer' and 'Look After Lulu!'; on her meeting with Noel Coward; JR talks about the pre-production on the film version of The Entertainer.
Side 5
00:00:00 – 00:33:00 On The Entertainer; JR greed to work on The Entertainer as she and Tony Richardson had worked so well together on Look Back in Anger; Laurence Olivier arranged his own clothes for the film; JR recommended that Shirley Ann Field wear her own clothes as they were already the right style; Joan Plowright was fitted for a bodice to give her a waist; JR felt that the cameraman's opinion on her work was most valuable; her role as a woman in the film industry; after The Entertainer JR began painting seriously again; John Osborne left JR for Penelope Gilliatt; JR continues to talk about her relationship with John Osbourne.
00:33:00 – 00:44:30 Harry Saltzman called JR to ask her to do the costumes for From Russia with Love; JR talks about some of the principle actors on the film including her friendship with Lotte Lenya; the KGB costume tailored for Lotte Lenya; a lot of the location work was completed in Istanbul.
Side 6 – BLANK
Side 7
00:00:00 – 00:47:00 On Morgan and dressing the cast; JR discusses the gorilla suit worn by David Warner; JR talks about the costumes worn by Vanessa Redgrave on the film; whilst shooting Morgan JR began designing costumes for Mademoiselle which were to be made by Pierre Cardin; these were difficult to design as they were character clothes and very un-chic; JR's designs were lost on her way to France to meet Pierre Cardin and had to be re-sketched on return to London; JR recommended David Watkin as cinematographer for Mademoiselle; further discussion of the film's production in Corrèze, France, including stories about actors Ettore Manni and Umberto Orsini; working with Pierre Cardin on her dress designs and fitting Jeanne Moreau; further discussion of the film including JR's experiences living in Corrèze; Tony Richardson's relationship with Vanessa Redgrave and his bisexuality; planning costumes for The Sailor from Gibraltar.
Side 8
00:00:00 – 00:21:30 JR talks more about The Sailor from Gibraltar; working with cinematographer Raoul Coutard; working with Ian Bannen; on shooting in Greece; shooting at the Uffizi in Florence with Vanessa Redgrave; Tony Richardson's behaviour on the set; shooting in Rome and meeting Franco Zeffirelli; the various personalities on the set of The Sailor from Gibraltar impacted on the filming; shooting in Athens; JR brought in Ruth Myers to work on the costumes with her; Tony Richardson asked JR to meet Orson Welles in Madrid before starting work on The Charge of the Light Brigade; JR told Richardson that she would not work with him again.
00:21:30 – 00:26:20
JR: I mean, David Watkin had a totally dozy idea about The Charge of the Light Brigade, he said "Can't they wear blue and silver instead red and gold?" And Tony said "No". But it had been decided by this time that [Ruben Taylor Tournien?], do you know who I mean?
RF: Sorry, who?
JR: [Ruben Taylor Tournien?]
RF: Yes, yes indeed, yes. [Break because of distortion] Really we are talking around Charge of the Light Brigade and you were saying Watkin had some peculiar ideas.
JR: David wanted all of the British army to be in blue and silver – nobody would've known where they were and David was to be cameraman, [Ruben Taylor Tournien] was to be production designer and there was a letter for me from him wanting something, wanting samples of red and I said to Lee "Well, I'll do that, but I am absolutely at the end of the line. I don't want to work with Tony again, he's be mercurial, impossible and unpredictable and I can't imagine what it will be like in Turkey with him with a huge crowd." Apart from that, John Osborne's script had been pinched from Cecil Woodham Smith's 'The Reason Why' and there was a huge court case over it, because Larry Harvey had the rights. By this time John and Tony were daggers drawn. I can't quite remember why. I mean things were getting very dicey between them when I had been in Istanbul doing From Russia With Love. And he … and they went on squabbling and falling rapidly apart. So I guess Tony had taken it aboard that I was pissed off. And I settled down, now what did I start doing? What is the next thing?
RF: Blow Up according to this.
JR: Well I think it probably is. What's the date of The Sailor From Gibraltar?
RF: '67, which it has to be release date because Blow Up is listed '66.
JR: I got back to London. I was exhausted because I had done one and a half films…no, I had done The Knack, Morgan, Mademoiselle and half of Sailor From Gibraltar on the trot and the only thing I was faintly interested in was all the news of Antonioni coming to London.
00:26:20 – 00:45:50
JR: And the telephone rang one day and it was Assheton Gorton who said "Listen, I am working with Antonioni can I bring him around to your studio and any others you can get me in to." And I said "Sure Assheton and you are not to tell him that I am a costume designer. I can be a painter because you mustn't pressure him." And so they arrived, Antonioni, Tonino Guerra, who'd written the script of Blow-Up, and Assheton. And I showed them our studio, I showed them Richard Wollheim's and I showed them a couple of others and then took them around the corner to see some more and they set off to look at more studios. Telephone call from Assheton who said "You didn't tell me I could not tell him after we'd left you that you're a costume designer. And he wants you to come in and see him." So I said "OK, I will." They had offices in St James Street in the Economist building and I went in and Antonioni had said to, I still don't believe this, had said to Assheton "She won't be too sophisticated for me, will she?" I mean, certainly one of the most sophisticated men I have ever met; anyway, there we were, sitting on either side of this large desk and he said "Do you speak Italian?" And I said "No." And he said "Oh, what are we going to do?" And I said "Francais?" And he said "Yes." And so we spoke French and we spoke French right through the shooting of the film. I'd read the treatment which was fascinating and he said "Are you interested in it?" And I said "Absolutely. Totally interested." And he said … I then said "It's too important for you to trust me without knowing I can deliver." And he said "Would you go over to Paris and write an essay for me on the state of fashion there?" And I said "Yes." And he also said "And then you could do a few drawings." So this took a week I think. I went to Paris duly, I mean I went to the fashion houses, I went to see Victoire, who'd been Christian Dior's favourite model and she'd opened her own, sort of, Pret-a-Porter in the Place des Victoires, and we talked about fabric and she said "There are some amazing fabrics coming out." And she showed me some which would change colour under different lights and one had never seen it before. Anyway, I got back to London, I wrote my essay and delivered it and then did some drawings and went in to see him, with the drawings, and I put them on his desk and he threw back his head and laughed, which was always a very good sign with him that he'd liked what you had done. And he said "Est ca va Jocelyn, bien, merci." And then I … did I go back to Paris? I think I did and bought fabrics … no I didn't buy fabrics … yes I did buy fabrics. There was a place that sold fabrics, the offcuts from the Couturiere's Collections, which you got for almost nothing and I bought fabrics for all models, or maybe not all of them, but any fabric that really pleased me and I got … they gave me an office where I … where I was quite happy working and I didn't do drawings there, but Michael Seymour, Assheton's assistant, had a girlfriend called Ann Mollo she'd been working as … no, her husband was one of those Mollo's who was great with … oh Jesus … was great with uniforms. With historical uniforms.
RF: Oh yes.
JR: Andrew Mollo.
RF: Might he have worked with Kevin Brownlow, originally, hadn't he?
JR: Maybe.
RF: On the film they made about the occupation.
JR: One was called John Mollo and one was called Andrew Mollo. I don't remember which she was married to. She nearly drove me mad as an assistant, but she was very willing. We worked on St James' Street and I would send her in to Jermyn Street, well to Fortnum's, to get something for Leonard to eat in the evening. And she was very good with cheese, or with smoked salmon, or something – she was great in that way; but if I'd show her a piece of fabric, she'd squeak and say "Oh Jocelyn, I think you are going too far." And I knew then that I was going in the right direction if Ann thought I was going too far. She became, later, very well known as a set dresser, but she hadn't turned herself into anything with any creative input at all, she was just a very boring girl, upper class girl. I eventually … casting took forever, we started trying to decide on … David Hemmings had been decided on and we started working with models and eventually we got those sorted out. Peggy Moffat was … you've seen Blow-Up?
RF: Yes several times.
JR: Peggy Moffat was extraordinary. He said to me one morning "Peggy Moffat is coming in today, have a look at her she's just an astonishing piece of self-creation." And she came in with this white mask of a face and eyes painted on. Absolutely astonishing, and I can't remember what she was wearing, but it was dark blue with a white clowns collar and this sleek cap of black hair cut very short and we had her, Jill Kennington, I don't remember the others, or not very well. We had two who were great – Jill and Peggy and then, did we have two who … I can't remember if there were four or five and David's costume we decided on very early: a pair of white jeans, a pale blue shirt and a green corduroy jacket. Then I started to get the models clothes made and I said to Antonioni "Listen you've got to come to one fitting of one model. You've seen the drawings, you liked them, but you ought to come and have a look at the clothes." So he came to a fitting of Peggy's and he sat there and again said "Ca va Jocelyn." And went off. And Berman said "Does he ever say anything more than that?" And I said "That's the best one hopes for, sometimes he says more." And …
RF: Had he ever talked about the film, what he wanted, how he saw it, what it was about? Because there are degrees of enigma in the film, are there not?
JR: Yes, I think I thought we had talked about it. I had immense respect for him, I mean, I remember Assheton coming round one day with some little model aeroplanes saying, they were khaki with targets on them, "I think this is how he sees the costumes." And I looked at them and I said "Well, leave them here." And I looked at them and thought "I don't think he sees the costumes like that. I'm just disregarding them." And I think Assheton in fact was totally bewildered because he didn't speak French, I at least got more from him and then he kept testing Joanna Shimkus, who eventually married Sidney Poitier, and he wanted her in the part that Vanessa played. MGM said "No, not well enough known." So I kept saying "Try Vanessa Redgrave." Fell on deaf ears. Then he got Maureen … who's that harpy with dark hair, pretty, very … what was her name…
RF: You said Maureen?
JR: No, not Maureen, I'm wrong.
RF: Can you think of something that she was in?
JR: A star. She was a Hollywood star. What the fuck was her name?
RF: No idea.
JR: She came over to be tested and I said "What do you want to test her in?" And he said … I showed him some clothes we had … and he said "Ca va Jocelyn." It was a sort of madras checked skirt and a green handkerchief linen shirt as far as I remember, and she arrived and she had the most astonishing figure, she had large tits and… oh god, what was her name …I've got to think of it. Maybe I can't. Clive will remember later. And she didn't like what she was to wear and I said "I can't help it, this is what Antonioni wants you to wear." And with very bad grace she did the test. And when she finished and went to say goodbye to him, he said to me after "You don't like her?" And I said "No, I don't like her." And he said "Why not?" And I said … he said "I think she's great looking." And I said "I think she's of the forties, I don't believe she's a person of the present day." And then Peggy Moffat, I remember, came in, she was wearing a navy blue dress, I've remembered that, with a white frilled collar with a red bow there, with a red bow falling to her hem. And we were getting into shorter skirts and eventually I had all the models clothes made and we'd talked about … I said "What sort of thing?" And he said "Do one in black, white and grey and the other collection in colours and do one for morning, one for midday, one for evening and one for whatever. Four dresses or whatever and we were shooting in Princedale Road in Noting Hill in a photographer's studio… it was a living studio, but a huge photographic studio and Assheton had built gantries from the living part along the wall so he could go from the dark room to the living part. Veruschka came and I decided not to have anything made for her, but to see what I could find in period stock, and I found an amazing beaded tunic which came to a point… it was scarcely on her. It had little strings of beads across the hips. And her body was astonishing, and she looked amazing in it. He said to me "Who could I use for makeup?" And I said there is a French makeup man, I mean a makeup man who speaks French, he's a Frenchman called Paul Rabiger and he said "Hair?" and I said "Well, there's a girl I know called Stephanie, at least she is younger that most of the others, she will probably do what we tell her." So we settled with those and …
RF: Were there not any union problems…
JR: No, they were both union members. I mean Paul Rabiger was a union member…
JR: ACT. Or NATKE…
RF: It was NATKE, of course, in those days, yes.
JR: And the hairdressing girl called Stephanie. And Peggy Moffat did her own makeup, always. But Jill Kennington and the others were made up by Paul, but once one talked to Paul and told him what one wanted he got the message very quickly. And Jill said to me one day "Why has he chosen those…I mean there is Peggy and me and those two others who have got two left feet." And I said "God knows whether he can show it on film, but he wants…what he wants to show is the fact that you, Jill and Peggy are supermodels and the others are also-rans." And she settled down at that and then we started still trying to find a replacement for Joanna Shimkus. Maureen … no it wasn't Maureen Swanson, it looked like Maureen Swanson, this girl from America and eventually he said to me one day "Do you know Vanessa Redgrave?" And I said "Yes." And he said "Could you ring her and ask her to come in and see me?" And I said "Yes." She was appearing in Miss Jean Brodie, so I rang and I spoke to her and said "Vanessa, are you free to come in and see Antonioni?" And she said "Oh God, yes." So she came in, they met, they got on … Vanessa spoke good Italian and they got on very well and he said he would like her hair darkened, so Stephanie arranged for her to go to Vidal Sassoon to have her hair darkened and … [end of tape]
Side 9
00:00:00 – 00:14:05 JR had a shirt made for Vanessa Redgrave at Turnbull's which Antonioni wasn't happy with; Redgrave was eventually dressed in a blue denim skirt, a thin viyella checked shirt, black silk scarf knotted at the neck, and a pair of t-strap flat black patent leather shoes; JR wanted costumes for Jane Birkin and Gillian Hills to look homemade, one was white, turquoise and apple-green, the other was pale blue with a green print, both had colour tights; all the models had flat shoes of multiple colours; the costume for Verushka was a great success, "like beetle's wings back and front"; shooting moved to a park in the East-End; Assheton Gorton clad all of the houses which showed beyond the trees in white with a bit of black detail, the grass was sprayed greener, the tennis court was marked; JR talks about costumes for the mime-tennis sequence; the spectators at the tennis-court were designed to look like a student rag; for the actress during the scene in which David Hemming's buys an aeroplane propeller, JR asked her assistant to dye a skirt in such a way that it looks fragmented an split like a sapphire; Antonioni requested guests at the party scene to bring their own clothes and for JR to look through them and control the colours.
00:14:05 – 00:23:50 The end of shooting on Blow Up; JR then took a break in Tunisia and recounts some of her experiences here.
00:23:50 – 0:27:00 Antonioni requested for JR to join him for the filming of the jazz club sequence which was shot at MGM; David Hemming's green jacket had been stolen between shooting and JR found a replacement at Berman's; Antonioni requested no yellow for the jazz club extras; JR got a mixture of mini-skirts and period clothes.
00:27:00 – 00:47:30 JR publicised Blow Up whilst in New York; JR talks about her experiences in New York and seeing Blow Up for the first time; a screening of the film was arranged accompanied by a viewing of the costumes; the film had endless publicity in the US; Battersea Market painted red and black for Blow Up; model Donyale Luna and bathing suit in dark red, yellow and pale cerulean blue – most of the shots were cut out of the film; JR's memories of Antonioni.
Side 10
00:00:00 – 00:32:30 JR on Antonioni; Antonioni controlled Blow Up completely; not a great deal was shot which didn't appear in the final film apart from the scenes in Battersea Market; the Time article on swinging London; JR states that the article had nothing to do with Blow Up nor what was happening in London; the King's Row scene during the 1960s; JR designed 'Meals on Wheels' by Charles Wood whilst working on Morgan; her relationship with John Osborne and his work; JR worked on sketches for Osborne's play 'Luther'; John Osborne's personality and how this manifested in his work; the relationship between Vanessa Redgrave and Tony Richardson.
00:32:30 – 00:46:10 The Bliss of Mrs. Blossom; Evangeline Harrison worked as JR's assistant; Assheton Gorton was very inventive; details on the production of The Bliss of Mrs. Blossom; Tony Richardson's personal relationships; JR was going to work on Wonderwall but Evangeline Harrison took over, JR believes she only contributed a costume for Jane Birkin; Alfred the Great where JR met Clive Donner; JR conducted a lot of research for this film.
Side 11
00:00:00 – 00:28:45 JR talks about how she came to be involved with Alfred the Great, working with director, and future husband Clive Donner, and production designer Michael Stringer; JR conducted research for the film and which materials could be used for historical authenticity; Evangeline Harrison worked as JR's assistant; the cameraman was using blue filters, meaning that if JR wanted hot colours they would have to be forced – the Danes were dressed in a slate-y blue and the Saxons in hot earth colours; the Danes' trousers were based on a pair which had been preserved in a bog; Saxon nobles were in leather and furs; there was a close collaboration between the designers and cameraman; Saxons wore sock boots which were colour coordinated with their skirts; hundreds of costumes were made for the film and were used again in other productions, included Polanski's Macbeth; a lot of fur was used in the costumes; Prunella Ransome had a coat of 'ginger bunny'; a dress for Ransome was embroidered with shells which was inspired by research conducted by JR; Pattie Pope made the jewellery in the film.
00:28:45 – 00:46:35 JR talks about the team working with her on Alfred the Great and her relationship with Clive Donner; JR was not entirely satisfied with Alfred the Great but was happy with her own work.
Side 12
00:00:00 – 00:25:15 Events leading to JR's involvement with Ryan's Daughter; David Lean's involvement in arranging costumes; JR didn't get on well with Lean; a number of stories about various cast and crew; JR spend about nine months on the film.
00:25:15 – 00:27:00 After returning home, JR was asked to provide more black clothes for the women in the storm scene; JR talks about an Irish extra who brought her own black cloak to the set and asked a local tinker to find more.
00:27:00 – 00:35:40 JR talks more about her experiences on the set of Ryan's Daughter; JR on her and Clive Donner's return to London and their personal life at this time.
00:35:40 – 00:42:30 Sunday Bloody Sunday with John Schlesinger and JR's experiences on the film.
00:42:30 – 00:43:50 JR believes that costume design should be totally at the service of the audience, to take short cuts; you should be able to tell from their clothes exactly what type of person they are and their preferences.
Side 13
00:00:00 – 00:25:05 Charlie Chan and the Curse of the Dragon Queen came after a long period out of the industry while JR and Clive Donner were living in LA; CR spent a term at the University of Southern California working with design student; she consulted on a few films during this period; JR talks about Franco Zeffirelli's Hamlet; securing a union ticket in the US; on the production of Charlie Chan and the Curse of the Dragon Queen; costumes for Michelle Pfeiffer were bought in downtown LA; JR felt that some of the American crew had little knowledge of the industry.
00:25:05 – 00:38:45 On returning to London, JR had an exhibition of her paintings; JR painted a mural for the film Stealing Heaven, in Eloise's bedroom; JR had a consultant role on Arthur the King; JR reflects on her career in film and painting.
Jocelyn Rickards was born on 29 July 1924 in Melbourne. She was an Australian artist and costume designer. She moved to London in 1949 to work as a theatre designer. In 1957 she became an assistant to Roger Furse, designing the sets and costumes for the film "The Prince and the Showgir"l, starring Laurence Olivier and Marilyn Monroe.
Among her notable credits were Look Back in Anger (1958), The Entertainer (1960), From Russia With Love (1963), Blowup (1966), Ryan's Daughter (1970) and Sunday Bloody Sunday (1971).
She was nominated for an Academy Award for her work on Morgan, A Suitable Case for Treatment, starring David Warner, and she won a BAFTA for Mademoiselle, which starred Jeanne Moreau.


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Business Day's top 10 life stories of 2019
From the latest car and book releases to health and travel advice, here are some of the most-read articles from the Life section
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5. 2019 delivered on much but, unfortunately, it did not settle the debate on whether we should remove meat entirely from our diet to reverse the destruction of our natural environment. Some believe the answer lies not so much in what we consume, but how it is produced.
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9. While health advice tends to focus on exercise, diet and serious disease, sometimes it's necessary to look at the small things as well. This article explains how testosterone, not just for men, extends far beyond sex drive and fertility.
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subset: commoncrawl


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Hoʻāla Hou
I've been honored to have the opportunity to participate in Honolulu Community College's 4th cohort, Ka Papa Keoneʻula, of the Hoʻāla Hou program. Hoʻāla Hou, is a culture and place-based experience program. Throughout this experience, I will be learning methods and best practices which will help me infuse Hawaiian culture and place-based values into my work while also learning more about place, Hawaiian history, language, and traditions.
Day 1
Orientation started on Thursday, ʻAukake (August) 8th, 2019 in the new hale on campus. There were many protocols, including an ʻoli and hula to introduce our group. We sat in a circle and went around the circle sharing our name, where we are from, and who we would be bringing with us on this journey. After each person spoke, they were then offered a cup of ʻava, which we were told is a narcotic and had to be fully consumed (I didn't feel anything, but wished I would!), and some mea ʻono of sweet potato and maiʻa (banana). I felt nervous. Sometimes anxiety speaking in front of groups hits me. Especially when sharing anything difficult. The person I brought along with me was my mother. I mentioned she'd passed away and was always with me. I couldn't say more without bawling, so stopped there.
What I wish I'd been able to say, is that my mom was the toughest and most self-sacrificing woman I knew, and she was Native Hawaiian. So, I felt she would like being there.
After everyone shared, we went up to the classroom. We discussed the importance of pilina (relationships). An interesting thing was hearing how Hawaiians view the past (and present) as being in front of them -- within eyesight, and how the future is actually behind them ... because you can look over your shoulder and kind of get a glimpse of the future, but you canʻt fully see it. I really liked thinking of it that way. The opposite of what western thinking describes, but in my head, the past always informs the present and the future... so it mades perfect sense to me. We were told to write down what our expectations of the program were, and report to the Marine Education Technical Center the next day.
Day 2
I arrived at the METC, not quite sure what to expect. Then, was super stoked to find out we would be going out on a canoe! Also, we were going on a huakaʻi of Nuʻuanu. At the METC, we learned about Keʻehi and the islands and fish ponds that were abundant in the area before the reef runway was built and land owners filled in fish ponds to give themselves more land. I had no idea. It was eye-opening.
Being on the canoe, I couldn't help but be sad I'd made the unfortunate decision to leave my cell phone in the classroom. It was so beautiful and special to be out in the ocean in a canoe so close to the water. The view of the mountains along Nuʻuanu, and of Diamond Head were truly unique. I also thought about the fact that my ancestors were descendant of people, brave and smart enough to make incredible voyages across the Pacific, and felt really proud.
On our tour in the afternoon, we visited Queen Emma Summer Palace. My first time. And we also visited the Royal Mausoleum where King Kalākaua and the Kamehameha line are buried (except for Kamehameha I, whose remains are sacred and their location, a secret to this day). Before descending down to the crypt of Kalākaua, a hula was performed, and we walked down and up the stairs, always facing the King, so we walked up backwards to show respect by never turning our back on the King.
It was my first time visiting this site, which is neither City & County, or State property, but Royal lands. While we did not see the Hawaiian flag flying, we learned this is one (of only 2 places) where the American flag does not fly alongside or above the Hawaiian flag.
Dropping Mad Library Science!
Here is where I write about everything library and archives related going on.
August 2019


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Displaying items by tag: Optimist
National Yacht Club Junior Sailors Celebrate Links to Olympic Silver Medal & America's Cup
A very special Golden Jubilee coming up in May provides links to an Irish Olympic Sailing Silver Medal, the Fireball World Championship, and the America's Cup. W M Nixon finds the widest connections go even further than that to include a pioneering world voyage.
It was in May 1967 that the irrepressible Carmel Winkelmann oversaw the first results of a junior sailing initiative at the National Yacht Cub, her home club in Dun Laoghaire. It became a movement which went on which to have nationwide and worldwide ramifications, so much so that within Ireland we're looking at an unbroken line in Irish sailing which is continued through the club which currently holds the title of ISA Training Centre of the Year, which for 2017 is Foynes Yacht Club on the Shannon Estuary.
That a successful club at the heart of the Atlantic seaboard can trace an almost magic thread back to something which happened at a club on Dublin Bay a long time ago is quite a story in itself. Particularly when the Atlantic seaboard club itself is imbued, as Foynes is, with the spirit of legendary circumnavigator Conor O'Brien. However, when the story is shaping up to continue with the Golden Jubilee as the latest chapter, it gives us an opportunity both to celebrate, and take stock of what it has all meant.
But business first. Anyone who has ever taken part in the Junior Training Programme at the National Yacht Club is hereby alerted – if you don't know already – that on the evening and night of Saturday May 20th, there will be a very special celebration at the clubhouse. The organisers Carmel Winkelmann and Ann Kirwan are particularly keen to trace those who have moved away, but would find much nostalgic pleasure with the meeting of old friends by returning on this day of days. So if that applies to you, or you know anyone to whom it does, please make contact with the key club administrator whom everyone refers to as "Oonagh at the National", the proper line of contact being [email protected], tel 01-280 5725.
To grasp the significance of what is being celebrated, please try to visualize the National Yacht Club as it was fifty years ago. The building itself, standing directly in the harbour, has the air of a fishing lodge in the West of Ireland on its seaward side, and a hint of neo-classicism when seen from the town. But in the early 1960s it was very limited in its shoreside facilites for sailing dinghies. There was a boathouse entered through fine granite arches under the clubhouse itself, but to use it, masts needed to be lowered. It was served by a very steep and easily-crowded slip, while there was access to another slip on the east side of the cub which served a small area where dinghies could be stored. But while there was space for the established classes of Fireflies and some IDRA 14s, some room was also needed for the small tenders for larger yachts moored in the harbour, while the racing keelboats were served by club launches which might be substantial dinghies driven by vintage Seagull outboards.
The concept of a proper dinghy park was still only in its infancy, relatively speaking, for craft such as Dun Laoghaire's Firefly and IDRA fleets which had been active since the late 1940s. Thus if anyone had a centreboard boat which could reasonably be expected to lie to moorings, she was obliged to do so, and the fleet of small craft lying off the club included the 17ft Mermaids and the 14ft Water Wags.
To compound the space problems afloat and ashore, during the 1960s the area in the southeast part of Dun Laoghaire Harbour off the National Yacht Club was the focal point for the cross-channel ferry berths. The railway-system serving Mailboat with its emphasis on foot passengers continued to use the Carlisle Pier to the west of the club, but the East Pier was known for a period as the Car Ferry Pier as a busy new roll-on roll-off terminal, which admittedly always had a temporary look about it, had been constructed there to accommodate the new trend in cross-channel travel.
Thus not only was anyone sailing a dinghy from shore at the National YC dong so out of decidedly limited facilities, but they immediately sailed into an area cluttered with a collection of moored boats of all shapes and sizes, and that in turn was set in an area which might have ferry ships berthed close by, or manoeuvring on either side.
The comparisons with today's National Yacht Club with its spacious platform facing out over a much clearer harbour area, and beside it an installation of convenient berthing pontoons, could not be greater. But back in the 1960s, an equally important change was happening – there was a complete re-appraisal of what the most junior sailors really needed in boats and instruction to get the best from the sport.
For sure there were the Fireflies, but in terms of lower age limit they were really aimed at adolescents on the cusp of rapidly growing youth. The other available classes were even more adult-oriented. In fact, the underlying problem was that children going sailing were treated as miniature adults who would somehow pick up the skills of the game through a sort of osmosis, whereas for a crucial period of their lives they would have most benefitted from being treated as a different species, with different boats to meet their needs.
Yet even here, adult views dominated. The grown-ups thought that young people's boats should at least look like small yachts. Thus a dinghy which was promoted for children by several clubs was the 11ft Yachting World Cartop Heron, which had originally been conceived as a DIY-build which could fit on the roof-rack of the average family car, and was designed with a gunter rig such that all its spars could be stowed within the boat.
It had some good ideas, and with a pretty sheer it fulfilled the adult expectation of what a miniature yacht should look like. But it was surprisingly heavy for its avowed rooftop requirement – you'd have needed a weight-trained family to get it on the car roof. And anyway, it was too large for really small kids who genuinely had the sailing bug.
So a revolutionary approach was needed, and it came thanks to one of the National YC's international sailing stars, Johnny Hooper. He had achieved Ireland's first Olympic Race win with Peter Gray in the Flying Dutchman in the 1960 Rome Olympics when the sailing was at Naples. But as an FD campaign towards the 1984 Olympics was prohibitively expensive with the venue in Japan, he returned to his first love of International 505 Racing, and it was at a big 505 championship in Scandinavia in 1965 or thereabouts that he first became aware of the game-changing possibilities of the Optimist for junior sailing.
Scandinavia being rightly renowned for the elegance of its yacht, it speaks volume for the versatility of the Florida-originating Optimist, the "simple little boxboat that sails surprisingly well", that Scandinavia should lead the movement towards a world body for a boat which, whatever the traditionalists might think, the kids were clearly loving. Founded 1965, the International Optimist Dinghy Association (IODA) had Viggo Jacobsen of Denmark as its first President with his wife Edith as Secretary, and in that same year Johnny Hooper set about introducing the idea of the Optimist to Ireland.
Now if some ordinary Joe had happened to by impressed by an Optimist at some foreign location, and had even brought one home to persuade his fellow sailors that they were looking at the future, the idea probably would have fallen very flat indeed.
But that's not the Hooper way. Instead, from his highly respected position he quietly targeted fellow National Yacht Club members who were themselves active sailors, but also had children who would benefit from the Optimist experience, and in time a group emerged which was to include initially Johnny Hooper with his wife Bernie giving the longterm involvement, Peter Gray, Paddy & Barbara Kirwan , Don Douglas, Franz & Carmel Winkelmann, Michael McGrath, Arthur Lavery and several others, many of whom had reasonable DIY skills and could see the possibility of building an Optimist in the basement of their Dun Laoghaire homes without too much disruption of the household. By the Autumn of 1966, the project was under way.
While Johnny Hooper had introduced the idea, he stood back from its continuing implementation, for the Hooper modus operandi was to give an idea enough strength to soon have wings of its own. That certainly happened in the National Yacht Club, for very quickly a manageably small committee was in being, and the formidable Carmel Winkelmann became its secretary. The NYC Junior Programme became her baby, and it always has since been seen as such, even though the number of people involved in administering the programme over the fifty years, as the NYC facilities have expanded and developed to meet the needs of a modern membership, will now run into the hundreds.
In fact, properly organized junior sailing with boats specifically designed for young people's needs is now so central to Irish sailing that it takes a huge leap of the imagination to visualize the scene as the first small group of National Yacht Club Optimist Dinghies – most of them locally-built either by amateurs or professonals – began to emerge in May 1967 with numbers increasing as each weekend passed. New they may have been, but they reflected their era, with a public Blessing of the Boats outside the Brindley household as a new batch of boats appeared.
But though most young sailors in theory had his or her own boat, before anything approaching full fleet numbers was approached they'd a habit of letting anyone sail some boat or other in the early stages, so much so that although Ann Kirwan was part of it from a very early stage, she admits that even she can't claim total accuracy when identifying the helm of a known boat.
This habit of inter-changing sailors became even more marked in that first year when the early class discovered that the most useful base for their day-time sailing was the little-used Irish Lights service barge moored in the western part of the harbour. Over there, NYC Optimist sailors found much clearer sailing water, and they were well away from the comings and goings of the two cross-channel ferries off their home club, not to mention excessive parental control. In effect, the barge became their day-time base, and they ate their packed lunches aboard it while deciding who would take which boat for the first stage of the afternoon's sailing. Fifty years down the line, we might well wonder if the Commissioners of Irish Lights are aware of the key role their humble barge played in launching Ireland's Junior Training Programme.....
Once launched in its viable form in 1967, there was no stopping it, and the names which have emerged just from the National's junior programme alone (for virtually all clubs now have one) take us over an extraordinary range, and up to the heights of Olympic participation, the winning of major world dinghy championships and associations with the America's Cup.
It's Johnny Smullen who provides the latter. The California-based Johnny Smullen in San Diego is now of world stature in anything to do with yacht and boat-building or indeed in marine construction generally, and his talent has been recognized at the highest level as he has worked on major projects for the very demanding Dennis Conner, aka Mr America's Cup.
Johnny will have inherited his feeling for classics from his father Cass, a great sailor who was such an enthusiast for the Dublin Bay 21s in their original rather spectacular gaff-rigged form that when the class contemplated changing to a more easily-handled and convenient Bermudan rig in 1963, Cass claimed that he could easily rig a gaff-rigged DB 21 in 15 minutes flat. And that included setting the jackyard topsail to perfection. So he brought a DB 21 close into the clubhouse (as you could in those days), and in front of a drink-sipping crowd of observers on the verandah, he did the job within 15 minutes. But they still went ahead and converted to Bermudan rig.
Son Johnny meanwhile was enlisted in the NYC Junior Programme as soon as he reached he lower age limit, and when the 40th Anniversary was being celebrated back in 2007, he sent on his memoirs which well capture the flavour of it all:
San Diego, 17th May 2007
The way I saw it.
I am eight years old and my parents are wondering what to do with me for the summer, it went something like this: "Get him out from under our feet". I was equally happy to stay at home and play in the back garden, invent stuff and dream up ways to frighten my sisters. Chasing them with worms was a good one.
I was enrolled in the adventure of my life.
At first I was lead to believe it was going to be a fun thing with the opportunity to meet new people and friends, maybe making me more sociable as I was quiet child in a world of my own. I bought into this and showed up for the first day. It was great, lots of people all different shapes and sizes, so there we were all sitting around playing with stuff and one-upping on how my father is better than yours, especially at snooker. The chatter fell silent when along came this very tall white-haired lady with an incredibly loud voice. It was at this point I became suspicious as I had just watched Paths of Glory and A Bridge Too Far, I had seen how the enemy rounded up people and put them in trucks and brought to places, unfriendly places.....
We arrived at Sandycove harbour where we were lined up on the pier. I though this was it, we were then forced to line up at the steps and walk down into the freezing water fully clothed and flail around, there were guards (instructors we were led to believe) everywhere, and just to make sure the torture was effective they made us hold our heads under water for 30 minutes, well 30 seconds, but it felt like minutes. Then we were all forced to walk back to the NYC where our fate was to be determined. Freezing and scared, I was cursing my family and wondering what I had done to them.
We arrived back at Camp NYC and were lined up and made to wear large cumbersome protective coats, some were yellow, purple, some orange, I guessed they were labelling us, something to do with our religion. Some of these jackets had large protective collars probably to help protect us from the beatings to come, I thought. Our names were branded onto the "Life Jackets" as I started to call them, knowing they would play a key role in our protection.
We were divided into groups and lead away by the guards into this large damp room with arches and a dank smell of cotton, hemp and mould. This was where we were to remain for all the rainy days to be brain-washed, they started by teaching us knots. I was convinced this was going to be how to tie the very knot that would be the doom of us, I compared it to carrying the cross of Calvary. I decided then to be really bad at it in the hopes that one of my knots would slip open and I could dash to my freedom. We also had to jump up, and hand-over-hand along the light blue steel beam that ran across the dark room, this was to make our arms really strong, they had a plan for strong arms – I will tell you about that a little later.
Food consisted of a march up to Wimpeys for a spice burger and chips all drowned in vinegar to disguise the taste, if there was good behaviour we got to go to the Miami Café. The day was long (except Thursdays when we had to get out early) and after a week in Boot Camp we were all tired and weary. What had I done to my family to deserve this?
The second week came along and we were introduced to the ships, rather large wooden craft resembling a landing craft with the flat bow (I was always looking for the hinges). This is where the strong arms came into. We were grouped into six per team, and the guards waited until low tide when we had to carry the ship down a rickety wooden slip (there's a reason for calling it a slip). Upon its surface there were large wooden rollers but we were forbidden to use those rollers, and to make sure they filed a fat spot on the rollers, deeming them useless. We picked up the incredible heavy boat, all six of us, one on each corner holding a knee, and two in the middle by the oar locks. Later I was to learn the place to be was up at the bow (by the door), it was lightest. I was adapting to this cruel camp. As we descended down to the icy water again fully clothed, we came across a bright green pungent slime. I had what I thought were special sailing shoes, but as soon as I touched the slime I was down. Down hard. The guards started yelling, I knew I had to get up quickly....remember Calvary!....We reached the bottom and stopped, the guards yelled again and made us wade right into the icy deep, still fully clothed. With the landing craft now floating, we had to master manoeuvring, the craft were lined up alongside the slippy slip, that's the reason they call it a..................
I stepped on the gunwhale. Now at this point I did not understand the physics like I do today, and when you apply a load to any point of the gunwhale of a flat-bottomed craft two things will happen (once only). The opposing gunwhale will come up as you travel down, and because I am as tall as the craft is wide, somewhere in the middle he two surfaces will meet, your face and the opposing gunwhale. After the initial shock, the second shock comes from the icy cold water. Then I found out what the large collar was for as the guards hauled me out of the abyss semi-conscious. Once inside the craft, we were grouped into two and handed oars. Let the games begin.....
After a week of rowing and shipping oars and coming alongside we were all adapting well to boating, there's nothing to it. Just as we are enjoying ourselves, we are reminded that this is a work camp with launch and retrieval exercise twice a day. The launch and retrieval is carefully timed at 6 and 12 hours intervals to make sure it was low tide and we'd the longest slimiest walk up the rickety slips, observed closely by the guards from the window of the snooker room glaring down at us. Boating is turning out to be challenging but fun, and the new friends are all pitching together to eventually plan an assault on the guards to free ourselves.
The third week came along and there were large wooden poles with white canvas and a stick with notches cut out of it, why on earth did they have to make it harder? It was perfectly simple with the clean decks and oars and oar locks, now the boats are so heavy with this rig up, my bow lifting position is not that smart as we carry down the slip with the sail pressed hard against my face. After countless days of theory brainwashing in the damp room, we have to pass a few tests to prove worthy to sail, if called upon, out to the US Aircraft Carrier John F Kennedy anchored out in Dublin Bay. The first test was to take the stick with the notches and stretch out the canvas and hook onto a rope loop, without falling over this was harder than carrying the feckin' boat, the second was to line up two pins while hanging over the transom full of chips and spice burgers. If it had hair....
Most of us mastered that task after a few tries, and it wasn't long before we were sailing out to the sterns of the ferry Hibernia or Cambria, whichever was in port at the time. This went on for a few weeks and as we settled into the routine it got easier as we went on.
During the time in the damp boathouse, usually when it was blowing dogs off chains outside and while I was trying to get the batteries out of the loudhailer, I noticed a beautiful varnished clinker planked boat, it was almost new, and a very wise man was looking after it. This Man was tough as the rivets holding it together and knew everything about the seas. I knew if I paid attention he would help get me through the summer, he did and he is almost responsible for what I do today. Thank you Jack!
The discipline of Boot Camp had turned us into great sailors, great card players, snooker players....it wasn't until the third stage we found flagons. But not on the night of May 17th 1975, I was at home doing my homework that night....
Ah.....the memories, I hope I have stirred a few, it was the most wonderful time of my life and I wish I was there to get drunk with all of you and play cards till the wee hours, but meanwhile thanks
To Carmel, thank you very much; I always have my lifejacket.
To Jack Brennan, I am always thinking of you up there, and thanks for teaching me how to tie my shoelaces.
To all the instructors Paul, Ann, Jimmy, I never believed the story of the rabbit and the tree, but thanks anyway
And to all my dear family and friends
Lots of love, Johnny Smullen
PS It was me that stuck the coke bottle in the cannon at the front of the club....
Inspired by Jack Brennan and other master craftsmen, Johnny has gone on to become a shipwright of such skill from his base in San Diego, California, that he in turn inspires others, one of his most famous projects being the complete restoration of the 49ft Q Class sloop Cotton Blossom II of 1925 vintage.
When a complete restoration is contemplated, Johnny doesn't mess about. The word is that when he and Dennis turned up to finalise the deal on Cotton Blossom and bring her back to San Diego, they found the previous owners sorry enough to see her go, and rather proud of the style in which they'd maintained her. But after they'd gone to sort the details with the new owner, they went to take a last look at the boat. It's said they found that Johnny had already delivered his opinion on the existing rig by cutting the shrouds and stays at the deck with bolt-croppers, and cutting the old mast off at deck level with a chainsaw.
Maybe that's an apocryphal Johnny Smullen from taking delivery of another boat. Yet when you see Cotton Blossom in her restored form, it's clear what Johnny says should indeed be Holy Writ. This is a project of world standard. But what's even more remarkable is that despite everything the Sailing Boot Camp at the NYC might have inflicted on him all those year ago, Johnny's love of boats and sailing is such that he has his own personal sweet classic, the lovely 36ft International One Design Altair. She's sailed as often as possible, and though he can't make it back to Dun Laoghaire next month for the Golden Jubilee as there's very major project under way, Altair will be racing with the San Diego classics under the National Yacht Club burgee.
John Lavery's father Arthur was another of those pioneering Optimist dads back in the late 1960s, and John and his sister Vivienne were both in that first batch of trainee sailors. He ended up winning championships in more classes then you could quickly count, but the peak of it all came in September 1995 when he and David O'Brien of this parish won the Fireball Worlds in Dublin Bay.
In fact, the graduates from 50 years of a junior training programme at the National YC can be found in successful positions in many boat classes in many places, but it is the club's outgoing attitude to those who wish to learn to sail which deservedly provided its most outstanding success. A long time ago a Mrs MacAleavey, a widow with no sailing connections, was looking for a club which would make her increasingly boat-mad daughter Cathy – who had recently bought a clapped-out 420 – feel encouraged in any way to learn to sail. Despite the fact that it was still in process of recovering from a fire in the clubhouse, the NYC showed itself the most welcoming along the Dun Laoghaire waterfront, so much so that Mrs McAleavey felt sufficiently encouraged to buy her daughter a new 420, and that in turn led on eventually to Cathy representing Ireland in the women's 470 in the 1988 Olympics.
The three children she had with husband Con Murphy went on to get their introduction to sailing through the National YC's junior programme, and daughter Annalise emerged with the talent and the burning ambition which resulted in a heart-breaking fourth at the 2012 Olympics in the Women's Laser Radial when a medal had seemid almost certainly within her grasp. But memories of that were entirely laid to rest with the Silver Medal in the 2016 Olympics Rio after a difficult final race in which the lone sailor seemed to stay as cool as you please, while the nation at home watched with bated breath.
That it was ultimately a very personal achievement is something respected by her club, and they claim to have done nothing more than provide the first steps on the pathway, and a general spirit of encouragement. But nevertheless the success is all of a piece with the Golden Jubilee which will be celebrated on May 20th, and Carmel Winkelmann continues in her mission of providing a background of training for young sailors of all types, whether they aim only to be a competitive club sailor, or whether they aim for the ultimate heights.
Thus one of her projects in recent years was to find real support for young Finn Lynch, who had reached that difficult stage of being a top junior sailor, yet still had to find his feet as an adult. Thanks to support raised by Carmel, he became Ireland's representative in the Men's Lasers at Rio despite going through the final stages of the selection with a training injury recovery problem which may have had an adverse effect on his performance in as the youngest sailor in Rio, aged just 20.
Whether or not he would have been better off not being in Rio at all is neither here nor there. When you're 20, four years can seem an appallingly long time. The Tokyo Olympics in 2020 must have seeemed aeons away for a young sailor who had shown many flashes of real talent. It was better for him to be in Rio while learning a lot, rather than kicking his heels in frustration in some dead end. And when he needed material help to see through the campaign, it was Carmel Winkelmann who was there to make to ensure that support was available. That will be something else for celebration on May 20th.
Howth Yacht Club's annual 'Brassed Off' Cup for Optimist Sailors wil be held on the traditional day of Good Friday, 14th April. This fun Optimist dinghy event is designed as a great opportunity for junior racers to dust off their gear and get sailing on the safe waters just north of Howth harbour.
The event has been building into a popular and well attended one over the past few years with more than 60 Main & Regatta Fleet sailors from across Dublin being expected to take part.
Three short races are planned from 12 noon and the Notice of Race and Sailing Instructions are available here.
Not content with hydrofoiling Moths, Laser dinghies or Mini Transat keelboats, the flying craze hits junior sailing with the news that Chalmers University of Technology, Gothenburg, Sweden have figured out how to foil an Optimist dinghy.
Seldén has provided the blocks taking Opti sailing to a whole new level.
Hydrofoils are added to lift the boat, decreasing drag and allowing greater speeds. After experimenting and testing in a ship research and development facility in Gothenburg, Sweden, the dinghy was tried out at sea for the first time.
Axel Rahm sailed and Seldén Tech dept shot the video.
Five Irish Optimist sailors were in the top five of the UK's Spring Championships last weekend. IOCA UK and The Royal Torbay Yacht Club hosted IOCA UK's first championship of the year in Torquay.
119 sailors competed in the main fleet over the two days, including a team of 24 sailors from Ireland. The sailing conditions were deemed "exceptionally tricky", with gusts of over 25 knots and waves of up to two metres.
Overall winner was Jamie Cook of Cardiff Bay Yacht Club, winning five out of the six races, followed by Finley Dickinson in 2nd place and William Pank in 3rd place. Top girl was India Page-Wood in 5th place. First Junior was Luke Turvey from Ireland, who finished a respectable 20th overall.
Top Irish boat was Justin Lucas of Royal Cork in eigth place and his clubmate Killian O'Regan was ninth. Full results are here.
Jamie Cook said: "It's nice to do more events on the sea in a great venue like Torbay and the conditions were awesome. I think that the sea is the best place to sail. It was a good weekend and hope to sail there again soon."
29 regatta fleet sailors completed 10 races over the weekend with Noah Evans from Royal Victoria Yacht Club finishing in 1st place.
IOCA's Claire Mueller added: "A special mention must also be made of Michael Crosbie from Royal Cork Yacht Club, who finished in 15th place and was competing in his first major competition since breaking both legs last year. Well done Michael." In recognition of this achievement Michael received a sailing watch from one of IOCA UK's class sponsors IBI Sailing.
2017 is a special year for IOCA UK, as it has recently been announced it will host a Champion of Champions Race at its 2017 British Nationals in celebration of 70 years of the Optimist Dinghy. To be held at the Weymouth and Portland National Sailing Academy, those battling it out for the ultimate glory will be past National Optimist Champions, Olympic sailors, Optimist coaches and the top current sailors.
World Sailing's Gold Medal for Ireland's Helen Mary Wilkes
A lifetime of enthusiastic and effective dedication to voluntary work in international sailing administration has very deservedly resulted in the award of World Sailing's Gold Medal to Ireland's Helen Mary Wilkes writes W M Nixon.
She is originally from Scotland while her husband Robert is from England. But when they settled in Ireland in 1969, Howth became their home, sailing became their family sport, and both their sons Tom and Rupert sailed – and still sail - for Ireland.
However, the fact that Helen Mary and Robert together provided a brilliant administrative and creative team was quickly recognized locally and nationally, and it was recognition which became international when Howth Yacht Club took on the staging of the Optimist Worlds in 1981.
That would be a relatively straightforward business with today's modernized facilities. But Howth in 1981 was in the throes of harbour re-development, yet bits of it still functioned as both a sailing and fishing port.
Thus the staging of the worlds was based on the beachside Claremont Hotel immediately west of the Harbour (it has long since disappeared into a large complex of up-market apartments), and much of the running of this huge event had to be developed from scratch.
But with Helen Mary Wilkes in the key position as Secretary to the Organising Committee and Robert in several other roles, the racing for hundreds of Optimists - in what was then the most international sailing event ever seen in Ireland - was successfully completed. The overall winner was Guido Tavelli of Argentina, while the top girl (and best Irish at 17th overall) was 13-year-old Denise Lyttle of the National YC.
For most folk in Howth, that was enough involvement in international sailing administration until the new HYC marina and clubhouse were fully functional by 1987. But Helen Mary and Robert Wilkes had been spotted by the powers-that-be as talents that could usefully be deployed on the world stage, and Helen Mary's subsequent rise through the global and national ranks of sailing administration has been so all-encompassing that it's best summarized in a basic list:
International Sailing Federation (now World Sailing)
1982 - 1998 International Classes Committee
1994 - 1998 Events Committee
1994 - 1998 Vice-chair, International Classes Committee (elected)
1998 - 2000 Match Racing Committee
2006 & 2008 Nominated for IOC Women & Sport Award
2008 ISAF President's Development Award (jointly)
2008-2016 Vice-chair, ISAF Classes Committee
International Optimist Class
1978 - 1982 Secretary, IODA of Ireland
1982 - 1987 President, IODA of Ireland
1982 - 1985 Regatta Committee, IODA
1985- 1989 Vice-President
1989 - 1998 President
During that presidency the Class became the largest in the world:
- national membership rose by 78% to 87 countries
- participation at international events rose by 50% to 57 countries
1998 - 2005 Member of Honour
2005 - President of Honour
Match Racing
In 1996 Helen Mary was asked by Paul Henderson (ISAF President) to promote women's match-racing towards Olympic status and became the first president of the Women's International Match-Racing Association. The number of active teams and countries increased by nearly 50%.
Irish Sailing Association
1990 - 1998 Council
1992 - 2000 Olympic Committee/Group
World Sailing
March 2017 Gold Medal awarded to Helen Mary Wilkes by newly-elected World Sailing President Kim Andersen
While Helen Mary Wilkes' many significant roles have made her the more prominent of this remarkable couple, Robert has been busy behind the scenes, and among other things - in addition to being Secretary for 35 years to the International Optimist Class Association - in 2007 he produced a profusely-illustrated history of the first sixty years of this incredibly successful little boat, with additional input from Clifford McKay Jr, who was the first Opty sailor in Florida way back in 1947.
Being the sons of such busy and interesting parents made for a special up-bringing for Tom and Rupert. It's all of a piece that Tom should be involved on the technical side of sailing – he runs a carbon spar-making business in the Netherlands which, in honour of home, he calls Ceilidh Composites. As a result he is a veteran of several Fastnets and Sydney-Hobarts. Rupert has elected to work ashore, but it's something equally interesting – he restores classic and antique buildings.
However, this week it's their parents and their enormous contribution to national and international sailing which is deservedly top of the agenda. Our heartiest congratulations to Helen Mary Wilkes on her newly-awarded World Sailing Gold Medal.
2017 Optimist British National & Open Championships to Host 'Ultimate' Optimist Race
IOCA UK announces it will host a Champion of Champions Race at its 2017 British Nationals in celebration of 70 years of the Optimist Dinghy.
To be held at the Weymouth and Portland National Sailing Academy, this invitation only event will celebrate the 70th Anniversary of the Optimist, first designed in 1947. Those battling it out for the ultimate glory in an optimist dinghy will be past National Optimist Champions, Olympic sailors, Optimist coaches and the top current sailors.
Race organiser Chris Evans explained: "The Optimist boat and Optimist events are the starting point for many sailing stars and 85% of Olympic sailing champions worldwide. In celebration of this special anniversary, we want to capture the spirit of fun, friendship and fierce competition within the Optimist class. Anyone could win the race, whatever their size or age!"
The Champion of Champions race is scheduled to take place on Tuesday 1st August, following racing that day.
The 2017 Volvo Gill Optimist British National and Open Championships take place from 29 July - 4 August 2017 and will welcome over 400 sailors and their families from across the UK and rest of the world.
140 Sign–Up For Optimist Baltimore Spring Training Week 2017
The traditional Optimist Baltimore Spring Training Week event, one of the top International sailing clinics in Europe, takes place next week.
Baltimore Week is Ireland's largest sailing camp and this year has seen over 140 Optimist sailors from 8 – 15 yrs old sign up for the event.
It is an action packed week of fun for all the family. This event is about making friends and having fun on and off the water in a safe environment.
A team of International coaches from Greece, & Poland are joined by top Irish coaches to provide training for sailors of all competencies, from those who have only recently started to sail to those who are competing internationally.
The week is very much a family-oriented event, with a programme of activities for children too young to sail, and events also organised for adults, such as the 'How to Rig an Oppi' class for novice parents! Schull & Fitbones provides activities for those 5 years and upwards who are not yet sailing. They do Baltimore Treasure Hunt and Playground games, Sherkin Island trip and an Adventure Challenge in Lough Hyne Woods.
Evening activities are also on offer, including the ever-popular cinema night and also a disco night. In addition the week finishes off with a one day regatta which helps sailors consolidate all they have learnt during the week & to put it into practice.
The annual event is hosted by Baltimore Sailing Club, which is set in the beautiful harbour of Baltimore, West Cork.
IODAI Forum 2017
An IODAI forum takes place during the Baltimore week where all parents are invited to express their views or seek information on the running of the Optimist class.
Tralee Bay Maritime Hosts Inaugural Dinghy Race Clinic
Tralee Bay Maritime Centre have over 50 boats on the water this week at Fenit in County Kerry. Brian O'Sullivan, Centre Principal, told Afloat.ie he is delighted with the response to the performance coaching clinic, led by Thomas Chaix, with some of the best junior sailors in the country coming together in three different dinghy sailing classes - Lasers, Toppers and Optimists.
Coaches from Greece, Portugal, France, Poland and Ireland have their hands full with a massive turnout for the inaugural clinic at Europe's most westerly port.
Irish Optimist Nationals for Royal Irish Yacht Club, Youth Class Publishes 2017 Calendar
The Irish Optimist class has published its 2017 calendar highlighting the youth boat's national championships at the Royal Irish Yacht Club as the season's penultimate fixture from August 17 to 20.
February kicks off the season with the Baltimore Sailing Club Spring Training Week from February 19 to 24 before April IODAI trials commence at Ballyholme Yacht Club on April 20-23.
Download the full calendar below.
Olympians Inspire Next Generation of Sailors at Optimist End of Season Championship
Nearly 200 Optimist sailors took to Rutland Water last weekend for the final IOCA UK ranking event of 2016, the Volvo Gill Optimist End of Season Championship at Rutland Sailing Club.
Members of the British Sailing Team, having just returned from Rio, were on hand to inspire the youth sailors. Team Volvo's Alain Sign and Alexandra Rickham shared their grassroots to glory journeys in a bid to inspire the next generation of sailors.
For many of the young competitors, this event signified an important moment in their sailing careers with the results forming part of the selection process for the IOCA UK Squads. Training in the squads develops their skills and knowledge to enable them to excel in Optimist sailing and progress successfully towards youth and Olympic class sailing.
49er sailor Alain Sign joined the sailors on the water on Saturday to offer some hints and tips. After racing, the Optimist sailors had the opportunity to hear about Alain's sailing journey from youth to Olympic class sailing. Speaking after the event Alain said: "For many here, the dream became a possible reality when they heard how sailing greats such as Team Volvo's Hannah Mills, double Olympic medallist, had once sat exactly where they were. In total, 10 of the 15 sailors who represented Great Britain at this year's Olympics, started out their sailing careers in the Optimist Class."
After a wet start on day one, the sun shone down on the regatta and transition fleets as they hit the water for day two of racing on Sunday. With a steady northeasterly breeze blowing across the Rutland reservoir, the sailors completed three closely fought races. Double Paralympic medallist, Alexandra Rickham, attended the prize giving ceremony and said: "It has been a fantastic weekend of sailing and I have thoroughly enjoyed meeting with the next generation of sailors. I hope Alain and I have inspired them and helped to realise that with hard-work and support you can achieve anything."


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