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"The car’s name encapsulates the true significance of all that has been achieved in terms of performance. The reference to the 90th anniversary of the foundation of Scuderia Ferrari underscores the strong link that has always existed between Ferrari’s track and road cars. A brilliant encapsulation of the most advanced technologies developed in Maranello, the SF90 Stradale is also the perfect demonstration of how Ferrari immediately transitions the knowledge and skills it acquires in competition to its production cars..."
Source: Ferrari
Photographed in Belfast, Northern Ireland.
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Encapsulated in its payload fairing, NASA's Parker Solar Probe is prepared to be lifted for mating to a United Launch Alliance Delta IV Heavy rocket at Cape Canaveral Air Force Station's Space Launch Complex 37 on Tuesday, July 31, 2018. The Parker Solar Probe is being prepared for a mission to perform the closest-ever observations of a star when it travels through the Sun's atmosphere, called the corona. The probe will rely on measurements and imaging to revolutionize our understanding of the corona and the Sun-Earth connection.
Photo credit: NASA/Leif Heimbold
Encapsulation is the story of the wharves in winter wind, slowly swallowed by the strange salt ice from waves at high tide. It's foggy and off-white, slick but not too slippery, coating everything in a cloudy coat of seawater turned solid. This is the aftermath of howling fury, building breezes tearing through me as I fumble my way to new memories. There's a weight to it now, a bearable beauty, a heaviness that says surely, surely, you could use a little adventure. In mid-summer, this old port is swarmed with folks at the lighthouse, the wharf, the beach. But I've got it all to myself in February, any time I come. The beauty is bitter, but I'm not. There's an incredible wonder waiting, all the way to spring.
February 27, 2019
Margaretsville, Nova Scotia
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Oh the possibilities, sadly missed through poor design and negligence! You cannot deny then that it's a British Leyland product, taking a car with a fantastic premise, but through sloppy workmanship make it something of nightmares! No car seems to encapsulate the problems with the nationalised company more than the humble Triumph Stag.
To compete with the likes of the Mercedes-Benz SL, British Leyland started work on a luxury Grand Tourer, styled by the world renowned Giovanni Michelotti, who had previously designed the Triumph 2000, the Triumph Herald and the Triumph TR6, and would later go on to design the ambiguous Austin Apache and the Leyland National bus. But either way his styling was sensational, but at the same time the car had substance too. In the late 1960's America was on the verge of banning convertible cars to increase safety. So the engineers at Triumph designed what was a very clever T-Bar rollcage over the passenger cabin, meaning the car was not only safe, but also allowed the owners to enjoy what was craved most in a Grand Tourer, drop-top open-air fun! This was complimented by a selection of cars with removable Hard-Tops, although not as popular due to being slightly more complicated. The name was great too, sounding very manly with a hint of beast-like qualities, which for the most part helps to form the image, a strong and noble creature of the wild stood proud amongst its peers...
...only without the antlers!
In 1970 the car was launched to the motoring press with some very favourable initial reviews, admiring the styling, the firm suspension that resulted in a smooth ride and the well-balanced handling. The car was immediately an image setter for the new-money, like the Mercedes it was competing with it had the image of being something for those who had made their money through more underhanded methods, a cads car if you will. But we've all got to make our money somehow I guess!
However, lest we forget that this was a British Leyland product, so of course trouble was brewing. Very quickly the car gained a reputation for unreliability, which can be traced back to that all important piece of machinery known simply as the engine. In 1969 whilst the Triumph Stag was in development, Rover began using their new license built V8 engine derived from an American Buick 215 3L powerplant. Originally this was installed into the Rover P5, but a 3.5L version was installed as standard to the Rover P6 and the later SD1, as well as becoming the motive power behind the almighty Range Rover. The Rover V8 was an incredibly reliable and endlessly tunable engine, making it one of the most popular and successful powerplants in automotive history. It made its way into the TVR Chimera, the Morgan Plus 8, the TVR 350i, the Land Rover Defender, the Land Rover Discovery, the Sisu Nasu All-Terrain Military Transport, the MG RV8, the MGB GT, the TVR Griffith, the TVR S-Series, the Leyland P76, the Triumph TR8 and so on! It was eventually removed from production in 2006, being replaced in the Range Rover it had served so well by a BMW powerplant.
But back to the Stag, and seeing as Triumph and Rover belonged to the same parent company, you'd think that their first instinct would be to place this heavenly engine into the Stag. Apparently that was too much to ask for, and so Triumph, still thinking they were Triumph, decided to develop their own engine because apparently the Rover V8 wouldn't fit in the engine bay of the Stag. Rather than doing the simple task of redesigning the engine bay to accommodate the new engine, Triumph developed their own ragtag V8 by welding together two of the Straight-4 engines you'd find in a Triumph Dolomite. Chucked together at the last minute, the new Twin Dolomite V8 was not a stellar piece of engineering like the Rover variant, its main downfall being the failure to install a proper cooling system. This illogical oversight of something so obvious meant that the engine would heat up easily, and result in the cylinder heads warping, rendering the engine totally useless. The engine was also prone to corrosion and roller link chains that would fail before 25,000 miles causing expensive damage.
As a result of the bad press of the engine, mixed with the terrible build quality that we'd all come to expect from British Leyland, the Stag was removed from the American market in 1973, and finished off here in 1977 by its spiritual replacement, the Triumph TR7, an equally as flawed concept that chose not to learn its lesson and use exactly the same flawed engine, dashing that car's hopes of success too whilst adding a less than stellar body design to its troubles. Eventually the Stag slipped quietly away after 25,000 examples were built, although one did feature in the James Bond film 'Diamonds are Forever', being driven to Amsterdam by Bond after half-inching it from Diamond Smuggler Peter Franks.
This particular story maddens me because I consider the Triumph Stag my favourite of the British Leyland range as it really is a beautiful car and performs very well. Like I said, it's very smooth to ride in and very easy to drive, but the sheer lack of communication and cooperation between two parts of the same company resulted in it being one of the biggest flops in motoring history, and has often been cited as one of the worst cars ever.
Today however there is still quite a sizeable fanbase for this car, with 9,000 Stags still registered as roadworthy, making it one of the most numerous British Leyland products to remain in ongoing use, especially when you compare it to the Austin Allegro's 291 survivors, Morris Marina's 674, and the Rover SD1's 310. The surviving Stags are mostly made up of cars that have had their original Triumph engines replaced by the Rover V8 to improve the performance and reliability. With a Rover V8 under the hood, this car is simply one of the best classic cars ever in my mind, a mixture of style, speed, performance and that wonderful rumble from under the bonnet. For the remainder still with the Twin Dolomite V8, most have been fixed by installing a proper cooling system and solving the corrosion issues. Today the Stags enjoy the popular life that British Leyland had envisaged for their luxury machines way back in 1970, 45 years late mind you but I suppose you can't have everything first time round!
Encapsulated inside its payload fairing, the Cygnus spacecraft for the upcoming Orbital ATK Commercial Resupply Services-6 is positioned for mating atop a United Launch Alliance Atlas V rocket in the Vertical Integration Facility at Launch Complex-41 at Cape Canaveral Air Force Station. The Cygnus is scheduled to lift off atop a United Launch Alliance Atlas V rocket on March 22 to deliver hardware and supplies to the International Space Station.
Photo credit: NASA/Dimitrios Gerondidakis
Air Jordan 1 Mid SE, Menâs Size 11, Cyber Active Fuchsia, White, Black, Cyber Pink, Active Fuchsia, CZ9834-100, UPC 00194496106701, 2019, Patent Leather Pastels, Synthetic leather upper, patent leather overlays, Air Jordan "Wings" logo stamp on heel counter, Mismatched Patent Leather Nike Swooshes, black patent leather eyelet and toe overlays, Active Fuchsia collars and heel overlays, âCyberâ green lateral Swooshes, green tongue liners, black-branded tongue tags, teal green insoles, white midsole, Black rubber outsole, lace up closure, Air Jordan Wings logo on the lateral side, Encapsulated Air-Sole unit, Padded tongue with JORDAN logo, NIKE swoosh, Cushioned inner sole, Traction rubber outsole, Jumpman woven tag, NBA, released in 1985, 777
Oh the possibilities, sadly missed through poor design and negligence! You cannot deny then that it's a British Leyland product, taking a car with a fantastic premise, but through sloppy workmanship make it something of nightmares! No car seems to encapsulate the problems with the nationalised company more than the humble Triumph Stag.
To compete with the likes of the Mercedes-Benz SL, British Leyland started work on a luxury Grand Tourer, styled by the world renowned Giovanni Michelotti, who had previously designed the Triumph 2000, the Triumph Herald and the Triumph TR6, and would later go on to design the ambiguous Austin Apache and the Leyland National bus. But either way his styling was sensational, but at the same time the car had substance too. In the late 1960's America was on the verge of banning convertible cars to increase safety. So the engineers at Triumph designed what was a very clever T-Bar rollcage over the passenger cabin, meaning the car was not only safe, but also allowed the owners to enjoy what was craved most in a Grand Tourer, drop-top open-air fun! This was complimented by a selection of cars with removable Hard-Tops, although not as popular due to being slightly more complicated. The name was great too, sounding very manly with a hint of beast-like qualities, which for the most part helps to form the image, a strong and noble creature of the wild stood proud amongst its peers...
...only without the antlers!
In 1970 the car was launched to the motoring press with some very favourable initial reviews, admiring the styling, the firm suspension that resulted in a smooth ride and the well-balanced handling. The car was immediately an image setter for the new-money, like the Mercedes it was competing with it had the image of being something for those who had made their money through more underhanded methods, a cads car if you will. But we've all got to make our money somehow I guess!
However, lest we forget that this was a British Leyland product, so of course trouble was brewing. Very quickly the car gained a reputation for unreliability, which can be traced back to that all important piece of machinery known simply as the engine. In 1969 whilst the Triumph Stag was in development, Rover began using their new license built V8 engine derived from an American Buick 215 3L powerplant. Originally this was installed into the Rover P5, but a 3.5L version was installed as standard to the Rover P6 and the later SD1, as well as becoming the motive power behind the almighty Range Rover. The Rover V8 was an incredibly reliable and endlessly tunable engine, making it one of the most popular and successful powerplants in automotive history. It made its way into the TVR Chimera, the Morgan Plus 8, the TVR 350i, the Land Rover Defender, the Land Rover Discovery, the Sisu Nasu All-Terrain Military Transport, the MG RV8, the MGB GT, the TVR Griffith, the TVR S-Series, the Leyland P76, the Triumph TR8 and so on! It was eventually removed from production in 2006, being replaced in the Range Rover it had served so well by a BMW powerplant.
But back to the Stag, and seeing as Triumph and Rover belonged to the same parent company, you'd think that their first instinct would be to place this heavenly engine into the Stag. Apparently that was too much to ask for, and so Triumph, still thinking they were Triumph, decided to develop their own engine because apparently the Rover V8 wouldn't fit in the engine bay of the Stag. Rather than doing the simple task of redesigning the engine bay to accommodate the new engine, Triumph developed their own ragtag V8 by welding together two of the Straight-4 engines you'd find in a Triumph Dolomite. Chucked together at the last minute, the new Twin Dolomite V8 was not a stellar piece of engineering like the Rover variant, its main downfall being the failure to install a proper cooling system. This illogical oversight of something so obvious meant that the engine would heat up easily, and result in the cylinder heads warping, rendering the engine totally useless. The engine was also prone to corrosion and roller link chains that would fail before 25,000 miles causing expensive damage.
As a result of the bad press of the engine, mixed with the terrible build quality that we'd all come to expect from British Leyland, the Stag was removed from the American market in 1973, and finished off here in 1977 by its spiritual replacement, the Triumph TR7, an equally as flawed concept that chose not to learn its lesson and use exactly the same flawed engine, dashing that car's hopes of success too whilst adding a less than stellar body design to its troubles. Eventually the Stag slipped quietly away after 25,000 examples were built, although one did feature in the James Bond film 'Diamonds are Forever', being driven to Amsterdam by Bond after half-inching it from Diamond Smuggler Peter Franks.
This particular story maddens me because I consider the Triumph Stag my favourite of the British Leyland range as it really is a beautiful car and performs very well. Like I said, it's very smooth to ride in and very easy to drive, but the sheer lack of communication and cooperation between two parts of the same company resulted in it being one of the biggest flops in motoring history, and has often been cited as one of the worst cars ever.
Today however there is still quite a sizeable fanbase for this car, with 9,000 Stags still registered as roadworthy, making it one of the most numerous British Leyland products to remain in ongoing use, especially when you compare it to the Austin Allegro's 291 survivors, Morris Marina's 674, and the Rover SD1's 310. The surviving Stags are mostly made up of cars that have had their original Triumph engines replaced by the Rover V8 to improve the performance and reliability. With a Rover V8 under the hood, this car is simply one of the best classic cars ever in my mind, a mixture of style, speed, performance and that wonderful rumble from under the bonnet. For the remainder still with the Twin Dolomite V8, most have been fixed by installing a proper cooling system and solving the corrosion issues. Today the Stags enjoy the popular life that British Leyland had envisaged for their luxury machines way back in 1970, 45 years late mind you but I suppose you can't have everything first time round!
Duchamp also said, “The word ‘art’ interests me very much. If it comes from Sanskrit (ar), as I’ve heard, it signifies ‘making’”. This also ties in with Duchamp’s theory that the intention of an object of art must cross the gap (held by the viewer) to the realization of art – hence the success of his ready-mades. This hit me like a lightning bolt, an arc of electricity across a gap in my own thinking. This, this is how one can live life as art, not just for it, or because of it. The revolution of the abuse of art and how to define art that is no longer beautiful became more important than the formalism of aesthetics. With Warhol and Duchamp dropping urinals and boxes of soap at the doorsteps of galleries, a whole new way of viewing art, critiquing, and appreciating art was needed. The changing role or art was leaving beauty by the wayside and the message of the art, and those who made art was less a lesson and more of a personal statement. I mean, if only 2% of the population was going to take any interest, why cater to the masses?
It wasn’t until recently, due to this class, that I realized how much I appreciated Duchamp. Further discovery of Duchamp’s interest in the everyday beauty and the Buddha mindset solidified my own buddha mind. In the last year, I’ve also had the pleasure of working with Deborah Haynes, a philosopher of art and mentor who truly believes in the process over the product. With these experiences, my own work has taken on a process-oriented view and less focus on the finished product. For example, I recently finished the first phase of an epic drawing; 100 Feat is a graphite and charcoal drawing on a scroll of paper 100’ by 30” documenting my conscious and subconscious, as well as notable events in my family’s history. The idea of embarking on a project that consumes vast amounts of time and attention are more about the journey than the finished product. Perhaps, when I complete the second phase (the other side of the paper) I’ll stop, or not. Throughout the course of the seven months it took to draw 100 Feat, I stumbled upon answers to questions about my life and self, which spurred further inquiry.
As this relates to Encapsulated Book, the process was paramount to the ‘success’ of the piece. Each plate hand drawn, each side bar transcribed taking over two months to complete was the actual ‘piece’. Each line and mark was a step further towards a better understanding of, in the Book, my own interpretation of the legacy of American Art in the last century. At the very least, Encapsulated Book has served as a mnemonic tool for the final exam. The outcome is a newfound respect for artists like Duchamp and reluctantly Pollock, once I learned of the processes and hypothetical reasoning behind the work.
Why do this? Time and tide demand it. Even before the 20th Century, intellectuals and creatives like Emerson were debating the death of originality; contemporary artists and intellectuals like Paul Miller (aka DJ Spooky) are coming to grips with appropriation and precedence, as Spooky cites Emerson:
““Our debt to tradition through reading and conversation is so massive, our protest so rare and insignificant – and this commonly on the ground of other reading and hearing – that in a large sense, one would say there is no pure originality. All minds quote. Old and new make the warp and woof of every moment. There is no thread that is not a twist of these two strands.” Redemptively, he wrote, “By necessity, by proclivity, and by delight, we all quote.””
These postmodern times call for it; appropriation, well, sampling to coin the contemporaneous term, is common and readily available. A recent article in the New York Times about the scrivener Serkan Ozkaya , and artist who copies, by hand entire pages of newspapers. His work is informed by Jorge Luis Borge’s Pierre Menard, Author of the Quixote, an essay about one Pierre Menard, a French symbolist rewriting, verbatim, Cervantes’ Don Quixote as a product of his own creativity. This work of postmodernism, referred to by a postmodern illustrator (Ozkaya) who was influenced by another postmodern artist (Paul McCarthy) influences me (Encapsulated Book), which, as Ozkaya puts it “to mimic life” and “to perform the traditional labor of art: drawing from life”.
The 20th Century prized the new above all else – it’s what made America the premier power of the age, New York the new epicenter of the art world, and what has pushed artists to new limits, but to what end? The inquisitive mind of the artist may be moving inward, a zazen of creative process that takes the practice of art from a career to a genuine lifestyle, at least from my perspective it is. The strata of experience and beliefs we build upon will continue to fuel renewal each layer obscured by the next, but still legible in memory.
On Wednesday, Jan. 24, 2024 , the Northrop Grumman Cygnus resupply spacecraft is seen being encapsulated inside the SpaceX Falcon 9 payload fairing as it prepares to launch from Space Launch Complex 40 at Cape Canaveral Space Force Station in Florida for the 20th Northrop Grumman commercial resupply services for NASA. The mission will carry 8,200 pounds of science investigations, supplies, and equipment to the International Space Station to support the agency’s Expedition 70 crew. Liftoff is scheduled no earlier than 12:07 p.m. EST Tuesday, Jan. 30, 2024.
Photo credit: SpaceX
CAPE CANAVERAL, Fla. – Encapsulated in its payload fairing, NASA's Tracking and Data Relay Satellite, or TDRS-L, spacecraft arrives at Cape Canaveral Air Force Station's Vertical Integration Facility at Launch Complex 41. Photo credit: NASA/Dimitri Gerondidakis
Encapsulated in its payload fairing, Tracking and Data Relay Satellite (TDRS-M) is mated to the United Launch Alliance Atlas V Centaur upper stage in the Vertical Integration Facility at Space Launch Complex 41 at Cape Canaveral Air Force Station in Florida. TDRS-M will be the latest spacecraft destined for the agency's constellation of communications satellites that allows nearly continuous contact with orbiting spacecraft ranging from the International Space Station and Hubble Space Telescope to the array of scientific observatories. Liftoff atop the ULA Atlas V rocket is scheduled for Aug. 18, 2017.
Photo credit: NASA/Kim Shiflett
Oh the possibilities, sadly missed through poor design and negligence! You cannot deny then that it's a British Leyland product, taking a car with a fantastic premise, but through sloppy workmanship make it something of nightmares! No car seems to encapsulate the problems with the nationalised company more than the humble Triumph Stag.
To compete with the likes of the Mercedes-Benz SL, British Leyland started work on a luxury Grand Tourer, styled by the world renowned Giovanni Michelotti, who had previously designed the Triumph 2000, the Triumph Herald and the Triumph TR6, and would later go on to design the ambiguous Austin Apache and the Leyland National bus. But either way his styling was sensational, but at the same time the car had substance too. In the late 1960's America was on the verge of banning convertible cars to increase safety. So the engineers at Triumph designed what was a very clever T-Bar rollcage over the passenger cabin, meaning the car was not only safe, but also allowed the owners to enjoy what was craved most in a Grand Tourer, drop-top open-air fun! This was complimented by a selection of cars with removable Hard-Tops, although not as popular due to being slightly more complicated. The name was great too, sounding very manly with a hint of beast-like qualities, which for the most part helps to form the image, a strong and noble creature of the wild stood proud amongst its peers...
...only without the antlers!
In 1970 the car was launched to the motoring press with some very favourable initial reviews, admiring the styling, the firm suspension that resulted in a smooth ride and the well-balanced handling. The car was immediately an image setter for the new-money, like the Mercedes it was competing with it had the image of being something for those who had made their money through more underhanded methods, a cads car if you will. But we've all got to make our money somehow I guess!
However, lest we forget that this was a British Leyland product, so of course trouble was brewing. Very quickly the car gained a reputation for unreliability, which can be traced back to that all important piece of machinery known simply as the engine. In 1969 whilst the Triumph Stag was in development, Rover began using their new license built V8 engine derived from an American Buick 215 3L powerplant. Originally this was installed into the Rover P5, but a 3.5L version was installed as standard to the Rover P6 and the later SD1, as well as becoming the motive power behind the almighty Range Rover. The Rover V8 was an incredibly reliable and endlessly tunable engine, making it one of the most popular and successful powerplants in automotive history. It made its way into the TVR Chimera, the Morgan Plus 8, the TVR 350i, the Land Rover Defender, the Land Rover Discovery, the Sisu Nasu All-Terrain Military Transport, the MG RV8, the MGB GT, the TVR Griffith, the TVR S-Series, the Leyland P76, the Triumph TR8 and so on! It was eventually removed from production in 2006, being replaced in the Range Rover it had served so well by a BMW powerplant.
But back to the Stag, and seeing as Triumph and Rover belonged to the same parent company, you'd think that their first instinct would be to place this heavenly engine into the Stag. Apparently that was too much to ask for, and so Triumph, still thinking they were Triumph, decided to develop their own engine because apparently the Rover V8 wouldn't fit in the engine bay of the Stag. Rather than doing the simple task of redesigning the engine bay to accommodate the new engine, Triumph developed their own ragtag V8 by welding together two of the Straight-4 engines you'd find in a Triumph Dolomite. Chucked together at the last minute, the new Twin Dolomite V8 was not a stellar piece of engineering like the Rover variant, its main downfall being the failure to install a proper cooling system. This illogical oversight of something so obvious meant that the engine would heat up easily, and result in the cylinder heads warping, rendering the engine totally useless. The engine was also prone to corrosion and roller link chains that would fail before 25,000 miles causing expensive damage.
As a result of the bad press of the engine, mixed with the terrible build quality that we'd all come to expect from British Leyland, the Stag was removed from the American market in 1973, and finished off here in 1977 by its spiritual replacement, the Triumph TR7, an equally as flawed concept that chose not to learn its lesson and use exactly the same flawed engine, dashing that car's hopes of success too whilst adding a less than stellar body design to its troubles. Eventually the Stag slipped quietly away after 25,000 examples were built, although one did feature in the James Bond film 'Diamonds are Forever', being driven to Amsterdam by Bond after half-inching it from Diamond Smuggler Peter Franks.
This particular story maddens me because I consider the Triumph Stag my favourite of the British Leyland range as it really is a beautiful car and performs very well. Like I said, it's very smooth to ride in and very easy to drive, but the sheer lack of communication and cooperation between two parts of the same company resulted in it being one of the biggest flops in motoring history, and has often been cited as one of the worst cars ever.
Today however there is still quite a sizeable fanbase for this car, with 9,000 Stags still registered as roadworthy, making it one of the most numerous British Leyland products to remain in ongoing use, especially when you compare it to the Austin Allegro's 291 survivors, Morris Marina's 674, and the Rover SD1's 310. The surviving Stags are mostly made up of cars that have had their original Triumph engines replaced by the Rover V8 to improve the performance and reliability. With a Rover V8 under the hood, this car is simply one of the best classic cars ever in my mind, a mixture of style, speed, performance and that wonderful rumble from under the bonnet. For the remainder still with the Twin Dolomite V8, most have been fixed by installing a proper cooling system and solving the corrosion issues. Today the Stags enjoy the popular life that British Leyland had envisaged for their luxury machines way back in 1970, 45 years late mind you but I suppose you can't have everything first time round!
Before shot test lighting. Then the prop lens (attached to a movable arm on the tripod) is moved out of the way, the camera lens is zoomed out and re focused. Then an assistant inside of the tunnel at the back lit me up for a few seconds.
I was born in Norfolk and lived in Suffolk. So I thought I knew those two counties. But of course there is more to Norfolk than Norwich, Cromer, Yarmouth and Kings Lynn, as there is to Suffolk than Ipswich, Lowestoft, Stowmarket and Bury St. Edmunds. And so on My friend, Simon K, runs a fabulous website, which I link to on EA churches, and on his Suffolk Church page he has visited 707 Suffolk churches, and 909 Norfolk churches. That is a lot of churches for two counties to share, and many of those churches are ancient, flint built, round towered or have wall paintings, wooden roof angels or something worth the effort of going to see or seeking out the keyholder to gain access.
What I mean is that there is no way someone who only had their own car until 1984, and had little interest in churches or parishes could have heard of most of the parishes in the two counties, and so a parish church like St George.
I saw St George from the main road, I was taking a short cut to join the A14 and from there to the A12 and south on what I hoped my my last trip of the year to lowestoft as Mother is now out of hospital and in the care of district nurses in order to get put back on her feet.
So I saw the tower of St George from about half a mile away, and thought I had enough time to go over and see inside if I could.
I parked at the end of a cul-de-sac of new bungalows, and as I walk up the bank to the gate into the churchyard, the clean lines of the tower, well, towered over me.
In the porch I tried the door and found it locked, but the keyholder list made it clear that the nearest one, at Christmas Cottage, was just over the road. So, why not try, Ian?
I went to the cottage and rang the bell. I had to fill out my details in a ledger, a sensible measure. But I showed by driving licence to prove that I was who I claimed. Little did I know the small village I lived in had been noticed. More of that in a minute.
Inside St George, you eye is stolen by the fabulous pew ends; animals of all kinds, real and imaginary, and most had not been defaced, only those of obvious human form. One with the body of a chicken but a clear human face had been left alone, thus is the madness of the puritan's mind.
I decided that I would record every pew end figure, and many whole pew ends so wonderful that they were.
There is the feint outline of a huge wall painting, Simon says it was of St. Christopher. It would have been most impressive when freshly painted. There is also a fine set of misericords.
St George's glory is the altarpiece, into detail Simon goes below. It is alarmed, so you cannot look at them too closely, sadly, but such is a sign of the times.
I took the keys back, and the lady of the house came to speak to me as she had been told by her husband that I was from Cliffe in Kent, which is where her family is from. Sadly, I am not from, nor live in Cliffe. For once there was indeed two Cliffs in Kent, one on the Hoo Peninsular, where her family is from, and one near to Dover. Many years ago, Cliffe near to Dover was called WestCliffe to differentiate it from its namesake further north. I explained this to her, but said St Helen in Cliffe is one of my favourite Kent churches, built of alternate layers of black and light flints and stone, in sunlight it glistens and sparkles.
Although St George here in Stowlangtoft is a fine church, it is in a poor state of repair, and is due to be made redundant in the new year. Always sad when that happens to a parish church, but it is likely to be taken over by the CCT, but then who will volunteer to keep it tidy when the old wardens and keyholders are too old.
Stowlangtoft is a fabulous church and so glad am I that I spent 40 minutes of my time to visit it. Go to see it now before it is too late!
-------------------------------------------
In the summer of 2003, this website became a six-part series on BBC Radio Suffolk. Something I said in the fourth programme, about Hessett, generated a fair amount of correspondence. Referring to the way many churches were restored in the 19th century, I observed that when we enter a medieval church, we are encountering a Victorian vision of the medieval; even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.
People wrote to me and said things like "but in that case, Simon, how do we know what was there originally and what wasn't?". To which my reply was the enigmatic "assume that nothing is as it first appears, as Sherlock Holmes said". And if he didn't, then he should have done.
A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak, especially in late October, but England's finest summer and autumn for decades had left the churchyard here verdant and golden, as beautiful a place as any I'd seen that year. The church is large, and sits on a mound that has been cut down on one side by the road. I walked up the slope, past the memorial to the art critic Peter Fuller and his unborn son, which never fails to move me. It is by the sculptor Glynn Williams, and Sister Wendy Beckett says of it that it cannot be pinned down and encapsulated, it defeats the categories of the mere mind and sings to us of our deeper self.
Overwhelmed as you may be by it, don't fail to spot the broken window tracery that has been used to build the wall here, for thereby hangs a tale.
St George, in case you don't know, is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the 'walls of glass' confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain why there is broken medieval tracery in the churchyard wall. However, it doesn't take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall isn't medieval, so where had it been all those years?
Another survival from the earlier church is the font. It also asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn't looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.
The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic Rickards broke off all correspondence with him.
During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends - Ringham did the same thing at Woolpit, a few miles away. Ringham's work is so good that it is sometimes hard for the inexperienced eye to detect it; however, as at Woolpit, Ringham only copied animals here, and the wierder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft's bench ends is partly the sheer quantity - there are perhaps 60 carvings - but also that there are several unique subjects; you can see some of them below.
The carvings appear to be part of the same group as Woolpit and Tostock - you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man's head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm....." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue; it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?
Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley's church at Cholderton in Wiltshire is one that Rickards acquired after finding it in storage in Ipswich docks. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church's medieval inheritance?
Well, yes he probably was. Look at the medieval roundels in the middle window on the south side of the nave. The four evangelists are above and below two superb representations of the Presentation in the Temple and the Baptism of Christ. You can see them below; click on them to enlarge them. Unfortunately, they are not medieval at all, and it is generally accepted that they were painted by a daughter of Samuel Rickards himself. There is something similar the other side of Bury at Hawstead.
Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval glass in the upper tracery of some of the windows. The laughable stone pulpit is Rickard's commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.
In a county famous for its woodwork, the furnishings of Stowlangtoft's chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk's most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk; Mortlock thought the stalls the finest in England. I was here with my friend Aidan of Sylly Suffolk fame, and he had previously photographed and written about these carving a a couple of years ago. But even he found something new to photograph, and a hush fell on the chancel as we explored.
The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces. Some of them are below; click on them to enlarge them.
Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?
Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don't ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.
However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don't know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey. Hmm....
Other remarkable things in St George include FE Howard's beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton's gorgeous St George, which serves the same purpose. It is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.
But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. I had seen something similar at Baumes-les-Messieurs in the French Jura a few weeks before. There, the carvings are brightly painted, as these once were, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century. My favourite images are the Pieta and the Mouth of Hell. Click on the images below.
One cold winter's night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one; taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.
The parish instituted legal proceedings to get them back; an injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill; but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain's liberation of Holland for the Nazis. No, thank you, sir.
Today, the carvings are fixed firmly in place and alarmed, so they won't be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren't here originally; they weren't even in England originally. Wouldn't it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, St George might even be kept open.
St George, Stowlangtoft, is in the village high street. Three keyholders are listed, two of them immediately opposite. I am told that Wednesday is not a good time to try and get the key - it is market day in Bury.
Simon Knott
Encapsulated in its payload fairing NASA's Interior Exploration using Seismic Investigations, Geodesy and Heat Transport, or InSight, Mars lander is prepared for transport to Space Launch Complex 3 at Vandenberg Air Force Base in California. InSight will be the first mission to look deep beneath the Martian surface. It will study the planet's interior by measuring its heat output and listen for marsquakes. The spacecraft will use the seismic waves generated by marsquakes to develop a map of the planetâs deep interior. The resulting insight into Marsâ formation will provide a better understanding of how other rocky planets, including Earth, were created. InSight is scheduled for liftoff May 5, 2018. Photo Credit: USAF 30th Space Wing
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
DESIGNERE G Van De Stadt
BUILDERSouthern Ocean Shipyard
DATE
Launched 1977
Completed 1978
Refit 2002/3
CONSTRUCTIONGRP
LOA
75' / 22.86m
LWL65' / 19.81m
BEAM17'6" / 5.36m
DRAFT9'2" / 2.8m
DISPLACEMENT85900lbs / 39 metric tons
PRICE
PRICE REDUCED
EUR 350,000 VAT paid in EU
LOCATIONWestern Mediterranean
Accommodation Plan
(click here for larger view)
FULL SPECIFICATION:
CONSTRUCTION
Built to Lloyds 100A and LMC. Classification withdrawn at original owner's request in 1986. White Awlgrip painted GRP hull, deck and coachroof; forward and main companionway hatches. GRP bulwarks with broad teak cappings. Laid teak over deck. 2 x teak deck box lockers for 6 gas bottlers (port) and general stowage (starboard). Self-draining cockpit with laid teak over seats and sole. Laid teak-faced hatch in cockpit sole accesses engine room. Opening gates in cockpit coaming port and starboard.
Encapsulated lead fin keel. Internal trimming ballast moulded in on starboard side to compensate for generator and galley. Skeg hung rudder. Teak wheel with Whitlock rod and gear steering system.
Interior joinery: sycamore and elm panelling with teak trim. Teak-faced plywood cabin soles.
HARDWARE
Main entry sliding-top hatch has 2 vertical drop-boards: one of teak/teak-faced plywood, second is metal framed clear acrylic. The boards independently drop down to stow in adjacent slots.
Stainless steel tube framed sprayhood over main entry with ingenious facility to remove the fabric hood.
Custom designed and fabricated stainless steel main boom support crutch. Folds down flat to coachroof when sailing.
Sliding forehatch over crew quarters and fixed teak ladder to deck.
9 x Lewmar deck hatches
Stainless steel framed windows in forward coachroof and one in aft end of aft coachroof
4 x opening windows in cockpit well
2 x opening windows in each side of aft superstructure
6 x stainless steel strainers over margin plank scuppers.
Mushroom ventilators: 2 on foredeck, 2 on aft deck, 3 in aft superstructure
2 x chromed air scoops by mizzen mast step
4 x deck prisms set into foredeck.
4 x pad eye sockets in way of mainmast
4 x stainless steel enclosed fairleads in bulwarks.
4 x stainless steel fairleads.
6 x sets large mooring bitts: fwd, midships, aft.
Stainless steel stemhead fitting with twin rollers and attachment for headsail furler
Stainless steel pulpit with teak seat and P&S lights attached on bracket
2 x double rail quarter guards with gate between. Stainless Steel quarter guards each with a vertical wood pad - port for outboard motor stowage, starboard for EPIRB. Sockets for ensign staff and sport-fishing rods
Stainless steel stanchion bases and stanchions, braced at gates to port and starboard.
Stainless steel mizzen mast step on aft coachroof astern of cockpit above stainless steel tube compression strut, which passes through Master Stateroom to stand on hull centreline.
2 x aluminium headsail tracks (mounted on cap rails P&S) each with roller car and slider
2 x Lewmar stainless steel staysail tracks each with roller car
Lewmar X-section alloy mainsheet track with Lewmar roller car and end stops on coachroof ahead of sprayhood.
Lewmar stainless steel mizzen track on aft deck immediately aft of superstructure
4 x large stainless steel foot blocks on substantial laminated teak plinths.
WINCHES By Lewmar:
Cockpit coaming: 2 x 700ST hydraulic primary winches.
2 x 65ST staysail sheets
2 x 55ST running backstay
Main hatch (under sprayhood to starboard)
1 x 48ST mainsheet track control
Deck at main mast 1 x 58ST
Main mast 5 x 44ST
2 x 40
1 x 48ST
Mizzen mast 4 x 34ST
4 x winch handles
GROUND TACKLE etc
2003 Sanguinetti horizontal 2500W electric anchor windlass with chain gypsy and
warping drum. Manual control or by foot switch
Bruce 75kg anchor with 60m stainless steel chain and 75m galvanised chain (last galvanised 2003)
CQR 50kg anchor with 20m chain
Warps and fenders
SPARS & RIGGING
Ketch rigged
Spars are all painted white Awlgrip to a very high standard. All standing rigging is 1x19 stainless steel wire.
Main mast by John Powell. Aluminium. Keel stepped, 2 spreader rig with forestay and inner forestay, cap shrouds and intermediate shrouds. Both forestays carry roller furling foils. The main forestay has a Reckmann hydraulic furler. The inner stay furler has an electric powered Bamar MEJ unit. Fore and aft lower shrouds. Standing backstay to mizzen step. PBO runners to shrouded Antal blocks. Harken luff track and car for mainsail. Spinnaker pole is stowed to fore side of mast on Harken track and car. Boom gooseneck fitting to mast and securing plate/swivel for Bamar boom vang are made in stainless steel to an impressive standard.
Mainsail boom is set up for slab reefing with lazy jacks and is dressed with a permanently fitted "catcher" sail bag.
Mizzen mast by Velscaf srl, Genova, Italy (2012). Aluminium. Deck stepped single spreader rig Spreaders are swept back and the intermediate shrouds pass over them. Cap shrouds run directly to the masthead. Fore and aft lower shrouds. "Parrot perch" single strut to fore side of mast with single diagonal shroud. Twin standing backstays from masthead to transom corners. Stainless steel bracket to fore side of mast for radar scanner.
Mizzen boom is set up for slab reefing and is dressed with permanently fitted "catcher" sail bag.
Lewmar Commander 5 System hydraulics for genoa roller furler and primaries
SAILS
By OneSails Italy (2003)
Fully battened mainsail
Roller furling genoa
Roller furling staysail
Mizzen
Genniker - 3600ft2
All Spectra except genniker
Dacron storm jib
Easy Stow main and mizzen sail covers (remain on booms).
ENGINE
Volvo Penta 180hp diesel (2008)
Flexible engine mounts.
Borg Warner Velvet Drive 2:1 reduction hydraulic gearbox.
Gearbox oil pressure and temperature alarms.
Monel shaft with seawater lubricated cutless bearing.
MaxProp V2 630mm propeller
Spare fixed propeller
Hydraulic disc type shaft brake
Engine hours @12.10.10 = 423
Engine access is via a flush teak hatch in the cockpit sole and via removable panels in the aft passageway.
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved. Dir. 059/99, in engine room.
ELECTRICS
Kohler 13kW generator.
Engine hours @12.10.10 = 882
2 x Whisper 1.3kW generators in lazarette (start off service batteries)
Engine hours @12.10.10 = 960 (starboard), 527 (port)
2 x Victron Energy 80Ah battery chargers/isolation transformer for 220/240V shorepower
Victron Energy 3000V inverter (2008)
Batteries:
2 x 12V 100Ah for main engine (2008)
1 x 12V 100Ah for Kohler generator start
12 x 2V (= 24V) 850Ah lead/acid for service (2010)
2 x 12V 100Ah lead-acid for bow thruster (2008)
Port and starboard navigation lights
Stern light
Masthead tri-colour/steaming light
Deck lights under spreaders
MACHINERY
Sea Recovery watermaker - output 4000 litres per day
Condaria air conditioning 36,000BTU
Vetus 11kW bow thruster in 300mm tube
TANKS
Fuel: 2000 litres integral grp tanks
Fresh water: 2000 litres integral grp tanks
Black water: 500 litres
Grey water: 350 litres integral grp tanks
Hot water: 100 litres
INSTRUMENTS Brookes & Gatehouse Hydra 2 multi-system: echo sounder, log/speed meter, wind speed, wind direction and compass. 20/20 display at main entry hatch under spray hood.
NX-300 Navtex
Furuno radar with scanner on bracket to fore side of mizzen mast
Robertson AP22 autopilot
Lorenz C-Map NT Starlight Plus - displays in nav. area and at helm
Shipmate RS400 VHF radio
Handheld VHF
Thrane & Thrane satcom for voice/internet connection
Skanti SSB (not usable, retained in place simply to fill bulkhead recess)
VEB Seimgeratebau barograph.
5 Kelvin Hughes barometer.
2 x Kelvin Hughes chronometers: 3 & 5 .
AUDIO VISUAL
LG 28 plasma TV
EQUIPMENT Sony hifi
2 x waterproof speakers in cockpit
LG TV in crew mess
GENERAL EQUIPMENT
2003 Novamarine RH 400 tender
2003 Mercury 40hp outboard motor
Stainless steel framed, teak stepped, folding boarding ladder. Can be deployed either P&S in fitted sockets by gate in guardrails
Teak grating passerelle with stainless steel stanchions and attachment fitting
Deck cockpit awning
Bimini
Blue towelling covered sun mattresses
Varnished teak dining table hinged to steering pedestal
SAFETY EQUIPMENT
Hydra 12 person liferaft, canister packed. Last packed 05/2010. Next service due
05/2012. Stowed in teak cradle by mainmast. Blue fabric cover
McMurdo EPIRB mounted on quarter guard wood pad
2 x horseshoe lifebuoys, orange in white fabric covers, mounted on guard rails.
Circular orange lifebuoy mounted on fwd starboard guardrail
Emergency tiller in lazarette with screw cover plate on aft coachroof to access rudder stock
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved, Dir. 059/99, in engine room.
Various hand-held fire extinguishers
3 x good torches, each clipped beneath a separate step of the accommodation ladder, within reach from the cockpit
5 x stainless steel fixed hoops to lower part of cockpit well for safety harness attachment
8 x semi-inflatable lifejackets
3 x full offshore life jackets
3 x foam type child's life jackets
DOMESTIC EQUIPMENT
Alpes Inox gas/electric gimballed cooker.
Microwave oven.
Double stainless steel sink.
Dishwasher.
2 x 110 litres large top-opening freezers.
2 x 120 litres refrigerators.
2 x drinks refrigerators in saloon - total 50 litres
Candy washing machine in fo'c'sle
3 x WCs.
ACCOMMODATION
Forepeak:
Features one crew berth to port, with lockers above and below. Washing machine to starboard.
Leading aft to a separate crew head/ shower compartment with wash basin and mirror to starboard and head to port. Vertical steps to forehatch on aft bulkhead
Crew Dinette:
Aft to starboard, with a table with banquette seats either end, and a single stool. The table may be adapted to form a single berth. Ample storage.
Captain's Cabin:
To port of crew dinette, and closed off by sliding doors. Finished in sycamore. Features single lower berth and double upper berth, writing table, ample storage space in lockers, mirror and washbasin.
Central Passageway:
Leading aft
Port Guest Cabin:
Finished in sycamore. Single lower berth and double upper berth, hanging locker, stool, storage space, wash basin, mirror.
Across the passageway to starboard is the spacious Guest Head/Shower with shower stall, head, wash basin and mirror. This shared with the:
Starboard Guest Cabin:
Finished in sycamore. Single lower berth and wider single upper berth, hanging locker, storage lockers, a wash basin and mirror.
Galley:
Situated opposite the starboard guest cabin. Generous storage space in lockers. May be closed off by a sliding door.
Two steps lead up into the Saloon:
Well-lit by generous window area and finished in sycamore. Gimballed sycamore dining table to port on a stainless steel base; folds to form coffee table. Generous storage space beneath banquette seating on port side. Seating is for eight people around the dining table when employing three aluminium folding chairs which can be removed and specially stowed. Small drinks refrigerators on either side of the opening to the forward passageway. Settee in forward starboard corner with wine stowage beneath
Navigation Station:
To starboard aft corner of the saloon.
3rd Guest Cabin is accessed from the port aft corner of the saloon. Upper and lower single berths. Cupboard with small chest of drawers beneath.
Aft Passageway:
Runs right aft from saloon between navigation station and companionway steps to the Master Stateroom. To its inboard side, large panels may easily be lifted out for excellent access to the engine room. To the outboard side are twin doors which when opened reveal the well appointed Master head/shower compartment, and at the same time isolate that compartment from the forward and aft sections of the passageway. To the aft end of the passageway, at its outboard side, is a heated/vented locker for foul weather gear.
Master Stateroom Head/Shower Compartment:
Shower stall with teak seat and sole grating, wash basin, head and extractor fan.
Master Stateroom:
Accessed by door from the aft passageway. Finished in elm and occupying the full beam of the yacht. Large double berth to port and a single berth to starboard. Dressing table with stool. Large mirror. Two hanging wardrobes; one with full length mirror. Ten drawers and various lockers provide ample storage space. The stateroom is well-lit by natural light.
BERTH DIMENSIONS & HEADROOMS
SALOON HEADROOM 2.20m
SMALL TWIN CABIN OFF SALOON headroom 2m
Lengths 1.95m
Widths @ mid length 72cm
MASTER STATEROOM HEAD/SHOWER headroom 1.85m in shower
1.95m elsewhere
MASTER STATEROOM headroom 1.9m
Double berth length 1.96m
Width @ mid 1.47m
Max width @ head 65cm
Single berth length 2m
AFT PASSAGEWAY 1.85m
Width 53cm
FWD PASSAGEWAY headroom 1.90m
GALLEY headroom 1.94m
STARBOARD TWIN CABIN headrooom 1.92m
Lengths 1.85m
Upper Single
Width @ 86cm
Lower Single
Width @ 56cm
PORT TWIN CABIN headroom 2.01m
Lengths 1.94m
Upper Double
Width @ mid 94cm
Width @ head 1.09m
Lower Single
Width @ mid 58cm
Width @ head 66cm
STARBOARD HEAD/SHOWER headroom 1.85m
CREW MESS headroom 1.86m
PORT CREW TWIN CABIN headroom 1.86m
Lengths 2.06m
Upper Double
Width @ mid 94cm
Lower Single
Width @ mid 64cm
CREW HEAD SHOWER 1.84m under closed hatch
FOC'S'LE CABIN headroom 1.68m
Length 2.06m
Width @ mid 58cm
REMARKS
SAQUILA is no ordinary production yachts. She was built to Lloyds Register Classification 100A-Yacht and LMC under supervision. The first owners maintained her Class until June 1986 when they requested withdrawal.
We've known SAQUILA from the late 1980s and sold her in New England in 1993. Thus we were delighted to be offered Central Agency for sale by the present owner. We responded very quickly by visiting SAQUILA in Italy. This yacht was special at her birth with excellent and practical systems and high quality of joinery so we knew what to expect. On arrival we were truly astonished by what we saw! The owner, an experienced yachtsman, had brought an extremely good Ocean 75 up to technical and cosmetic standards of a very, very high order. Just having funds to put into a yacht is not enough. It takes the knowledge, experience and determination of a born perfectionist to do what has benefitted SAQUILA. We have sold several Ocean 71s and 75s over the years. A few were very good but we have never seen one to match SAQUILA as she is now.
All spars have had close attention with removal of hardware for painting. The mainmast vang bracket is of new stainless steel to an improved design. A Harken track for luff cars has been fitted to suit the new fully battened mainsail. The beautifully crafted mizzen on-deck step serves several functions. A new addition is a stainless steel folding A-frame crutch on the coachroof which supports the boom when deployed and then folds down flat to stow. Original fittings include an anchor wash system on the bow pulpit with stainless steel water supply tubing. A small thing to mention? Not when the anchor comes up covered in mud! Electrical wiring for the running lights on the pulpit passes along a second stainless steel tube. Stainless steel strainers for deck water are flush with the teak deck, covering the scuppers which are integral within the hull. 2 large deck boxes accommodate to port the gas bottles and to strawboard general stowage. There are chocks for the tender on the foredeck.
A major feature of SAQUILA is the attention given to ventilation prior to build. This includes integral Dorade vents in the main coachroof to serve the saloon. There is other ventilation to the Master Stateroom and head/shower, crew quarters and galley, engine room and batteries. There are 8 opening windows and 9 Lewmar deck hatches.
SAQUILA's deck arrangements centre round her comfortable and well sheltered cockpit which is easy to enter from the side decks. The steering pedestal is at the aft end of the cockpit with instrument dials on a neat console. Other instrument repeaters are located beneath the sprayhood just forward of the main sliding hatch. To helm SAQUILA is a joy. Her Whitlock mechanical steering system delivers the feel which sailing is all about. Two teak decked locker lids on the aft deck open to reveal stowage space and the two Whisper generators.
SAQUILA's accommodation, thanks to an abundance of windows and hatches and the choice of the light hued sycamore and elm joinery provides an impression of space and quality. In present ownership a third twin guest cabin has been cleverly installed to port of the engine. Headroom is good throughout the yacht.
A clever and very sensible feature is the positioning of a good flashlight beneath each of three steps of the companion ladder at the main accommodation hatch. This further underlines the thought which has been put into SAQUILA and her systems.
SAQUILA is a yacht which may be bought and cruised without a need to catch up on a previous owner's maintenance "economies". She's good-looking and with a pleasing sheer line. At her price, she offers really exceptional value. We like her very much, and urge you to inspect.
DESIGNERE G Van De Stadt
BUILDERSouthern Ocean Shipyard
DATE
Launched 1977
Completed 1978
Refit 2002/3
CONSTRUCTIONGRP
LOA
75' / 22.86m
LWL65' / 19.81m
BEAM17'6" / 5.36m
DRAFT9'2" / 2.8m
DISPLACEMENT85900lbs / 39 metric tons
PRICE
PRICE REDUCED
EUR 350,000 VAT paid in EU
LOCATIONWestern Mediterranean
Accommodation Plan
(click here for larger view)
FULL SPECIFICATION:
CONSTRUCTION
Built to Lloyds 100A and LMC. Classification withdrawn at original owner's request in 1986. White Awlgrip painted GRP hull, deck and coachroof; forward and main companionway hatches. GRP bulwarks with broad teak cappings. Laid teak over deck. 2 x teak deck box lockers for 6 gas bottlers (port) and general stowage (starboard). Self-draining cockpit with laid teak over seats and sole. Laid teak-faced hatch in cockpit sole accesses engine room. Opening gates in cockpit coaming port and starboard.
Encapsulated lead fin keel. Internal trimming ballast moulded in on starboard side to compensate for generator and galley. Skeg hung rudder. Teak wheel with Whitlock rod and gear steering system.
Interior joinery: sycamore and elm panelling with teak trim. Teak-faced plywood cabin soles.
HARDWARE
Main entry sliding-top hatch has 2 vertical drop-boards: one of teak/teak-faced plywood, second is metal framed clear acrylic. The boards independently drop down to stow in adjacent slots.
Stainless steel tube framed sprayhood over main entry with ingenious facility to remove the fabric hood.
Custom designed and fabricated stainless steel main boom support crutch. Folds down flat to coachroof when sailing.
Sliding forehatch over crew quarters and fixed teak ladder to deck.
9 x Lewmar deck hatches
Stainless steel framed windows in forward coachroof and one in aft end of aft coachroof
4 x opening windows in cockpit well
2 x opening windows in each side of aft superstructure
6 x stainless steel strainers over margin plank scuppers.
Mushroom ventilators: 2 on foredeck, 2 on aft deck, 3 in aft superstructure
2 x chromed air scoops by mizzen mast step
4 x deck prisms set into foredeck.
4 x pad eye sockets in way of mainmast
4 x stainless steel enclosed fairleads in bulwarks.
4 x stainless steel fairleads.
6 x sets large mooring bitts: fwd, midships, aft.
Stainless steel stemhead fitting with twin rollers and attachment for headsail furler
Stainless steel pulpit with teak seat and P&S lights attached on bracket
2 x double rail quarter guards with gate between. Stainless Steel quarter guards each with a vertical wood pad - port for outboard motor stowage, starboard for EPIRB. Sockets for ensign staff and sport-fishing rods
Stainless steel stanchion bases and stanchions, braced at gates to port and starboard.
Stainless steel mizzen mast step on aft coachroof astern of cockpit above stainless steel tube compression strut, which passes through Master Stateroom to stand on hull centreline.
2 x aluminium headsail tracks (mounted on cap rails P&S) each with roller car and slider
2 x Lewmar stainless steel staysail tracks each with roller car
Lewmar X-section alloy mainsheet track with Lewmar roller car and end stops on coachroof ahead of sprayhood.
Lewmar stainless steel mizzen track on aft deck immediately aft of superstructure
4 x large stainless steel foot blocks on substantial laminated teak plinths.
WINCHES By Lewmar:
Cockpit coaming: 2 x 700ST hydraulic primary winches.
2 x 65ST staysail sheets
2 x 55ST running backstay
Main hatch (under sprayhood to starboard)
1 x 48ST mainsheet track control
Deck at main mast 1 x 58ST
Main mast 5 x 44ST
2 x 40
1 x 48ST
Mizzen mast 4 x 34ST
4 x winch handles
GROUND TACKLE etc
2003 Sanguinetti horizontal 2500W electric anchor windlass with chain gypsy and
warping drum. Manual control or by foot switch
Bruce 75kg anchor with 60m stainless steel chain and 75m galvanised chain (last galvanised 2003)
CQR 50kg anchor with 20m chain
Warps and fenders
SPARS & RIGGING
Ketch rigged
Spars are all painted white Awlgrip to a very high standard. All standing rigging is 1x19 stainless steel wire.
Main mast by John Powell. Aluminium. Keel stepped, 2 spreader rig with forestay and inner forestay, cap shrouds and intermediate shrouds. Both forestays carry roller furling foils. The main forestay has a Reckmann hydraulic furler. The inner stay furler has an electric powered Bamar MEJ unit. Fore and aft lower shrouds. Standing backstay to mizzen step. PBO runners to shrouded Antal blocks. Harken luff track and car for mainsail. Spinnaker pole is stowed to fore side of mast on Harken track and car. Boom gooseneck fitting to mast and securing plate/swivel for Bamar boom vang are made in stainless steel to an impressive standard.
Mainsail boom is set up for slab reefing with lazy jacks and is dressed with a permanently fitted "catcher" sail bag.
Mizzen mast by Velscaf srl, Genova, Italy (2012). Aluminium. Deck stepped single spreader rig Spreaders are swept back and the intermediate shrouds pass over them. Cap shrouds run directly to the masthead. Fore and aft lower shrouds. "Parrot perch" single strut to fore side of mast with single diagonal shroud. Twin standing backstays from masthead to transom corners. Stainless steel bracket to fore side of mast for radar scanner.
Mizzen boom is set up for slab reefing and is dressed with permanently fitted "catcher" sail bag.
Lewmar Commander 5 System hydraulics for genoa roller furler and primaries
SAILS
By OneSails Italy (2003)
Fully battened mainsail
Roller furling genoa
Roller furling staysail
Mizzen
Genniker - 3600ft2
All Spectra except genniker
Dacron storm jib
Easy Stow main and mizzen sail covers (remain on booms).
ENGINE
Volvo Penta 180hp diesel (2008)
Flexible engine mounts.
Borg Warner Velvet Drive 2:1 reduction hydraulic gearbox.
Gearbox oil pressure and temperature alarms.
Monel shaft with seawater lubricated cutless bearing.
MaxProp V2 630mm propeller
Spare fixed propeller
Hydraulic disc type shaft brake
Engine hours @12.10.10 = 423
Engine access is via a flush teak hatch in the cockpit sole and via removable panels in the aft passageway.
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved. Dir. 059/99, in engine room.
ELECTRICS
Kohler 13kW generator.
Engine hours @12.10.10 = 882
2 x Whisper 1.3kW generators in lazarette (start off service batteries)
Engine hours @12.10.10 = 960 (starboard), 527 (port)
2 x Victron Energy 80Ah battery chargers/isolation transformer for 220/240V shorepower
Victron Energy 3000V inverter (2008)
Batteries:
2 x 12V 100Ah for main engine (2008)
1 x 12V 100Ah for Kohler generator start
12 x 2V (= 24V) 850Ah lead/acid for service (2010)
2 x 12V 100Ah lead-acid for bow thruster (2008)
Port and starboard navigation lights
Stern light
Masthead tri-colour/steaming light
Deck lights under spreaders
MACHINERY
Sea Recovery watermaker - output 4000 litres per day
Condaria air conditioning 36,000BTU
Vetus 11kW bow thruster in 300mm tube
TANKS
Fuel: 2000 litres integral grp tanks
Fresh water: 2000 litres integral grp tanks
Black water: 500 litres
Grey water: 350 litres integral grp tanks
Hot water: 100 litres
INSTRUMENTS Brookes & Gatehouse Hydra 2 multi-system: echo sounder, log/speed meter, wind speed, wind direction and compass. 20/20 display at main entry hatch under spray hood.
NX-300 Navtex
Furuno radar with scanner on bracket to fore side of mizzen mast
Robertson AP22 autopilot
Lorenz C-Map NT Starlight Plus - displays in nav. area and at helm
Shipmate RS400 VHF radio
Handheld VHF
Thrane & Thrane satcom for voice/internet connection
Skanti SSB (not usable, retained in place simply to fill bulkhead recess)
VEB Seimgeratebau barograph.
5 Kelvin Hughes barometer.
2 x Kelvin Hughes chronometers: 3 & 5 .
AUDIO VISUAL
LG 28 plasma TV
EQUIPMENT Sony hifi
2 x waterproof speakers in cockpit
LG TV in crew mess
GENERAL EQUIPMENT
2003 Novamarine RH 400 tender
2003 Mercury 40hp outboard motor
Stainless steel framed, teak stepped, folding boarding ladder. Can be deployed either P&S in fitted sockets by gate in guardrails
Teak grating passerelle with stainless steel stanchions and attachment fitting
Deck cockpit awning
Bimini
Blue towelling covered sun mattresses
Varnished teak dining table hinged to steering pedestal
SAFETY EQUIPMENT
Hydra 12 person liferaft, canister packed. Last packed 05/2010. Next service due
05/2012. Stowed in teak cradle by mainmast. Blue fabric cover
McMurdo EPIRB mounted on quarter guard wood pad
2 x horseshoe lifebuoys, orange in white fabric covers, mounted on guard rails.
Circular orange lifebuoy mounted on fwd starboard guardrail
Emergency tiller in lazarette with screw cover plate on aft coachroof to access rudder stock
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved, Dir. 059/99, in engine room.
Various hand-held fire extinguishers
3 x good torches, each clipped beneath a separate step of the accommodation ladder, within reach from the cockpit
5 x stainless steel fixed hoops to lower part of cockpit well for safety harness attachment
8 x semi-inflatable lifejackets
3 x full offshore life jackets
3 x foam type child's life jackets
DOMESTIC EQUIPMENT
Alpes Inox gas/electric gimballed cooker.
Microwave oven.
Double stainless steel sink.
Dishwasher.
2 x 110 litres large top-opening freezers.
2 x 120 litres refrigerators.
2 x drinks refrigerators in saloon - total 50 litres
Candy washing machine in fo'c'sle
3 x WCs.
ACCOMMODATION
Forepeak:
Features one crew berth to port, with lockers above and below. Washing machine to starboard.
Leading aft to a separate crew head/ shower compartment with wash basin and mirror to starboard and head to port. Vertical steps to forehatch on aft bulkhead
Crew Dinette:
Aft to starboard, with a table with banquette seats either end, and a single stool. The table may be adapted to form a single berth. Ample storage.
Captain's Cabin:
To port of crew dinette, and closed off by sliding doors. Finished in sycamore. Features single lower berth and double upper berth, writing table, ample storage space in lockers, mirror and washbasin.
Central Passageway:
Leading aft
Port Guest Cabin:
Finished in sycamore. Single lower berth and double upper berth, hanging locker, stool, storage space, wash basin, mirror.
Across the passageway to starboard is the spacious Guest Head/Shower with shower stall, head, wash basin and mirror. This shared with the:
Starboard Guest Cabin:
Finished in sycamore. Single lower berth and wider single upper berth, hanging locker, storage lockers, a wash basin and mirror.
Galley:
Situated opposite the starboard guest cabin. Generous storage space in lockers. May be closed off by a sliding door.
Two steps lead up into the Saloon:
Well-lit by generous window area and finished in sycamore. Gimballed sycamore dining table to port on a stainless steel base; folds to form coffee table. Generous storage space beneath banquette seating on port side. Seating is for eight people around the dining table when employing three aluminium folding chairs which can be removed and specially stowed. Small drinks refrigerators on either side of the opening to the forward passageway. Settee in forward starboard corner with wine stowage beneath
Navigation Station:
To starboard aft corner of the saloon.
3rd Guest Cabin is accessed from the port aft corner of the saloon. Upper and lower single berths. Cupboard with small chest of drawers beneath.
Aft Passageway:
Runs right aft from saloon between navigation station and companionway steps to the Master Stateroom. To its inboard side, large panels may easily be lifted out for excellent access to the engine room. To the outboard side are twin doors which when opened reveal the well appointed Master head/shower compartment, and at the same time isolate that compartment from the forward and aft sections of the passageway. To the aft end of the passageway, at its outboard side, is a heated/vented locker for foul weather gear.
Master Stateroom Head/Shower Compartment:
Shower stall with teak seat and sole grating, wash basin, head and extractor fan.
Master Stateroom:
Accessed by door from the aft passageway. Finished in elm and occupying the full beam of the yacht. Large double berth to port and a single berth to starboard. Dressing table with stool. Large mirror. Two hanging wardrobes; one with full length mirror. Ten drawers and various lockers provide ample storage space. The stateroom is well-lit by natural light.
BERTH DIMENSIONS & HEADROOMS
SALOON HEADROOM 2.20m
SMALL TWIN CABIN OFF SALOON headroom 2m
Lengths 1.95m
Widths @ mid length 72cm
MASTER STATEROOM HEAD/SHOWER headroom 1.85m in shower
1.95m elsewhere
MASTER STATEROOM headroom 1.9m
Double berth length 1.96m
Width @ mid 1.47m
Max width @ head 65cm
Single berth length 2m
AFT PASSAGEWAY 1.85m
Width 53cm
FWD PASSAGEWAY headroom 1.90m
GALLEY headroom 1.94m
STARBOARD TWIN CABIN headrooom 1.92m
Lengths 1.85m
Upper Single
Width @ 86cm
Lower Single
Width @ 56cm
PORT TWIN CABIN headroom 2.01m
Lengths 1.94m
Upper Double
Width @ mid 94cm
Width @ head 1.09m
Lower Single
Width @ mid 58cm
Width @ head 66cm
STARBOARD HEAD/SHOWER headroom 1.85m
CREW MESS headroom 1.86m
PORT CREW TWIN CABIN headroom 1.86m
Lengths 2.06m
Upper Double
Width @ mid 94cm
Lower Single
Width @ mid 64cm
CREW HEAD SHOWER 1.84m under closed hatch
FOC'S'LE CABIN headroom 1.68m
Length 2.06m
Width @ mid 58cm
REMARKS
SAQUILA is no ordinary production yachts. She was built to Lloyds Register Classification 100A-Yacht and LMC under supervision. The first owners maintained her Class until June 1986 when they requested withdrawal.
We've known SAQUILA from the late 1980s and sold her in New England in 1993. Thus we were delighted to be offered Central Agency for sale by the present owner. We responded very quickly by visiting SAQUILA in Italy. This yacht was special at her birth with excellent and practical systems and high quality of joinery so we knew what to expect. On arrival we were truly astonished by what we saw! The owner, an experienced yachtsman, had brought an extremely good Ocean 75 up to technical and cosmetic standards of a very, very high order. Just having funds to put into a yacht is not enough. It takes the knowledge, experience and determination of a born perfectionist to do what has benefitted SAQUILA. We have sold several Ocean 71s and 75s over the years. A few were very good but we have never seen one to match SAQUILA as she is now.
All spars have had close attention with removal of hardware for painting. The mainmast vang bracket is of new stainless steel to an improved design. A Harken track for luff cars has been fitted to suit the new fully battened mainsail. The beautifully crafted mizzen on-deck step serves several functions. A new addition is a stainless steel folding A-frame crutch on the coachroof which supports the boom when deployed and then folds down flat to stow. Original fittings include an anchor wash system on the bow pulpit with stainless steel water supply tubing. A small thing to mention? Not when the anchor comes up covered in mud! Electrical wiring for the running lights on the pulpit passes along a second stainless steel tube. Stainless steel strainers for deck water are flush with the teak deck, covering the scuppers which are integral within the hull. 2 large deck boxes accommodate to port the gas bottles and to strawboard general stowage. There are chocks for the tender on the foredeck.
A major feature of SAQUILA is the attention given to ventilation prior to build. This includes integral Dorade vents in the main coachroof to serve the saloon. There is other ventilation to the Master Stateroom and head/shower, crew quarters and galley, engine room and batteries. There are 8 opening windows and 9 Lewmar deck hatches.
SAQUILA's deck arrangements centre round her comfortable and well sheltered cockpit which is easy to enter from the side decks. The steering pedestal is at the aft end of the cockpit with instrument dials on a neat console. Other instrument repeaters are located beneath the sprayhood just forward of the main sliding hatch. To helm SAQUILA is a joy. Her Whitlock mechanical steering system delivers the feel which sailing is all about. Two teak decked locker lids on the aft deck open to reveal stowage space and the two Whisper generators.
SAQUILA's accommodation, thanks to an abundance of windows and hatches and the choice of the light hued sycamore and elm joinery provides an impression of space and quality. In present ownership a third twin guest cabin has been cleverly installed to port of the engine. Headroom is good throughout the yacht.
A clever and very sensible feature is the positioning of a good flashlight beneath each of three steps of the companion ladder at the main accommodation hatch. This further underlines the thought which has been put into SAQUILA and her systems.
SAQUILA is a yacht which may be bought and cruised without a need to catch up on a previous owner's maintenance "economies". She's good-looking and with a pleasing sheer line. At her price, she offers really exceptional value. We like her very much, and urge you to inspect.
DESIGNERE G Van De Stadt
BUILDERSouthern Ocean Shipyard
DATE
Launched 1977
Completed 1978
Refit 2002/3
CONSTRUCTIONGRP
LOA
75' / 22.86m
LWL65' / 19.81m
BEAM17'6" / 5.36m
DRAFT9'2" / 2.8m
DISPLACEMENT85900lbs / 39 metric tons
PRICE
PRICE REDUCED
EUR 350,000 VAT paid in EU
LOCATIONWestern Mediterranean
Accommodation Plan
(click here for larger view)
FULL SPECIFICATION:
CONSTRUCTION
Built to Lloyds 100A and LMC. Classification withdrawn at original owner's request in 1986. White Awlgrip painted GRP hull, deck and coachroof; forward and main companionway hatches. GRP bulwarks with broad teak cappings. Laid teak over deck. 2 x teak deck box lockers for 6 gas bottlers (port) and general stowage (starboard). Self-draining cockpit with laid teak over seats and sole. Laid teak-faced hatch in cockpit sole accesses engine room. Opening gates in cockpit coaming port and starboard.
Encapsulated lead fin keel. Internal trimming ballast moulded in on starboard side to compensate for generator and galley. Skeg hung rudder. Teak wheel with Whitlock rod and gear steering system.
Interior joinery: sycamore and elm panelling with teak trim. Teak-faced plywood cabin soles.
HARDWARE
Main entry sliding-top hatch has 2 vertical drop-boards: one of teak/teak-faced plywood, second is metal framed clear acrylic. The boards independently drop down to stow in adjacent slots.
Stainless steel tube framed sprayhood over main entry with ingenious facility to remove the fabric hood.
Custom designed and fabricated stainless steel main boom support crutch. Folds down flat to coachroof when sailing.
Sliding forehatch over crew quarters and fixed teak ladder to deck.
9 x Lewmar deck hatches
Stainless steel framed windows in forward coachroof and one in aft end of aft coachroof
4 x opening windows in cockpit well
2 x opening windows in each side of aft superstructure
6 x stainless steel strainers over margin plank scuppers.
Mushroom ventilators: 2 on foredeck, 2 on aft deck, 3 in aft superstructure
2 x chromed air scoops by mizzen mast step
4 x deck prisms set into foredeck.
4 x pad eye sockets in way of mainmast
4 x stainless steel enclosed fairleads in bulwarks.
4 x stainless steel fairleads.
6 x sets large mooring bitts: fwd, midships, aft.
Stainless steel stemhead fitting with twin rollers and attachment for headsail furler
Stainless steel pulpit with teak seat and P&S lights attached on bracket
2 x double rail quarter guards with gate between. Stainless Steel quarter guards each with a vertical wood pad - port for outboard motor stowage, starboard for EPIRB. Sockets for ensign staff and sport-fishing rods
Stainless steel stanchion bases and stanchions, braced at gates to port and starboard.
Stainless steel mizzen mast step on aft coachroof astern of cockpit above stainless steel tube compression strut, which passes through Master Stateroom to stand on hull centreline.
2 x aluminium headsail tracks (mounted on cap rails P&S) each with roller car and slider
2 x Lewmar stainless steel staysail tracks each with roller car
Lewmar X-section alloy mainsheet track with Lewmar roller car and end stops on coachroof ahead of sprayhood.
Lewmar stainless steel mizzen track on aft deck immediately aft of superstructure
4 x large stainless steel foot blocks on substantial laminated teak plinths.
WINCHES By Lewmar:
Cockpit coaming: 2 x 700ST hydraulic primary winches.
2 x 65ST staysail sheets
2 x 55ST running backstay
Main hatch (under sprayhood to starboard)
1 x 48ST mainsheet track control
Deck at main mast 1 x 58ST
Main mast 5 x 44ST
2 x 40
1 x 48ST
Mizzen mast 4 x 34ST
4 x winch handles
GROUND TACKLE etc
2003 Sanguinetti horizontal 2500W electric anchor windlass with chain gypsy and
warping drum. Manual control or by foot switch
Bruce 75kg anchor with 60m stainless steel chain and 75m galvanised chain (last galvanised 2003)
CQR 50kg anchor with 20m chain
Warps and fenders
SPARS & RIGGING
Ketch rigged
Spars are all painted white Awlgrip to a very high standard. All standing rigging is 1x19 stainless steel wire.
Main mast by John Powell. Aluminium. Keel stepped, 2 spreader rig with forestay and inner forestay, cap shrouds and intermediate shrouds. Both forestays carry roller furling foils. The main forestay has a Reckmann hydraulic furler. The inner stay furler has an electric powered Bamar MEJ unit. Fore and aft lower shrouds. Standing backstay to mizzen step. PBO runners to shrouded Antal blocks. Harken luff track and car for mainsail. Spinnaker pole is stowed to fore side of mast on Harken track and car. Boom gooseneck fitting to mast and securing plate/swivel for Bamar boom vang are made in stainless steel to an impressive standard.
Mainsail boom is set up for slab reefing with lazy jacks and is dressed with a permanently fitted "catcher" sail bag.
Mizzen mast by Velscaf srl, Genova, Italy (2012). Aluminium. Deck stepped single spreader rig Spreaders are swept back and the intermediate shrouds pass over them. Cap shrouds run directly to the masthead. Fore and aft lower shrouds. "Parrot perch" single strut to fore side of mast with single diagonal shroud. Twin standing backstays from masthead to transom corners. Stainless steel bracket to fore side of mast for radar scanner.
Mizzen boom is set up for slab reefing and is dressed with permanently fitted "catcher" sail bag.
Lewmar Commander 5 System hydraulics for genoa roller furler and primaries
SAILS
By OneSails Italy (2003)
Fully battened mainsail
Roller furling genoa
Roller furling staysail
Mizzen
Genniker - 3600ft2
All Spectra except genniker
Dacron storm jib
Easy Stow main and mizzen sail covers (remain on booms).
ENGINE
Volvo Penta 180hp diesel (2008)
Flexible engine mounts.
Borg Warner Velvet Drive 2:1 reduction hydraulic gearbox.
Gearbox oil pressure and temperature alarms.
Monel shaft with seawater lubricated cutless bearing.
MaxProp V2 630mm propeller
Spare fixed propeller
Hydraulic disc type shaft brake
Engine hours @12.10.10 = 423
Engine access is via a flush teak hatch in the cockpit sole and via removable panels in the aft passageway.
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved. Dir. 059/99, in engine room.
ELECTRICS
Kohler 13kW generator.
Engine hours @12.10.10 = 882
2 x Whisper 1.3kW generators in lazarette (start off service batteries)
Engine hours @12.10.10 = 960 (starboard), 527 (port)
2 x Victron Energy 80Ah battery chargers/isolation transformer for 220/240V shorepower
Victron Energy 3000V inverter (2008)
Batteries:
2 x 12V 100Ah for main engine (2008)
1 x 12V 100Ah for Kohler generator start
12 x 2V (= 24V) 850Ah lead/acid for service (2010)
2 x 12V 100Ah lead-acid for bow thruster (2008)
Port and starboard navigation lights
Stern light
Masthead tri-colour/steaming light
Deck lights under spreaders
MACHINERY
Sea Recovery watermaker - output 4000 litres per day
Condaria air conditioning 36,000BTU
Vetus 11kW bow thruster in 300mm tube
TANKS
Fuel: 2000 litres integral grp tanks
Fresh water: 2000 litres integral grp tanks
Black water: 500 litres
Grey water: 350 litres integral grp tanks
Hot water: 100 litres
INSTRUMENTS Brookes & Gatehouse Hydra 2 multi-system: echo sounder, log/speed meter, wind speed, wind direction and compass. 20/20 display at main entry hatch under spray hood.
NX-300 Navtex
Furuno radar with scanner on bracket to fore side of mizzen mast
Robertson AP22 autopilot
Lorenz C-Map NT Starlight Plus - displays in nav. area and at helm
Shipmate RS400 VHF radio
Handheld VHF
Thrane & Thrane satcom for voice/internet connection
Skanti SSB (not usable, retained in place simply to fill bulkhead recess)
VEB Seimgeratebau barograph.
5 Kelvin Hughes barometer.
2 x Kelvin Hughes chronometers: 3 & 5 .
AUDIO VISUAL
LG 28 plasma TV
EQUIPMENT Sony hifi
2 x waterproof speakers in cockpit
LG TV in crew mess
GENERAL EQUIPMENT
2003 Novamarine RH 400 tender
2003 Mercury 40hp outboard motor
Stainless steel framed, teak stepped, folding boarding ladder. Can be deployed either P&S in fitted sockets by gate in guardrails
Teak grating passerelle with stainless steel stanchions and attachment fitting
Deck cockpit awning
Bimini
Blue towelling covered sun mattresses
Varnished teak dining table hinged to steering pedestal
SAFETY EQUIPMENT
Hydra 12 person liferaft, canister packed. Last packed 05/2010. Next service due
05/2012. Stowed in teak cradle by mainmast. Blue fabric cover
McMurdo EPIRB mounted on quarter guard wood pad
2 x horseshoe lifebuoys, orange in white fabric covers, mounted on guard rails.
Circular orange lifebuoy mounted on fwd starboard guardrail
Emergency tiller in lazarette with screw cover plate on aft coachroof to access rudder stock
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved, Dir. 059/99, in engine room.
Various hand-held fire extinguishers
3 x good torches, each clipped beneath a separate step of the accommodation ladder, within reach from the cockpit
5 x stainless steel fixed hoops to lower part of cockpit well for safety harness attachment
8 x semi-inflatable lifejackets
3 x full offshore life jackets
3 x foam type child's life jackets
DOMESTIC EQUIPMENT
Alpes Inox gas/electric gimballed cooker.
Microwave oven.
Double stainless steel sink.
Dishwasher.
2 x 110 litres large top-opening freezers.
2 x 120 litres refrigerators.
2 x drinks refrigerators in saloon - total 50 litres
Candy washing machine in fo'c'sle
3 x WCs.
ACCOMMODATION
Forepeak:
Features one crew berth to port, with lockers above and below. Washing machine to starboard.
Leading aft to a separate crew head/ shower compartment with wash basin and mirror to starboard and head to port. Vertical steps to forehatch on aft bulkhead
Crew Dinette:
Aft to starboard, with a table with banquette seats either end, and a single stool. The table may be adapted to form a single berth. Ample storage.
Captain's Cabin:
To port of crew dinette, and closed off by sliding doors. Finished in sycamore. Features single lower berth and double upper berth, writing table, ample storage space in lockers, mirror and washbasin.
Central Passageway:
Leading aft
Port Guest Cabin:
Finished in sycamore. Single lower berth and double upper berth, hanging locker, stool, storage space, wash basin, mirror.
Across the passageway to starboard is the spacious Guest Head/Shower with shower stall, head, wash basin and mirror. This shared with the:
Starboard Guest Cabin:
Finished in sycamore. Single lower berth and wider single upper berth, hanging locker, storage lockers, a wash basin and mirror.
Galley:
Situated opposite the starboard guest cabin. Generous storage space in lockers. May be closed off by a sliding door.
Two steps lead up into the Saloon:
Well-lit by generous window area and finished in sycamore. Gimballed sycamore dining table to port on a stainless steel base; folds to form coffee table. Generous storage space beneath banquette seating on port side. Seating is for eight people around the dining table when employing three aluminium folding chairs which can be removed and specially stowed. Small drinks refrigerators on either side of the opening to the forward passageway. Settee in forward starboard corner with wine stowage beneath
Navigation Station:
To starboard aft corner of the saloon.
3rd Guest Cabin is accessed from the port aft corner of the saloon. Upper and lower single berths. Cupboard with small chest of drawers beneath.
Aft Passageway:
Runs right aft from saloon between navigation station and companionway steps to the Master Stateroom. To its inboard side, large panels may easily be lifted out for excellent access to the engine room. To the outboard side are twin doors which when opened reveal the well appointed Master head/shower compartment, and at the same time isolate that compartment from the forward and aft sections of the passageway. To the aft end of the passageway, at its outboard side, is a heated/vented locker for foul weather gear.
Master Stateroom Head/Shower Compartment:
Shower stall with teak seat and sole grating, wash basin, head and extractor fan.
Master Stateroom:
Accessed by door from the aft passageway. Finished in elm and occupying the full beam of the yacht. Large double berth to port and a single berth to starboard. Dressing table with stool. Large mirror. Two hanging wardrobes; one with full length mirror. Ten drawers and various lockers provide ample storage space. The stateroom is well-lit by natural light.
BERTH DIMENSIONS & HEADROOMS
SALOON HEADROOM 2.20m
SMALL TWIN CABIN OFF SALOON headroom 2m
Lengths 1.95m
Widths @ mid length 72cm
MASTER STATEROOM HEAD/SHOWER headroom 1.85m in shower
1.95m elsewhere
MASTER STATEROOM headroom 1.9m
Double berth length 1.96m
Width @ mid 1.47m
Max width @ head 65cm
Single berth length 2m
AFT PASSAGEWAY 1.85m
Width 53cm
FWD PASSAGEWAY headroom 1.90m
GALLEY headroom 1.94m
STARBOARD TWIN CABIN headrooom 1.92m
Lengths 1.85m
Upper Single
Width @ 86cm
Lower Single
Width @ 56cm
PORT TWIN CABIN headroom 2.01m
Lengths 1.94m
Upper Double
Width @ mid 94cm
Width @ head 1.09m
Lower Single
Width @ mid 58cm
Width @ head 66cm
STARBOARD HEAD/SHOWER headroom 1.85m
CREW MESS headroom 1.86m
PORT CREW TWIN CABIN headroom 1.86m
Lengths 2.06m
Upper Double
Width @ mid 94cm
Lower Single
Width @ mid 64cm
CREW HEAD SHOWER 1.84m under closed hatch
FOC'S'LE CABIN headroom 1.68m
Length 2.06m
Width @ mid 58cm
REMARKS
SAQUILA is no ordinary production yachts. She was built to Lloyds Register Classification 100A-Yacht and LMC under supervision. The first owners maintained her Class until June 1986 when they requested withdrawal.
We've known SAQUILA from the late 1980s and sold her in New England in 1993. Thus we were delighted to be offered Central Agency for sale by the present owner. We responded very quickly by visiting SAQUILA in Italy. This yacht was special at her birth with excellent and practical systems and high quality of joinery so we knew what to expect. On arrival we were truly astonished by what we saw! The owner, an experienced yachtsman, had brought an extremely good Ocean 75 up to technical and cosmetic standards of a very, very high order. Just having funds to put into a yacht is not enough. It takes the knowledge, experience and determination of a born perfectionist to do what has benefitted SAQUILA. We have sold several Ocean 71s and 75s over the years. A few were very good but we have never seen one to match SAQUILA as she is now.
All spars have had close attention with removal of hardware for painting. The mainmast vang bracket is of new stainless steel to an improved design. A Harken track for luff cars has been fitted to suit the new fully battened mainsail. The beautifully crafted mizzen on-deck step serves several functions. A new addition is a stainless steel folding A-frame crutch on the coachroof which supports the boom when deployed and then folds down flat to stow. Original fittings include an anchor wash system on the bow pulpit with stainless steel water supply tubing. A small thing to mention? Not when the anchor comes up covered in mud! Electrical wiring for the running lights on the pulpit passes along a second stainless steel tube. Stainless steel strainers for deck water are flush with the teak deck, covering the scuppers which are integral within the hull. 2 large deck boxes accommodate to port the gas bottles and to strawboard general stowage. There are chocks for the tender on the foredeck.
A major feature of SAQUILA is the attention given to ventilation prior to build. This includes integral Dorade vents in the main coachroof to serve the saloon. There is other ventilation to the Master Stateroom and head/shower, crew quarters and galley, engine room and batteries. There are 8 opening windows and 9 Lewmar deck hatches.
SAQUILA's deck arrangements centre round her comfortable and well sheltered cockpit which is easy to enter from the side decks. The steering pedestal is at the aft end of the cockpit with instrument dials on a neat console. Other instrument repeaters are located beneath the sprayhood just forward of the main sliding hatch. To helm SAQUILA is a joy. Her Whitlock mechanical steering system delivers the feel which sailing is all about. Two teak decked locker lids on the aft deck open to reveal stowage space and the two Whisper generators.
SAQUILA's accommodation, thanks to an abundance of windows and hatches and the choice of the light hued sycamore and elm joinery provides an impression of space and quality. In present ownership a third twin guest cabin has been cleverly installed to port of the engine. Headroom is good throughout the yacht.
A clever and very sensible feature is the positioning of a good flashlight beneath each of three steps of the companion ladder at the main accommodation hatch. This further underlines the thought which has been put into SAQUILA and her systems.
SAQUILA is a yacht which may be bought and cruised without a need to catch up on a previous owner's maintenance "economies". She's good-looking and with a pleasing sheer line. At her price, she offers really exceptional value. We like her very much, and urge you to inspect.
In this view looking up, the United Launch Alliance Atlas V payload fairings are being secured around NOAA’s GOES-T satellite inside the Astrotech Space Operations facility in Titusville, Florida, on Feb. 7, 2022. The payload fairings will secure and protect the satellite during launch.
GOES-T is scheduled to launch on March 1, 2022, atop the Atlas V 541 rocket from Space Launch Complex 41 at Cape Canaveral Space Force Station.
GOES-T is the third satellite in the GOES-R series ― the Western Hemisphere's most advanced weather-observing and environmental monitoring system. Data from GOES-T will help meteorologists see the big picture as well as read the fine print, providing critical real-time information before, during and after severe weather and disasters strike.
The launch is being managed by NASA’s Launch Services Program based at Kennedy Space Center in Florida, America’s multi-user spaceport.
Photo credit: NASA/Ben Smegelsky
Finally! In the end it finished at 48" x 65"
Kona black & white
Machine quilted using white thread in the center and black on the sides.
.Lockheed Martin’s sixth Advanced Extremely High Frequency (AEHF-6) protected communications satellite is encapsulated in its protective fairings ahead of its expected March 26 launch on a United Launch Alliance Atlas V rocket. AEHF-6 is part of the AEHF system -- a resilient satellite constellation with global coverage and a sophisticated ground control system -- that provides global, survivable, protected communications capabilities for national leaders and tactical warfighters operating across ground, sea and air platforms. The anti-jam system also serves international allies to include Canada, the Netherlands, United Kingdom and Australia. For more information, visit: www.lockheedmartin.com/aehf
(Photo credit: United Launch Alliance)
Hoping this video encapsulates the joy of my Irish Journey. Being with Pamela & Mary was just such a wonderful experience, although this was our first meeting it was more like we had been friends for years.
Being Amanda for what was 4 days in reality was so so good. Made all the more so by their wonderful company.
The time flew by, too quickly, but hopefully we can do this again in the not to distant future.
A true highlight of 2013 for Amanda. So special.
DESIGNERE G Van De Stadt
BUILDERSouthern Ocean Shipyard
DATE
Launched 1977
Completed 1978
Refit 2002/3
CONSTRUCTIONGRP
LOA
75' / 22.86m
LWL65' / 19.81m
BEAM17'6" / 5.36m
DRAFT9'2" / 2.8m
DISPLACEMENT85900lbs / 39 metric tons
PRICE
PRICE REDUCED
EUR 350,000 VAT paid in EU
LOCATIONWestern Mediterranean
Accommodation Plan
(click here for larger view)
FULL SPECIFICATION:
CONSTRUCTION
Built to Lloyds 100A and LMC. Classification withdrawn at original owner's request in 1986. White Awlgrip painted GRP hull, deck and coachroof; forward and main companionway hatches. GRP bulwarks with broad teak cappings. Laid teak over deck. 2 x teak deck box lockers for 6 gas bottlers (port) and general stowage (starboard). Self-draining cockpit with laid teak over seats and sole. Laid teak-faced hatch in cockpit sole accesses engine room. Opening gates in cockpit coaming port and starboard.
Encapsulated lead fin keel. Internal trimming ballast moulded in on starboard side to compensate for generator and galley. Skeg hung rudder. Teak wheel with Whitlock rod and gear steering system.
Interior joinery: sycamore and elm panelling with teak trim. Teak-faced plywood cabin soles.
HARDWARE
Main entry sliding-top hatch has 2 vertical drop-boards: one of teak/teak-faced plywood, second is metal framed clear acrylic. The boards independently drop down to stow in adjacent slots.
Stainless steel tube framed sprayhood over main entry with ingenious facility to remove the fabric hood.
Custom designed and fabricated stainless steel main boom support crutch. Folds down flat to coachroof when sailing.
Sliding forehatch over crew quarters and fixed teak ladder to deck.
9 x Lewmar deck hatches
Stainless steel framed windows in forward coachroof and one in aft end of aft coachroof
4 x opening windows in cockpit well
2 x opening windows in each side of aft superstructure
6 x stainless steel strainers over margin plank scuppers.
Mushroom ventilators: 2 on foredeck, 2 on aft deck, 3 in aft superstructure
2 x chromed air scoops by mizzen mast step
4 x deck prisms set into foredeck.
4 x pad eye sockets in way of mainmast
4 x stainless steel enclosed fairleads in bulwarks.
4 x stainless steel fairleads.
6 x sets large mooring bitts: fwd, midships, aft.
Stainless steel stemhead fitting with twin rollers and attachment for headsail furler
Stainless steel pulpit with teak seat and P&S lights attached on bracket
2 x double rail quarter guards with gate between. Stainless Steel quarter guards each with a vertical wood pad - port for outboard motor stowage, starboard for EPIRB. Sockets for ensign staff and sport-fishing rods
Stainless steel stanchion bases and stanchions, braced at gates to port and starboard.
Stainless steel mizzen mast step on aft coachroof astern of cockpit above stainless steel tube compression strut, which passes through Master Stateroom to stand on hull centreline.
2 x aluminium headsail tracks (mounted on cap rails P&S) each with roller car and slider
2 x Lewmar stainless steel staysail tracks each with roller car
Lewmar X-section alloy mainsheet track with Lewmar roller car and end stops on coachroof ahead of sprayhood.
Lewmar stainless steel mizzen track on aft deck immediately aft of superstructure
4 x large stainless steel foot blocks on substantial laminated teak plinths.
WINCHES By Lewmar:
Cockpit coaming: 2 x 700ST hydraulic primary winches.
2 x 65ST staysail sheets
2 x 55ST running backstay
Main hatch (under sprayhood to starboard)
1 x 48ST mainsheet track control
Deck at main mast 1 x 58ST
Main mast 5 x 44ST
2 x 40
1 x 48ST
Mizzen mast 4 x 34ST
4 x winch handles
GROUND TACKLE etc
2003 Sanguinetti horizontal 2500W electric anchor windlass with chain gypsy and
warping drum. Manual control or by foot switch
Bruce 75kg anchor with 60m stainless steel chain and 75m galvanised chain (last galvanised 2003)
CQR 50kg anchor with 20m chain
Warps and fenders
SPARS & RIGGING
Ketch rigged
Spars are all painted white Awlgrip to a very high standard. All standing rigging is 1x19 stainless steel wire.
Main mast by John Powell. Aluminium. Keel stepped, 2 spreader rig with forestay and inner forestay, cap shrouds and intermediate shrouds. Both forestays carry roller furling foils. The main forestay has a Reckmann hydraulic furler. The inner stay furler has an electric powered Bamar MEJ unit. Fore and aft lower shrouds. Standing backstay to mizzen step. PBO runners to shrouded Antal blocks. Harken luff track and car for mainsail. Spinnaker pole is stowed to fore side of mast on Harken track and car. Boom gooseneck fitting to mast and securing plate/swivel for Bamar boom vang are made in stainless steel to an impressive standard.
Mainsail boom is set up for slab reefing with lazy jacks and is dressed with a permanently fitted "catcher" sail bag.
Mizzen mast by Velscaf srl, Genova, Italy (2012). Aluminium. Deck stepped single spreader rig Spreaders are swept back and the intermediate shrouds pass over them. Cap shrouds run directly to the masthead. Fore and aft lower shrouds. "Parrot perch" single strut to fore side of mast with single diagonal shroud. Twin standing backstays from masthead to transom corners. Stainless steel bracket to fore side of mast for radar scanner.
Mizzen boom is set up for slab reefing and is dressed with permanently fitted "catcher" sail bag.
Lewmar Commander 5 System hydraulics for genoa roller furler and primaries
SAILS
By OneSails Italy (2003)
Fully battened mainsail
Roller furling genoa
Roller furling staysail
Mizzen
Genniker - 3600ft2
All Spectra except genniker
Dacron storm jib
Easy Stow main and mizzen sail covers (remain on booms).
ENGINE
Volvo Penta 180hp diesel (2008)
Flexible engine mounts.
Borg Warner Velvet Drive 2:1 reduction hydraulic gearbox.
Gearbox oil pressure and temperature alarms.
Monel shaft with seawater lubricated cutless bearing.
MaxProp V2 630mm propeller
Spare fixed propeller
Hydraulic disc type shaft brake
Engine hours @12.10.10 = 423
Engine access is via a flush teak hatch in the cockpit sole and via removable panels in the aft passageway.
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved. Dir. 059/99, in engine room.
ELECTRICS
Kohler 13kW generator.
Engine hours @12.10.10 = 882
2 x Whisper 1.3kW generators in lazarette (start off service batteries)
Engine hours @12.10.10 = 960 (starboard), 527 (port)
2 x Victron Energy 80Ah battery chargers/isolation transformer for 220/240V shorepower
Victron Energy 3000V inverter (2008)
Batteries:
2 x 12V 100Ah for main engine (2008)
1 x 12V 100Ah for Kohler generator start
12 x 2V (= 24V) 850Ah lead/acid for service (2010)
2 x 12V 100Ah lead-acid for bow thruster (2008)
Port and starboard navigation lights
Stern light
Masthead tri-colour/steaming light
Deck lights under spreaders
MACHINERY
Sea Recovery watermaker - output 4000 litres per day
Condaria air conditioning 36,000BTU
Vetus 11kW bow thruster in 300mm tube
TANKS
Fuel: 2000 litres integral grp tanks
Fresh water: 2000 litres integral grp tanks
Black water: 500 litres
Grey water: 350 litres integral grp tanks
Hot water: 100 litres
INSTRUMENTS Brookes & Gatehouse Hydra 2 multi-system: echo sounder, log/speed meter, wind speed, wind direction and compass. 20/20 display at main entry hatch under spray hood.
NX-300 Navtex
Furuno radar with scanner on bracket to fore side of mizzen mast
Robertson AP22 autopilot
Lorenz C-Map NT Starlight Plus - displays in nav. area and at helm
Shipmate RS400 VHF radio
Handheld VHF
Thrane & Thrane satcom for voice/internet connection
Skanti SSB (not usable, retained in place simply to fill bulkhead recess)
VEB Seimgeratebau barograph.
5 Kelvin Hughes barometer.
2 x Kelvin Hughes chronometers: 3 & 5 .
AUDIO VISUAL
LG 28 plasma TV
EQUIPMENT Sony hifi
2 x waterproof speakers in cockpit
LG TV in crew mess
GENERAL EQUIPMENT
2003 Novamarine RH 400 tender
2003 Mercury 40hp outboard motor
Stainless steel framed, teak stepped, folding boarding ladder. Can be deployed either P&S in fitted sockets by gate in guardrails
Teak grating passerelle with stainless steel stanchions and attachment fitting
Deck cockpit awning
Bimini
Blue towelling covered sun mattresses
Varnished teak dining table hinged to steering pedestal
SAFETY EQUIPMENT
Hydra 12 person liferaft, canister packed. Last packed 05/2010. Next service due
05/2012. Stowed in teak cradle by mainmast. Blue fabric cover
McMurdo EPIRB mounted on quarter guard wood pad
2 x horseshoe lifebuoys, orange in white fabric covers, mounted on guard rails.
Circular orange lifebuoy mounted on fwd starboard guardrail
Emergency tiller in lazarette with screw cover plate on aft coachroof to access rudder stock
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved, Dir. 059/99, in engine room.
Various hand-held fire extinguishers
3 x good torches, each clipped beneath a separate step of the accommodation ladder, within reach from the cockpit
5 x stainless steel fixed hoops to lower part of cockpit well for safety harness attachment
8 x semi-inflatable lifejackets
3 x full offshore life jackets
3 x foam type child's life jackets
DOMESTIC EQUIPMENT
Alpes Inox gas/electric gimballed cooker.
Microwave oven.
Double stainless steel sink.
Dishwasher.
2 x 110 litres large top-opening freezers.
2 x 120 litres refrigerators.
2 x drinks refrigerators in saloon - total 50 litres
Candy washing machine in fo'c'sle
3 x WCs.
ACCOMMODATION
Forepeak:
Features one crew berth to port, with lockers above and below. Washing machine to starboard.
Leading aft to a separate crew head/ shower compartment with wash basin and mirror to starboard and head to port. Vertical steps to forehatch on aft bulkhead
Crew Dinette:
Aft to starboard, with a table with banquette seats either end, and a single stool. The table may be adapted to form a single berth. Ample storage.
Captain's Cabin:
To port of crew dinette, and closed off by sliding doors. Finished in sycamore. Features single lower berth and double upper berth, writing table, ample storage space in lockers, mirror and washbasin.
Central Passageway:
Leading aft
Port Guest Cabin:
Finished in sycamore. Single lower berth and double upper berth, hanging locker, stool, storage space, wash basin, mirror.
Across the passageway to starboard is the spacious Guest Head/Shower with shower stall, head, wash basin and mirror. This shared with the:
Starboard Guest Cabin:
Finished in sycamore. Single lower berth and wider single upper berth, hanging locker, storage lockers, a wash basin and mirror.
Galley:
Situated opposite the starboard guest cabin. Generous storage space in lockers. May be closed off by a sliding door.
Two steps lead up into the Saloon:
Well-lit by generous window area and finished in sycamore. Gimballed sycamore dining table to port on a stainless steel base; folds to form coffee table. Generous storage space beneath banquette seating on port side. Seating is for eight people around the dining table when employing three aluminium folding chairs which can be removed and specially stowed. Small drinks refrigerators on either side of the opening to the forward passageway. Settee in forward starboard corner with wine stowage beneath
Navigation Station:
To starboard aft corner of the saloon.
3rd Guest Cabin is accessed from the port aft corner of the saloon. Upper and lower single berths. Cupboard with small chest of drawers beneath.
Aft Passageway:
Runs right aft from saloon between navigation station and companionway steps to the Master Stateroom. To its inboard side, large panels may easily be lifted out for excellent access to the engine room. To the outboard side are twin doors which when opened reveal the well appointed Master head/shower compartment, and at the same time isolate that compartment from the forward and aft sections of the passageway. To the aft end of the passageway, at its outboard side, is a heated/vented locker for foul weather gear.
Master Stateroom Head/Shower Compartment:
Shower stall with teak seat and sole grating, wash basin, head and extractor fan.
Master Stateroom:
Accessed by door from the aft passageway. Finished in elm and occupying the full beam of the yacht. Large double berth to port and a single berth to starboard. Dressing table with stool. Large mirror. Two hanging wardrobes; one with full length mirror. Ten drawers and various lockers provide ample storage space. The stateroom is well-lit by natural light.
BERTH DIMENSIONS & HEADROOMS
SALOON HEADROOM 2.20m
SMALL TWIN CABIN OFF SALOON headroom 2m
Lengths 1.95m
Widths @ mid length 72cm
MASTER STATEROOM HEAD/SHOWER headroom 1.85m in shower
1.95m elsewhere
MASTER STATEROOM headroom 1.9m
Double berth length 1.96m
Width @ mid 1.47m
Max width @ head 65cm
Single berth length 2m
AFT PASSAGEWAY 1.85m
Width 53cm
FWD PASSAGEWAY headroom 1.90m
GALLEY headroom 1.94m
STARBOARD TWIN CABIN headrooom 1.92m
Lengths 1.85m
Upper Single
Width @ 86cm
Lower Single
Width @ 56cm
PORT TWIN CABIN headroom 2.01m
Lengths 1.94m
Upper Double
Width @ mid 94cm
Width @ head 1.09m
Lower Single
Width @ mid 58cm
Width @ head 66cm
STARBOARD HEAD/SHOWER headroom 1.85m
CREW MESS headroom 1.86m
PORT CREW TWIN CABIN headroom 1.86m
Lengths 2.06m
Upper Double
Width @ mid 94cm
Lower Single
Width @ mid 64cm
CREW HEAD SHOWER 1.84m under closed hatch
FOC'S'LE CABIN headroom 1.68m
Length 2.06m
Width @ mid 58cm
REMARKS
SAQUILA is no ordinary production yachts. She was built to Lloyds Register Classification 100A-Yacht and LMC under supervision. The first owners maintained her Class until June 1986 when they requested withdrawal.
We've known SAQUILA from the late 1980s and sold her in New England in 1993. Thus we were delighted to be offered Central Agency for sale by the present owner. We responded very quickly by visiting SAQUILA in Italy. This yacht was special at her birth with excellent and practical systems and high quality of joinery so we knew what to expect. On arrival we were truly astonished by what we saw! The owner, an experienced yachtsman, had brought an extremely good Ocean 75 up to technical and cosmetic standards of a very, very high order. Just having funds to put into a yacht is not enough. It takes the knowledge, experience and determination of a born perfectionist to do what has benefitted SAQUILA. We have sold several Ocean 71s and 75s over the years. A few were very good but we have never seen one to match SAQUILA as she is now.
All spars have had close attention with removal of hardware for painting. The mainmast vang bracket is of new stainless steel to an improved design. A Harken track for luff cars has been fitted to suit the new fully battened mainsail. The beautifully crafted mizzen on-deck step serves several functions. A new addition is a stainless steel folding A-frame crutch on the coachroof which supports the boom when deployed and then folds down flat to stow. Original fittings include an anchor wash system on the bow pulpit with stainless steel water supply tubing. A small thing to mention? Not when the anchor comes up covered in mud! Electrical wiring for the running lights on the pulpit passes along a second stainless steel tube. Stainless steel strainers for deck water are flush with the teak deck, covering the scuppers which are integral within the hull. 2 large deck boxes accommodate to port the gas bottles and to strawboard general stowage. There are chocks for the tender on the foredeck.
A major feature of SAQUILA is the attention given to ventilation prior to build. This includes integral Dorade vents in the main coachroof to serve the saloon. There is other ventilation to the Master Stateroom and head/shower, crew quarters and galley, engine room and batteries. There are 8 opening windows and 9 Lewmar deck hatches.
SAQUILA's deck arrangements centre round her comfortable and well sheltered cockpit which is easy to enter from the side decks. The steering pedestal is at the aft end of the cockpit with instrument dials on a neat console. Other instrument repeaters are located beneath the sprayhood just forward of the main sliding hatch. To helm SAQUILA is a joy. Her Whitlock mechanical steering system delivers the feel which sailing is all about. Two teak decked locker lids on the aft deck open to reveal stowage space and the two Whisper generators.
SAQUILA's accommodation, thanks to an abundance of windows and hatches and the choice of the light hued sycamore and elm joinery provides an impression of space and quality. In present ownership a third twin guest cabin has been cleverly installed to port of the engine. Headroom is good throughout the yacht.
A clever and very sensible feature is the positioning of a good flashlight beneath each of three steps of the companion ladder at the main accommodation hatch. This further underlines the thought which has been put into SAQUILA and her systems.
SAQUILA is a yacht which may be bought and cruised without a need to catch up on a previous owner's maintenance "economies". She's good-looking and with a pleasing sheer line. At her price, she offers really exceptional value. We like her very much, and urge you to inspect.
DESIGNERE G Van De Stadt
BUILDERSouthern Ocean Shipyard
DATE
Launched 1977
Completed 1978
Refit 2002/3
CONSTRUCTIONGRP
LOA
75' / 22.86m
LWL65' / 19.81m
BEAM17'6" / 5.36m
DRAFT9'2" / 2.8m
DISPLACEMENT85900lbs / 39 metric tons
PRICE
PRICE REDUCED
EUR 350,000 VAT paid in EU
LOCATIONWestern Mediterranean
Accommodation Plan
(click here for larger view)
FULL SPECIFICATION:
CONSTRUCTION
Built to Lloyds 100A and LMC. Classification withdrawn at original owner's request in 1986. White Awlgrip painted GRP hull, deck and coachroof; forward and main companionway hatches. GRP bulwarks with broad teak cappings. Laid teak over deck. 2 x teak deck box lockers for 6 gas bottlers (port) and general stowage (starboard). Self-draining cockpit with laid teak over seats and sole. Laid teak-faced hatch in cockpit sole accesses engine room. Opening gates in cockpit coaming port and starboard.
Encapsulated lead fin keel. Internal trimming ballast moulded in on starboard side to compensate for generator and galley. Skeg hung rudder. Teak wheel with Whitlock rod and gear steering system.
Interior joinery: sycamore and elm panelling with teak trim. Teak-faced plywood cabin soles.
HARDWARE
Main entry sliding-top hatch has 2 vertical drop-boards: one of teak/teak-faced plywood, second is metal framed clear acrylic. The boards independently drop down to stow in adjacent slots.
Stainless steel tube framed sprayhood over main entry with ingenious facility to remove the fabric hood.
Custom designed and fabricated stainless steel main boom support crutch. Folds down flat to coachroof when sailing.
Sliding forehatch over crew quarters and fixed teak ladder to deck.
9 x Lewmar deck hatches
Stainless steel framed windows in forward coachroof and one in aft end of aft coachroof
4 x opening windows in cockpit well
2 x opening windows in each side of aft superstructure
6 x stainless steel strainers over margin plank scuppers.
Mushroom ventilators: 2 on foredeck, 2 on aft deck, 3 in aft superstructure
2 x chromed air scoops by mizzen mast step
4 x deck prisms set into foredeck.
4 x pad eye sockets in way of mainmast
4 x stainless steel enclosed fairleads in bulwarks.
4 x stainless steel fairleads.
6 x sets large mooring bitts: fwd, midships, aft.
Stainless steel stemhead fitting with twin rollers and attachment for headsail furler
Stainless steel pulpit with teak seat and P&S lights attached on bracket
2 x double rail quarter guards with gate between. Stainless Steel quarter guards each with a vertical wood pad - port for outboard motor stowage, starboard for EPIRB. Sockets for ensign staff and sport-fishing rods
Stainless steel stanchion bases and stanchions, braced at gates to port and starboard.
Stainless steel mizzen mast step on aft coachroof astern of cockpit above stainless steel tube compression strut, which passes through Master Stateroom to stand on hull centreline.
2 x aluminium headsail tracks (mounted on cap rails P&S) each with roller car and slider
2 x Lewmar stainless steel staysail tracks each with roller car
Lewmar X-section alloy mainsheet track with Lewmar roller car and end stops on coachroof ahead of sprayhood.
Lewmar stainless steel mizzen track on aft deck immediately aft of superstructure
4 x large stainless steel foot blocks on substantial laminated teak plinths.
WINCHES By Lewmar:
Cockpit coaming: 2 x 700ST hydraulic primary winches.
2 x 65ST staysail sheets
2 x 55ST running backstay
Main hatch (under sprayhood to starboard)
1 x 48ST mainsheet track control
Deck at main mast 1 x 58ST
Main mast 5 x 44ST
2 x 40
1 x 48ST
Mizzen mast 4 x 34ST
4 x winch handles
GROUND TACKLE etc
2003 Sanguinetti horizontal 2500W electric anchor windlass with chain gypsy and
warping drum. Manual control or by foot switch
Bruce 75kg anchor with 60m stainless steel chain and 75m galvanised chain (last galvanised 2003)
CQR 50kg anchor with 20m chain
Warps and fenders
SPARS & RIGGING
Ketch rigged
Spars are all painted white Awlgrip to a very high standard. All standing rigging is 1x19 stainless steel wire.
Main mast by John Powell. Aluminium. Keel stepped, 2 spreader rig with forestay and inner forestay, cap shrouds and intermediate shrouds. Both forestays carry roller furling foils. The main forestay has a Reckmann hydraulic furler. The inner stay furler has an electric powered Bamar MEJ unit. Fore and aft lower shrouds. Standing backstay to mizzen step. PBO runners to shrouded Antal blocks. Harken luff track and car for mainsail. Spinnaker pole is stowed to fore side of mast on Harken track and car. Boom gooseneck fitting to mast and securing plate/swivel for Bamar boom vang are made in stainless steel to an impressive standard.
Mainsail boom is set up for slab reefing with lazy jacks and is dressed with a permanently fitted "catcher" sail bag.
Mizzen mast by Velscaf srl, Genova, Italy (2012). Aluminium. Deck stepped single spreader rig Spreaders are swept back and the intermediate shrouds pass over them. Cap shrouds run directly to the masthead. Fore and aft lower shrouds. "Parrot perch" single strut to fore side of mast with single diagonal shroud. Twin standing backstays from masthead to transom corners. Stainless steel bracket to fore side of mast for radar scanner.
Mizzen boom is set up for slab reefing and is dressed with permanently fitted "catcher" sail bag.
Lewmar Commander 5 System hydraulics for genoa roller furler and primaries
SAILS
By OneSails Italy (2003)
Fully battened mainsail
Roller furling genoa
Roller furling staysail
Mizzen
Genniker - 3600ft2
All Spectra except genniker
Dacron storm jib
Easy Stow main and mizzen sail covers (remain on booms).
ENGINE
Volvo Penta 180hp diesel (2008)
Flexible engine mounts.
Borg Warner Velvet Drive 2:1 reduction hydraulic gearbox.
Gearbox oil pressure and temperature alarms.
Monel shaft with seawater lubricated cutless bearing.
MaxProp V2 630mm propeller
Spare fixed propeller
Hydraulic disc type shaft brake
Engine hours @12.10.10 = 423
Engine access is via a flush teak hatch in the cockpit sole and via removable panels in the aft passageway.
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved. Dir. 059/99, in engine room.
ELECTRICS
Kohler 13kW generator.
Engine hours @12.10.10 = 882
2 x Whisper 1.3kW generators in lazarette (start off service batteries)
Engine hours @12.10.10 = 960 (starboard), 527 (port)
2 x Victron Energy 80Ah battery chargers/isolation transformer for 220/240V shorepower
Victron Energy 3000V inverter (2008)
Batteries:
2 x 12V 100Ah for main engine (2008)
1 x 12V 100Ah for Kohler generator start
12 x 2V (= 24V) 850Ah lead/acid for service (2010)
2 x 12V 100Ah lead-acid for bow thruster (2008)
Port and starboard navigation lights
Stern light
Masthead tri-colour/steaming light
Deck lights under spreaders
MACHINERY
Sea Recovery watermaker - output 4000 litres per day
Condaria air conditioning 36,000BTU
Vetus 11kW bow thruster in 300mm tube
TANKS
Fuel: 2000 litres integral grp tanks
Fresh water: 2000 litres integral grp tanks
Black water: 500 litres
Grey water: 350 litres integral grp tanks
Hot water: 100 litres
INSTRUMENTS Brookes & Gatehouse Hydra 2 multi-system: echo sounder, log/speed meter, wind speed, wind direction and compass. 20/20 display at main entry hatch under spray hood.
NX-300 Navtex
Furuno radar with scanner on bracket to fore side of mizzen mast
Robertson AP22 autopilot
Lorenz C-Map NT Starlight Plus - displays in nav. area and at helm
Shipmate RS400 VHF radio
Handheld VHF
Thrane & Thrane satcom for voice/internet connection
Skanti SSB (not usable, retained in place simply to fill bulkhead recess)
VEB Seimgeratebau barograph.
5 Kelvin Hughes barometer.
2 x Kelvin Hughes chronometers: 3 & 5 .
AUDIO VISUAL
LG 28 plasma TV
EQUIPMENT Sony hifi
2 x waterproof speakers in cockpit
LG TV in crew mess
GENERAL EQUIPMENT
2003 Novamarine RH 400 tender
2003 Mercury 40hp outboard motor
Stainless steel framed, teak stepped, folding boarding ladder. Can be deployed either P&S in fitted sockets by gate in guardrails
Teak grating passerelle with stainless steel stanchions and attachment fitting
Deck cockpit awning
Bimini
Blue towelling covered sun mattresses
Varnished teak dining table hinged to steering pedestal
SAFETY EQUIPMENT
Hydra 12 person liferaft, canister packed. Last packed 05/2010. Next service due
05/2012. Stowed in teak cradle by mainmast. Blue fabric cover
McMurdo EPIRB mounted on quarter guard wood pad
2 x horseshoe lifebuoys, orange in white fabric covers, mounted on guard rails.
Circular orange lifebuoy mounted on fwd starboard guardrail
Emergency tiller in lazarette with screw cover plate on aft coachroof to access rudder stock
MAX MARINE, Model T.A.S.I. Fire fighting system, date 2002, R.I.N.A. approved, Dir. 059/99, in engine room.
Various hand-held fire extinguishers
3 x good torches, each clipped beneath a separate step of the accommodation ladder, within reach from the cockpit
5 x stainless steel fixed hoops to lower part of cockpit well for safety harness attachment
8 x semi-inflatable lifejackets
3 x full offshore life jackets
3 x foam type child's life jackets
DOMESTIC EQUIPMENT
Alpes Inox gas/electric gimballed cooker.
Microwave oven.
Double stainless steel sink.
Dishwasher.
2 x 110 litres large top-opening freezers.
2 x 120 litres refrigerators.
2 x drinks refrigerators in saloon - total 50 litres
Candy washing machine in fo'c'sle
3 x WCs.
ACCOMMODATION
Forepeak:
Features one crew berth to port, with lockers above and below. Washing machine to starboard.
Leading aft to a separate crew head/ shower compartment with wash basin and mirror to starboard and head to port. Vertical steps to forehatch on aft bulkhead
Crew Dinette:
Aft to starboard, with a table with banquette seats either end, and a single stool. The table may be adapted to form a single berth. Ample storage.
Captain's Cabin:
To port of crew dinette, and closed off by sliding doors. Finished in sycamore. Features single lower berth and double upper berth, writing table, ample storage space in lockers, mirror and washbasin.
Central Passageway:
Leading aft
Port Guest Cabin:
Finished in sycamore. Single lower berth and double upper berth, hanging locker, stool, storage space, wash basin, mirror.
Across the passageway to starboard is the spacious Guest Head/Shower with shower stall, head, wash basin and mirror. This shared with the:
Starboard Guest Cabin:
Finished in sycamore. Single lower berth and wider single upper berth, hanging locker, storage lockers, a wash basin and mirror.
Galley:
Situated opposite the starboard guest cabin. Generous storage space in lockers. May be closed off by a sliding door.
Two steps lead up into the Saloon:
Well-lit by generous window area and finished in sycamore. Gimballed sycamore dining table to port on a stainless steel base; folds to form coffee table. Generous storage space beneath banquette seating on port side. Seating is for eight people around the dining table when employing three aluminium folding chairs which can be removed and specially stowed. Small drinks refrigerators on either side of the opening to the forward passageway. Settee in forward starboard corner with wine stowage beneath
Navigation Station:
To starboard aft corner of the saloon.
3rd Guest Cabin is accessed from the port aft corner of the saloon. Upper and lower single berths. Cupboard with small chest of drawers beneath.
Aft Passageway:
Runs right aft from saloon between navigation station and companionway steps to the Master Stateroom. To its inboard side, large panels may easily be lifted out for excellent access to the engine room. To the outboard side are twin doors which when opened reveal the well appointed Master head/shower compartment, and at the same time isolate that compartment from the forward and aft sections of the passageway. To the aft end of the passageway, at its outboard side, is a heated/vented locker for foul weather gear.
Master Stateroom Head/Shower Compartment:
Shower stall with teak seat and sole grating, wash basin, head and extractor fan.
Master Stateroom:
Accessed by door from the aft passageway. Finished in elm and occupying the full beam of the yacht. Large double berth to port and a single berth to starboard. Dressing table with stool. Large mirror. Two hanging wardrobes; one with full length mirror. Ten drawers and various lockers provide ample storage space. The stateroom is well-lit by natural light.
BERTH DIMENSIONS & HEADROOMS
SALOON HEADROOM 2.20m
SMALL TWIN CABIN OFF SALOON headroom 2m
Lengths 1.95m
Widths @ mid length 72cm
MASTER STATEROOM HEAD/SHOWER headroom 1.85m in shower
1.95m elsewhere
MASTER STATEROOM headroom 1.9m
Double berth length 1.96m
Width @ mid 1.47m
Max width @ head 65cm
Single berth length 2m
AFT PASSAGEWAY 1.85m
Width 53cm
FWD PASSAGEWAY headroom 1.90m
GALLEY headroom 1.94m
STARBOARD TWIN CABIN headrooom 1.92m
Lengths 1.85m
Upper Single
Width @ 86cm
Lower Single
Width @ 56cm
PORT TWIN CABIN headroom 2.01m
Lengths 1.94m
Upper Double
Width @ mid 94cm
Width @ head 1.09m
Lower Single
Width @ mid 58cm
Width @ head 66cm
STARBOARD HEAD/SHOWER headroom 1.85m
CREW MESS headroom 1.86m
PORT CREW TWIN CABIN headroom 1.86m
Lengths 2.06m
Upper Double
Width @ mid 94cm
Lower Single
Width @ mid 64cm
CREW HEAD SHOWER 1.84m under closed hatch
FOC'S'LE CABIN headroom 1.68m
Length 2.06m
Width @ mid 58cm
REMARKS
SAQUILA is no ordinary production yachts. She was built to Lloyds Register Classification 100A-Yacht and LMC under supervision. The first owners maintained her Class until June 1986 when they requested withdrawal.
We've known SAQUILA from the late 1980s and sold her in New England in 1993. Thus we were delighted to be offered Central Agency for sale by the present owner. We responded very quickly by visiting SAQUILA in Italy. This yacht was special at her birth with excellent and practical systems and high quality of joinery so we knew what to expect. On arrival we were truly astonished by what we saw! The owner, an experienced yachtsman, had brought an extremely good Ocean 75 up to technical and cosmetic standards of a very, very high order. Just having funds to put into a yacht is not enough. It takes the knowledge, experience and determination of a born perfectionist to do what has benefitted SAQUILA. We have sold several Ocean 71s and 75s over the years. A few were very good but we have never seen one to match SAQUILA as she is now.
All spars have had close attention with removal of hardware for painting. The mainmast vang bracket is of new stainless steel to an improved design. A Harken track for luff cars has been fitted to suit the new fully battened mainsail. The beautifully crafted mizzen on-deck step serves several functions. A new addition is a stainless steel folding A-frame crutch on the coachroof which supports the boom when deployed and then folds down flat to stow. Original fittings include an anchor wash system on the bow pulpit with stainless steel water supply tubing. A small thing to mention? Not when the anchor comes up covered in mud! Electrical wiring for the running lights on the pulpit passes along a second stainless steel tube. Stainless steel strainers for deck water are flush with the teak deck, covering the scuppers which are integral within the hull. 2 large deck boxes accommodate to port the gas bottles and to strawboard general stowage. There are chocks for the tender on the foredeck.
A major feature of SAQUILA is the attention given to ventilation prior to build. This includes integral Dorade vents in the main coachroof to serve the saloon. There is other ventilation to the Master Stateroom and head/shower, crew quarters and galley, engine room and batteries. There are 8 opening windows and 9 Lewmar deck hatches.
SAQUILA's deck arrangements centre round her comfortable and well sheltered cockpit which is easy to enter from the side decks. The steering pedestal is at the aft end of the cockpit with instrument dials on a neat console. Other instrument repeaters are located beneath the sprayhood just forward of the main sliding hatch. To helm SAQUILA is a joy. Her Whitlock mechanical steering system delivers the feel which sailing is all about. Two teak decked locker lids on the aft deck open to reveal stowage space and the two Whisper generators.
SAQUILA's accommodation, thanks to an abundance of windows and hatches and the choice of the light hued sycamore and elm joinery provides an impression of space and quality. In present ownership a third twin guest cabin has been cleverly installed to port of the engine. Headroom is good throughout the yacht.
A clever and very sensible feature is the positioning of a good flashlight beneath each of three steps of the companion ladder at the main accommodation hatch. This further underlines the thought which has been put into SAQUILA and her systems.
SAQUILA is a yacht which may be bought and cruised without a need to catch up on a previous owner's maintenance "economies". She's good-looking and with a pleasing sheer line. At her price, she offers really exceptional value. We like her very much, and urge you to inspect.
Website:
www.museudooriente.pt/?lang=en
PORTUGUESE PRESENCE IN ASIA
english
The unifying concept underpinning this wide reaching exhibition was the
construction of an Oriental utopia by the Portuguese, from the 15th century right through to contemporary times based on trade, proselytism and the interchange of cultures. Given the boundaries to the collection theme allusive to the Portuguese presence in Asia, an enormous effort was therefore put into conceptualising and staging a narrative that would serve to maximise its unquestionable values and offset any shortcomings.
The visitor is welcomed into the central area on level 1 dedicated to Macau, a territory formerly under Portuguese administration and where the Fundação Oriente was founded in 1988. The large exhibition area is dominated by the four magnificent Chinese folding screens belonging to the collection. The oldest displays a Portuguese nau sailing the China Sea and flanked by another, essentially decorative in nature, bearing the coat of arms of the Gonçalves Zarco family and another inscribed with “do Coromandel”, with interesting Christian iconography echoing the school of painting founded by the Jesuits in Japan and that later spread to Macau. The fourth highly rare screen, displaying representations of the cities of Canton and Macau, is located next to the section dedicated to the iconography of the Cidade do Nome de Deus de Macau, with exhibits particularly focusing on the 17th and 18th centuries complemented by pieces from the 19th.
A granite statue, a crude depiction of a Dutchman, recalls the failed attempt to conquer Macau by Holland in 1622. This exhibition section also features a number of paintings and engravings from the period known as “China Trade” (18-19th centuries), both by Western and by Chinese artists.
A small set of designs and a charming painted miniature recall the extensive twenty seven year stay in Macau of the famous painter Georges Chinnery (1774-1852). This exponent of romantic Oriental landscapes left a sizeable legacy of urban, natural and human landscapes across the territory just as its final period of splendour as a key trading post between China and the West came to a close. On visits to Praia Grande or the sampans next to the A-Má Temple, the artist captured surprising instants of daily life dominated by the presence of the Chinese population going about their affairs against a backdrop influenced by a nostalgic European presence.
The role of Macau in international trade is extensively documented in the opposite section with highlights including the collection of porcelain bearing coats of arms laid out with the plates, dishes, terrines or jugs forming a dragon. Furthermore, there is a significant selection of examples of “China Trade” gouaches portraying the production and trade in tea and porcelain as well as Chinese fans so highly appreciated in the West.
Moving onto the eastern sector of level 1, leading onto the staircase, we encounter the following sections:
• And among remote people was founded/ A new kingdom held in great exaltation. Portuguese presence in Asia, in which, “guided” by the words of Camões in his epic Os Lusíadas in addition to those of Fernão Mendes Pinto in Peregrinação and based on a carefully selected range of objects (furniture, textiles, gold jewellery, painting and ivory pieces), complemented by maps and scale models, the establishment and expansion of the Portuguese Empire in the Orient is set out. Centred around Goa, this section features cities and strongholds, the social and cultural interchange resulting from the dialogue and confrontation between cultures and religions. Within this scope, of particular importance are an 18th century treatise written by a Goan on Hindu gentiles along with a set of watercolours making up an album portraying the traditional characters, professions and military authorities in India,
• The Far East, which testifies to the Portuguese discovery of the culture of the Middle Empire and the lucrative trade in luxury products that came about while also incorporating the role of the missionaries that would accompany the traders and soldiers and who first founded the Christian Church in China, as well as those martyred for their faith. The profitable interchange with Japan throughout the 16th and 17th centuries is brilliantly encapsulated by two folding screens and the Namban lacquered pieces, among the most significant pieces in the entire collection,
• The mother of pearl route: from the Holy Land to Oriental Asia, a collection made up of devotional pieces and “remembrances”, of small and medium size, destined either for export or the local Christian community with crucifixes and fixed crosses to the fore in a collection built up over decades by the sculptor Domingos Soares Branco and acquired by the Fundação Oriente.
With this section over, the visitor again returns to the central area of the Macau section and enters the western wing given over to the following:
• East Timor, peoples and cultures, a very rich collection that documents, through pieces related either to the daily reality and the genealogic traditions or to the sacred, the unity and diversity of the cultures presented in addition to the close ties these peoples held and still hold with Portugal. The seed remover and the bench are located in the daily world of working instruments while the bracelets, necklaces, insignias of power or circumcision knives project us into the worlds of ceremony and ritual and developed through the various types of mask present. The various types of cloth woven by Timorese women illustrate the genealogical traditions within community while the decorative doors and panels of homes or votive statues takes us into the microcosm of Timorese homes with their succession of storeys — from ground level, home to animals and lesser spirits, up to the quarters of the living before rising to the area given over to the worship of ancestors.
• Collecting the Art of East Asia contains a collection of terracotta and other antique Chinese, Japanese and Korean pieces acquired by the Fundação Oriente complemented by loans from Machado de Castro National Museum in Coimbra, enriched by the bequests of the poet Camilo Pessanha and the politician and writer Manuel Teixeira Gomes.
Given the extent of the Chinese ceramics collection, covering the most diverse period and techniques, the exhibition documents the typological evolution of funereal terracotta works, with examples dating back to the Neolithic period and running through to the Ming dynasty, as well as ceramics and porcelain both for practical daily purposes and pieces made for export.
The display further contains a small but significant set of bronzes in the majority deriving from the Camilo Pessanha Collection, some of them highly rare either due to their age or their artistic quality. A set of images, of various origins, and paintings in the Pessanha Collection provide a point of reference to the most erudite of Buddhist and Taoist artistic expression.
Courtesy of the painting and costumes in the Pessanha Collection, it is possible to evoke the office and artistic tastes of a 19th century Chinese man of letters with all his “cherished items”, libation recipients, screens and folding screens, objects of devotion and the roles and albums of traditional Chinese painting and calligraphy in addition to their respective means of execution.
From the notable collection of Chinese snuff flasks built up by Manuel Teixeira Gomes, the second largest in Europe, there is a representative selection of existing different types. The same level is reached with the Japanese collection of the same type: inrô (small and portable personal containers), netzuke (to close the inrô and mask shaped mostly with depictions of the leading characters from Nô Theatre) and tsuba (sword hand guards), covering a broad chronological period and which in the case of Japan are complemented by three monumental sets of armour and other ceramics, bronzes, painting and furniture.
Concluding this section, there is a display of Korean pieces: a lacquered wooden box set with mother of pearl incrustations and an interesting set of watercolours from the late 19th century by the Korean artist Kim Jun-geun, known by his artistic name of Kisan, depicting the clothing, costumes and festivals of Korea and produced for European and American markets.
português
O conceito gerador deste grande módulo expositivo foi a construção de uma utopia oriental pelos Portugueses, desde o século XV até aos nossos dias, baseada no comércio, na missionação e no encontro de culturas. Dados os referidos condicionalismos da colecção alusiva à presença portuguesa na Ásia, houve que fazer um enorme esforço de conceptualização e de encenação narrativa para de algum modo potenciar os seus indiscutíveis valores e minorar as suas fraquezas.
O visitante é acolhido no espaço central do piso 1, que é dedicado a Macau, território outrora sob administração portuguesa onde foi fundada a Fundação Oriente, em 1988. Este amplo espaço é dominado pela exposição de quatro magníficos biombos chineses da colecção: o mais antigo representa uma nau portuguesa nos mares da China e encontra-se ladeado por outros dois, um de carácter essencialmente decorativo, decorado com as armas da família Gonçalves Zarco, e um outro, dito “do Coromandel”, com interessante iconografia cristã, eco da escola de pintura criada no Japão pelos Jesuítas, que mais tarde se estenderia a Macau. O quarto biombo, raríssimo exemplar decorado com as representações das cidades de Cantão e de Macau, encontra-se junto à secção dedicada à iconografia da Cidade do Nome de Deus de Macau, com exemplares que remontam aos séculos XVII e XVIII e se estendem pelo século XIX.
Uma estátua em granito, representando toscamente um holandês, evoca a tentativa frustrada de conquista de Macau pelos Holandeses, em 1622. Neste módulo expositivo destacam-se ainda várias pinturas e gravuras do chamado período “China Trade” (séculos XVIII-XIX), tanto de autores ocidentais como de autores chineses.
Um pequeno conjunto de desenhos e uma encantadora pinturinha lembram a prolongada presença de vinte e sete anos em Macau do famoso pintor britânico Georges Chinnery (1774-1852), expoente do paisagismo romântico no Oriente, que deixou um notável registo das paisagens urbana, natural e humana do território no derradeiro período do seu esplendor como entreposto entre a China e o Ocidente. Nas vistas da Praia Grande ou das sampanas junto ao Templo de A-Má surpreendem-se instantâneos do quotidiano que envolvem dominantemente a presença da população chinesa nas suas tarefas, em cenários marcados por uma nostálgica presença europeia.
O papel de Macau no comércio internacional está extensivamente documentado na secção oposta, salientando-se a colecção de porcelana brasonada, formando, na disposição de pratos, travessas, terrinas ou jarras, um dragão. Contudo, não deixam de ser significativas as séries de gouaches “China Trade” que representam o fabrico e o comércio do chá e da porcelana, assim como os leques chineses, muito apreciados no Ocidente.
Passando ao sector nascente do piso 1, fronteiro ao acesso por escada, sucedem-se os seguintes módulos:
• E entre gente remota edificaram/Novo reino que tanto sublimaram. Presença portuguesa na Ásia, em que, “guiados” pelas palavras de Camões n’ Os Lusíadas mas também pelas de Fernão Mendes Pinto na Peregrinação, se procura documentar, a partir de uma criteriosa selecção de objectos (mobiliário, têxteis, ourivesaria, pintura e marfins), complementada por mapas e maquetas, o estabelecimento e a construção do Império Português do Oriente, centrado em Goa, com as suas cidades e praças-fortes, as suas sociedade e cultura miscigenadas, em que se deu o diálogo e o confronto entre culturas e religiões. Neste particular destacam-se um exemplar setecentista de um tratado escrito por um goês sobre o gentilismo hindu, assim como as aguarelas de um álbum que representa tipos populares, profissões e autoridades militares da Índia;
• Ásia Extrema, em que se evidencia a descoberta, pelos Portugueses, da cultura do Império do Meio e do lucrativo comércio de produtos de luxo que com ele poderiam realizar, não esquecendo o papel dos missionários que acompanhavam os comerciantes e os soldados e deram início à Igreja Católica na China, inclusive os que sofreram o martírio pela Fé. O frutuoso encontro com o Japão nos séculos XVI e XVII é brilhantemente ilustrado por dois biombos e por lacas namban que estão entre as mais relevantes peças de toda a colecção;
Findo este sector, o visitante atravessa, de novo, o espaço central dedicado a Macau e entra no sector poente, em que se desenvolvem outros dois módulos:
• Timor-Leste, povos e culturas, colecção muito rica que documenta, através de peças relacionadas quer com as vivências quotidianas e as tradições linhagísticas quer com o sagrado, a unidade e a diversidade das culturas em presença, assim como os estreitos laços que esses povos souberam manter com Portugal. O descaroçador e o banco situam-nos no mundo quotidiano dos instrumentos de trabalho, enquanto as pulseiras, os colares, as insígnias de poder ou as facas de circuncisão nos projectam no universo cerimonial e ritual, tal como acontece com as diversas máscaras presentes. Os vários tipos de panos tecidos pelas mulheres timorenses ilustram os patrimónios linhagísticos das comunidades, enquanto as portas e os painéis decorativos das casas ou a estatuária votiva nos projectam no microcosmo da casa timorense com a sua sucessão de andares — do nível térreo, morada dos animais e dos espíritos inferiores, passando pela residência dos vivos, até ao lugar de culto dos antepassados.
• O coleccionismo de arte do Extremo Oriente, constituído pela colecção de terracotas e de outras antiguidades chinesas, japonesas e coreanas que foi adquirida pela Fundação Oriente, a que se acrescentaram os acervos em depósito provenientes do Museu Nacional de Machado de Castro, em Coimbra, em que se destacam os legados do poeta Camilo Pessanha e do político e escritor Manuel Teixeira Gomes.
Atendendo ao elevado número de exemplares de cerâmica chinesa dos mais diversos períodos e técnicas, é possível documentar a evolução tipológica das terracotas funerárias, com exemplares que remontam ao Neolítico e se estendem até à dinastia Ming, assim como da cerâmica e da porcelana de uso quotidiano, nela incluindo alguma de exportação.
Expõe-se também um pequeno mas significativo conjunto de bronzes provenientes, na sua maioria, da Colecção Camilo Pessanha, alguns deles de grande raridade pela sua antiguidade e pela qualidade artística. Um grupo de imagens de vária proveniência e algumas pinturas da Colecção Pessanha permitem referenciar a expressão artística mais erudita do budismo e do taoísmo.
Graças à pintura e ao traje da Colecção Pessanha, evoca-se o ambiente do gabinete e o gosto artístico de um letrado chinês de oitocentos, com as “preciosidades”, as taças de libação, os ecrãs e os biombos, os objectos devocionais ou os rolos e álbuns de pintura tradicional chinesa e de caligrafia, bem como os respectivos apetrechos de execução.
Da notável colecção de frascos de rapé de fabrico chinês de Manuel Teixeira Gomes, a segunda maior da Europa, apresenta-se uma significativa selecção das diferentes tipologias que a constituem. O mesmo se passa com as peças japonesas da mesma proveniência: os inrô (pequenos contentores portáteis pessoais), as netzuke (fechos dos inrô em forma de máscara, com personagens, na sua maioria, do Teatro Nô) e as tsuba (guarda-mãos de espada), peças de cronologia alargada, a que se acrescentam, ainda no âmbito do Japão, as três monumentais armaduras e outros objectos de cerâmica, bronze, pintura e mobiliário.
Concluindo este módulo, expõem-se também peças coreanas: uma caixa em madeira lacada com incrustações de madrepérola e uma curiosa série de aguarelas de finais de oitocentos da autoria do pintor coreano Kim Jun-geun, conhecido pelo nome artístico de Kisan, sobre trajos, costumes e festas da Coreia, realizadas para o mercado europeu e americano.
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english
The Museum of the Orient (Portuguese: Museu do Oriente) in Lisbon, Portugal celebrates the history of Portuguese exploration with a collection of Asian artifacts. The museum opened in May, 2008, and is located in a refurbished industrial building on the Alcântara waterfront. The collection includes Indonesian textiles, Japanese screens, antique snuff bottles, crucifixes made in Asia for Western export, and the Kwok On Collection of masks, costumes, and accessories.
português
O Museu do Oriente está instalado no edifício Pedro Álvares Cabral, antigos armazéns da Comissão Reguladora do Comércio do Bacalhau em Alcântara, Lisboa.
O museu reúne colecções que têm o Oriente como temática principal, nas vertentes histórica, religiosa, antropológica e artística.
A exposição permanente engloba 1400 peças alusivas à presença portuguesa na Ásia e 650 peças pertencentes à colecção Kwok On.
O museu é da responsabilidade da Fundação Oriente e foi inaugurado no dia 8 de Maio de 2008.
A actual directora é Maria Manuela d'Oliveira Martins.
Foi classificado como Monumento de interesse público (MIP) pelo IGESPAR em 15 de junho de 2010.
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
The Postcard
A postally unused postcard that was published by Arthur Constantine, Dip. I. P. B., of Leigh Bank Studio, Haslingden, Lancs. Tel. Rossendale 757.
Arthur notes on the divided back of the card that extra copies may be obtained.
There are no indications as to the identity of the couple, nor the date of the photograph.
If anyone recognises the soldier's lapel badges, please leave a note.
Haslingden
Haslingden is a town in Rossendale, Lancashire. It is 16 miles (26 km) north of Manchester. The name means 'Valley of the Hazels'. At the time of the 2011 census the town had a population of 15,969. The town is surrounded by high moorland: 370 m (1215 ft) to the north; 396 m (1300 ft) to the east, and 418 m (1372 ft) Bull Hill to the south.
Haslingden is the birthplace of the industrialist John Cockerill (1790–1840) and the composer Alan Rawsthorne (1905–1971), and was the home for many years of the Irish Republican leader, Michael Davitt (1846–1906). Haslingden Cricket Club is a member of the Lancashire League.
History of Haslingden
There is some evidence of Bronze Age human presence in the area of Haslingden. Thirteen Stones Hill is 2 km (1.2 mi) west of the town, and probably dates from about 3,000 BC. There is now just one stone visible. (....What happened to the other twelve????)
Part of what is now Haslingden was part of the Forest of Rossendale. The Forest was a hunting park during the late 13th. and 14th. centuries; 'Forest' referred to it being parkland rather than being heavily wooded, as the forest declined much earlier, during the Neolithic period.
The Forest of Rossendale contained eleven vaccaries (cow-pastures) and was poorly populated, with Haslingden being the only town of significance.
Haslingden appears to have held markets during the sixteenth century, with the first reference in a Court Roll of 1555 where it records a John Radcliffe being fined for being a 'forestaller of the lords market of Haslyngden'.
There are later references to markets and fairs in The Shuttleworth Accounts (1582-1621), and the map-maker Richard Blome writing in 1673 describes Haslingden as originally having 'A small Market on Wednesdays'.
Later, at the time of Charles 1st., the market was moved to Saturday. The market continued to grow, and Haslingden was designated a Market Town in 1676.
It became a coaching station and a significant industrial borough during the Industrial Revolution. Haslingden benefited in particular with the mechanisation of the wool, cotton spinning and weaving industries from the 18th. to the 19th. centuries, and from the development of watermills and later steam power.
By the final half of the nineteenth century, the diversity and wealth of industry earned the area the name 'The Golden Valley'.
In the 20th. century the population declined from 19,000 in the 1911 census to 17,000 in 2001.
Haslingden Flag
Haslingden is notable for its stone quarrying, and Haslingden Flag (a quartz-based sandstone) was distributed throughout the country in the 19th. century with the opening up of the rail network.
This stone was used in the paving of London, including Trafalgar Square. Flagstone is a type of sedimentary rock, relatively easy to split or quarry in slabs, and hence ideal for paving. Locally it is also used for making fences and roofing.
It has a hardness and silica content not unlike granite, and its presence was the main reason for the growth of quarrying in Rossendale. Haslingden Flag is unique - it is only found near Haslingden.
Textiles
Like much of East Lancashire, Haslingden has a long association with the textile industry. From the 16th. century, after the old Forest of Rossendale was opened up to settlement, farmers raised sheep on the moorlands and made woollen cloth.
Initially this was small-scale and local, but towards the end of the 18th. century, cloth workers came together to work in small groups of houses. At the same time advances in technology meant that the first mills were appearing in the area. Most of these were small, water-powered buildings; and Haslingden, with its elevated situation, was not a natural place for the development of these early mills. Locally they were situated lower down in the river valleys, such as at nearby Helmshore.
The long association with wool meant that Haslingden and the other Rossendale towns had expertise with the processes of cloth production, and so were able to switch easily to cotton weaving.
Cotton was better suited than wool to industrialised spinning, as its fibres were less likely to break than wool. Cotton cloth manufacture quickly became a highly successful industry, and its development was closely associated with its role in the expansion of the slave trade. African slaves were bartered for cotton goods, and cotton was picked by slaves in the Deep South of the U.S.
The growth of mills also had an enormous impact on the landscape, and on the lives of its work force. Cotton weaving in the new factories was largely unregulated, and the workforce was kept almost at starvation levels.
Hunger drove men and women to fight back, and mobs attacked the power-looms that were seen to be the cause of the decline in status of the workforce. In 1826 almost 3,000 people were reported to be 'attacking machinery' in Haslingden.
A troop of cavalry was stationed in the vicinity, and the ring-leaders were arrested. It was reported from Haslingden in the same year that:
"A great majority of the unemployed
must literally perish from extreme want".
By the 1850's, steam power began to supersede water power, and mills grew in size. Grudgingly a minimum wage was introduced, and through the efforts of reformers, the churches and a few enlightened mill-owners, conditions for factory workers slowly improved.
Conditions were however still harsh, despite the whole Rossendale area being known as the 'Golden Valley'. No longer dependent on the rivers as a source of energy, the mill owners were freed to build elsewhere, and Haslingden began to find that successful mills, such as Hargreaves Street Mill, could be built on its higher land.
The long decline of the cotton industry began in the early years of the 20th. century. During the Great War, India and Japan were able to develop their own industries, and after the Second World War, immigration - mainly from Pakistan - was encouraged to help bolster a failing industry.
However by the 1950's, mills were closing at an ever-faster rate. The old buildings often re-occupied by small businesses specialising in other occupations.
The Cockerill Family
William Cockerill (1759-1832) and his son John Cockerill (1790-1840), along with other family members, both sons and daughters, feature in the industrial history of Haslingden. Both men were born in Haslingden, and as a young man William showed great skill as an inventor of machinery.
The Slubbing Billy, which twists and draws out yarn, is named after him. Slubbing Billy is also the name of a North West Morris Team. Father and son eventually left Haslingden and settled in Belgium, where they built up one of the largest industrial and machinery complexes in mainland Europe. It is said that they initiated the spread of the Industrial Revolution in continental Europe.
William's beginnings are obscure, although it is likely that he worked as a blacksmith in Haslingden before travelling to St. Petersburg, Sweden, and finally to Verviers, near Liège in Belgium. Here he set up spinning and carding machines with his sons Willam, Charles James, and John.
John had also been born in Haslingden but moved to Vervier at the age of 12. He was eventually offered a Château in Seraing which then became the heart of Belgium's iron, steel and machine-building industries. He is considered to be the founder of Belgian manufacturing, and was known as a humanitarian employer.
Immigration and Community
In the 19th. century when the cotton industry was thriving, Haslingden became a magnet for immigrants to Great Britain. In particular the port of Liverpool was a gateway for waves of immigrants, and many of these were attracted by work in the mills.
From the late 1840's a large influx of Irish immigrants forced out of Ireland by the Great Famine of 1846–1852, came to Lancashire, and some ended up in Haslingden.
At almost the same time, as a result of the political instability in Italy, Italians came to Liverpool and Manchester, and some families moved on to Haslingden. Similarly, in the 1930's, various eastern European refugees fleeing Nazi persecution settled in the area. Immediately after World War II, young women from Germany were brought over to work in the mills, and some came to Haslingden and stayed.
From 1950 onwards, migrants were encouraged to travel from Commonwealth countries to work in the post-war textile industry. Initially this tended to mean young men who travelled from Pakistan, and later Bangladesh, fully expecting to return home after building up their savings.
However by the 1970's, many were joined by wives and families and settled permanently in Haslingden. As a result, the town is now home to a substantial and vibrant community of people with a South Asian heritage, mainly Bangladeshi and Pakistani.
Many of the families come from just a few villages: from the Attock and Mirpur areas of north-west Pakistan, and from Patli Union in the Sylhet region of Bangladesh.
The town now houses two mosques and a considerable number of Asian grocers and other shops. There is also Apna (Rossendale) that provides classes, workshops and a meeting place mainly for South Asian women. It is based at the Dave Pearson Studio, and has a focus on Islamic arts, well-being, health and general education.
St James's Church and the 'Top of the Town'
Haslingden's Anglican parish church, dedicated to St James the Great, was rebuilt in 1780 on a site occupied by a church building since at least 1284. Murray's Guide states:
"It stands well and is plain Georgian,
dully Gothicised inside".
By the west side of the church entrance is a large Plague Stone, with two carved holes. There is some uncertainty about its exact purpose, but most opinion is that such stones were used in times of plague to enable food (or other alms) to be offered to plague victims while avoiding direct contact.
A Saxon Cross is mentioned in the Clitheroe court rolls of 1547, and the stone may have been at the base of the cross, which means that the stone probably dates from the 16th. century or earlier.
St James's Church sits well to the north of the town centre, but until the 1930's it was adjacent to the 'Top of the Town' - i.e. the area between Town Gate and Church Street, and the old centre of Haslingden.
This was an area containing several public houses the original market, the town stocks, and Marsden Square, where travelling shows pitched their tents. Clearance began in 1932, and the area is now largely housing.
St. Stephen's
St. Stephen's, Grane, has a particularly interesting history. The construction of the Ogden Reservoir (which opened in 1912) led to almost total depopulation of the community of Grane. St. Stephen's remained in use, with most of the villagers having moved to Haslingden town.
In 1925 they decided to move the church stone by stone to a new site, two miles away at Three Lanes End, near Holden Cemetery. The church is now an antiques centre and cafe.
The Public Hall
The Public Hall was built by a private company formed by 'Gentlemen representing the working classes and temperance movement'.
It opened in 1868, and was bought by the town council in 1898.
The hall was once a venue of Winston Churchill during his early political career. Emmeline Pankhurst once addressed the people of Haslingden from the stage and, after the Battle of the Somme in 1916, it was a temporary hospital for the survivors of the Accrington Pals who were sent home for treatment.
However by the 1990's it was largely unused except for occasional entertainments. The hall had been used for 50 or more years by Rossendale Amateur Operatic Society and other local community groups, but it was finally closed by Rossendale Council in 2005.
The hall has since been sold by the council to a group representing the Asian heritage community, and is currently (2021) in the process of being turned into a mosque.
A Standardised Intelligence Test
The Wesleyan School, formerly on the site of the current health centre, was the site of the first experimental test in the world at a standardised intelligence test.
It followed from a suggestion by the industrialist and Liberal politician Sir William Mather in 1900, given after a prize-giving to students to members of the Haslingden Technical Instruction Committee.
The test was set by Henry Holman, a schools inspector and educationalist, in 1903. It included questions like:
"Is there a good reason for making
a pie crust ornamental instead of plain?"
Mather introduced apprentice schemes at his factories that used testing as part of the selection method. He also introduced a 48-hour working week for employees.
The Library
Originally Haslingden Mechanics' Institute and opened in 1860, it became the public library in 1905. A blue plaque commemorates Michael Davitt. The young Davitt migrated to Haslingden with his family in 1840 as a result of the family being evicted from their tenant farm by a British Landlord.
Michael began working in a cotton mill, but at the age of 11 his right arm was entangled in a cogwheel and mangled so badly that it had to be amputated. When he recovered from his operation, a local benefactor, John Dean, helped to give him an education.
Michael also started night classes at the Mechanics' Institute and used its library. Michael Davitt's family home from 1867 to 1870 on Wilkinson Street is now marked by a memorial plaque.
Amongst the library's collection is an early photograph (c. 1892) of Thomas Frederick Worrall labelled Tom Worrall, artist, whose watercolours included a depiction of the Old White Horse Inn (long demolished).
The Railway
Haslingden was once connected to Accrington and Bury by railway. The East Lancashire Railway built a station here, which remained open to passengers under British Railways until the 7th. November 1960. The withdrawal of the passenger service was therefore not a victim of Dr. Beeching.
Much of the trackbed of the railway is no longer visible, with the A56 by-pass built over it between Grane Road and Blackburn Road. However, the line can still be traced through Helmshore towards Stubbins, where several magnificent viaducts still remain.
Other Notable Haslingden Places
The town centre is home to the famous Big Lamp which was originally erected in 1841 and from where all distances in Haslingden are measured. The original lamp has been replaced by a replica, the 1841 lamp being lost after being taken to America.
Cissy Green's Bakery can be found on Deardengate. People visit from across Lancashire to sample the handmade pies which are still made to the original 1920's recipe.
To the north of the town is the Holland's Pies factory, and Winfield's, a large warehouse-style retail development selling footwear and clothing, and promoting itself as a family day out.
Haslingden's War Memorial is unusual in that it has no names recorded on it.
To the northeast there is a 2 kW digital television transmitter serving a wide area.
Notable Residents
Notable residents associated with Haslingden include:
-- Armour Ashe, professional footballer who played for Accrington Stanley and Southport.
-- Chris Aspin, journalist, historian and author. Author of several books on the textile industry, and local history.
-- Sir Rhodes Boyson, former Conservative Minister in Mrs. Thatcher's government, former Councillor on Haslingden Borough Council, and former Head Teacher of Lea Bank County Secondary Modern School, Rawtenstall.
-- Eugenie Cheesmond, psychiatrist and founder of Lifeline charity for drug addiction.
-- John Cockerill, industrialist.
-- Michael Davitt – Irish Republican. In 2006 a revamped memorial to Davitt was unveiled by the Irish President Mary McAleese in Wilkinson Street as part of the Davitt centenary celebrations.
-- Beryl Ingham, wife and manager of George Formby.
-- Clive Lloyd, West Indies and Lancashire C.C.C. cricketer, who also played for Haslingden in the early days of his career.
-- Vinoo Mankad, Indian cricketer, who played for the town's Lancashire League cricket team.
-- Dave Pearson, painter.
-- Alan Rawsthorne, composer.
-- William Roache, actor best known as Ken Barlow on Coronation Street.
-- Robert Scott, recipient of the Victoria Cross during the Second Boer War.
-- Choppy Warburton (1845–1897) born in Coal Hey, just off Lower Deardengate, was a record-breaking runner and a cycling coach. There are frequent claims that he drugged riders to make them ride faster. He was painted by Toulouse-Lautrec.
George Formby and his Wife Beryl
George Formby OBE was born on the 26th. May 1904. He was an English actor, singer-songwriter and comedian who frequently played the ukulele when on the stage or in films.
He became known to a worldwide audience through his films of the 1930's and 1940's.
On stage, screen and record he sang light, comic songs, usually playing the ukulele or banjolele, and became the UK's highest-paid entertainer.
Born in Wigan, Lancashire, he was the son of George Formby Senior. After an early career as a stable boy and jockey, Formby took to the music hall stage after the early death of his father in 1921.
His early performances were taken exclusively from his father's act, including the same songs, jokes and characters. In 1923 he made two career-changing decisions – he purchased a ukulele, and married Beryl Ingham, a fellow performer who became his manager and who transformed his act.
Beryl insisted that he appear on stage formally dressed, and introduced the ukulele to his performance.
He started his recording career in 1926 and, from 1934, he increasingly worked in film to develop into a major star by the late 1930's and 1940's, and became the UK's most popular entertainer during those decades.
Media historian Brian McFarlane writes that on film, Formby portrayed gormless Lancastrian innocents who would win through against some form of villainy, gaining the affection of an attractive middle-class girl in the process.
During the Second World War Formby worked extensively for the Entertainments National Service Association (ENSA), and entertained civilians and troops. By 1946 it was estimated that George had performed in front of three million service personnel.
After the war his career declined, although he toured the Commonwealth, and continued to appear in variety and pantomime.
George's last television appearance was in December 1960, two weeks before the death of Beryl.
He surprised people by announcing his engagement to a school teacher, Pat Howson, seven weeks after Beryl's funeral, but died in Preston three weeks later, at the age of 56; he was buried in Warrington, alongside his father.
Formby's biographer, Jeffrey Richards, considers that:
"The actor had been able to embody
simultaneously Lancashire, the working
classes, the people, and the nation".
Formby was considered Britain's first properly home-grown screen comedian. He was an influence on future comedians—particularly Charlie Drake and Norman Wisdom—and, culturally, on entertainers such as the Beatles, who referred to him in their music.
Since his death, Formby has been the subject of five biographies, two television specials and two works of public sculpture.
George Formby - The Early Years 1904 - 1921
George Formby was born in Wigan, Lancashire, on the 26th. May 1904. He was the eldest of seven surviving children born to James Lawler Booth and his wife Eliza, née Hoy. The marriage was in fact bigamous because Booth was still married to his first wife, Martha Maria Salter, a twenty-year-old music hall performer.
Booth was a successful music hall comedian and singer who performed under the name George Formby (he is now known as George Formby Senior).
Formby Senior suffered from a chest ailment, identified variously as bronchitis, asthma or tuberculosis, and would use the cough as part of the humour in his act, saying to the audience:
"Bronchitis, I'm a bit tight tonight."
Alternatively:
"Coughing better tonight."
One of his main characters was that of John Willie, an "archetypal Lancashire lad". In 1906 Formby Sr was earning £35 a week in the music halls, which rose to £325 a week by 1920. This meant that George Formby grew up in an affluent home.
Formby Senior was so popular that Marie Lloyd, the influential music hall singer and actress, would only watch two acts: his and that of Dan Leno.
George Formby was born blind owing to an obstructive caul, although his sight was restored during a violent coughing fit or sneeze when he was a few months old.
After briefly attending school—at which he did not prosper, and did not learn to read or write—Formby was removed from formal education at the age of seven and sent to become a stable boy, briefly in Wiltshire and then in Middleham, Yorkshire.
Formby Senior sent his son away to work as he was worried that he would watch him on stage; he was against Formby following in his footsteps, saying:
"One fool in the family is enough."
After a year working at Middleham, young George was apprenticed to Thomas Scholfield in Epsom, where he ran his first professional races at the age of 10, when he weighed less than 56 lb (25 kg).
In 1915 Formby Senior allowed his son to appear on screen, taking the lead in By the Shortest of Heads, a thriller directed by Bert Haldane in which Formby played a stable boy who outwits a gang of villains and wins a £10,000 prize when he comes first in a horse race.
The film is now considered lost, with the last-known copy having been destroyed in 1940.
Later in 1915, and with the closure of the English racing season because of the Great War, Formby moved to Ireland where he continued as a jockey until November 1918.
Later that month he returned to England and raced for Lord Derby at his Newmarket stables. Formby continued as a jockey until 1921, although he never won a race.
-- Beginning a Stage Career: 1921–1934
On the 8th. February 1921, Formby Senior succumbed to his bronchial condition and died at the young age of 45; he was laid to rest in the Catholic section of Warrington Cemetery.
After his father's funeral Eliza took the young Formby to London to help him cope with his grief. While there, they visited the Victoria Palace Theatre—where Formby Senior had previously been so successful—and saw a performance by the Tyneside comedian Tommy Dixon.
Dixon was performing a copy of Formby Senior's act, using the same songs, jokes, costumes and mannerisms, and billed himself as "The New George Formby", a name which angered Eliza and Formby even more.
The performance prompted Formby to follow in his father's profession, a decision which was supported by Eliza. As he had never seen his father perform live, Formby found the imitation difficult, and he had to learn his father's songs from records, and the rest of his act and jokes from his mother.
On the 21st. March 1921 Formby gave his first professional appearance in a two-week run at the Hippodrome in Earlestown, Lancashire, where he received a fee of £5 a week.
In the show he was billed as George Hoy, using his mother's maiden name—he explained later that he did not want the Formby name to appear in small print. His father's name was used in the posters and advertising, George Hoy being described as:
"Comedian (Son of George Formby)."
While still appearing in Earlestown, Formby was hired to appear at the Moss Empire chain of theatres for £17 10s a week. His first night was unsuccessful, and he later said of it:
"I was the first turn, three minutes,
and died the death of a dog."
George toured venues in Northern England, although he was not well received, and was booed and hissed while performing in Blyth, Northumberland. As a result he experienced frequent periods of unemployment—up to three months at one point.
Formby spent two years as a support act touring round the northern halls, and although he was poorly paid, his mother supported him financially.
In 1923 Formby started to play the ukulele, although the exact circumstances of how he came to play the instrument are unknown. He introduced it into his act during a run at the Alhambra Theatre in Barnsley.
When the songs—still his father's material—were well received, he changed his stage name to George Formby, and stopped using the John Willie character.
Another significant event was his appearance in Castleford, West Yorkshire, where appearing on the same bill was Beryl Ingham, an Accrington-born champion clogdancer and actress who had won the All England Step Dancing title at the age of 11.
Beryl, who had formed a dancing act with her sister, May, called "The Two Violets", had a low opinion of Formby's act. She later said that:
"If I'd had a bag of rotten tomatoes
with me I'd have thrown them at him".
Nevertheless Formby and Beryl entered into a relationship and married two years later, on the 13th. September 1924, at a register office in Wigan, with Formby's aunt and uncle as witnesses.
Upon hearing the news, George's mother Eliza insisted on the couple having a church wedding, which followed two months later.
Beryl took over as George's manager, and changed aspects of his act, including the songs and jokes. She instructed him on how to use his hands, and how to work his audience.
She also persuaded him to change his stage dress to black tie—although he appeared in a range of other costumes too—and to take lessons in how to play the ukulele properly.
By June 1926 George was proficient enough to earn a one-off record deal—negotiated by Beryl—to sing six of his father's songs for the Edison Bell/Winner label.
Formby spent the next few years touring, largely in the north, but also appearing at the Shepherd's Bush Empire, his official London debut.
George had a further recording session in October 1929, performing two songs for Dominion Records. However according to David Bret, Formby's biographer:
"Beryl's avaricious demands would
prevent any serious contract from
coming George's way."
That changed in 1932, when Formby signed a three-year deal with Decca Records. One of the songs he recorded in July 1932 was "Chinese Laundry Blues", telling the story of Mr Wu, which became one of his standard songs, and part of a long-running series of songs about the character.
Over the course of his career Formby went on to record over 200 songs, around 90 of which were written by Fred Cliffe and Harry Gifford.
In the 1932 winter season Formby appeared in his first pantomime, Babes in the Wood, in Bolton, after which he toured with the George Formby Road Show around the north of England, with Beryl acting as the commère; the show also toured in 1934.
-- George Formby's Burgeoning Film Career: 1934–1940
With Formby's growing success on stage, Beryl decided that it was time for him to move into films. In 1934 she approached the producer Basil Dean, the head of Associated Talking Pictures (ATP). Although he expressed an interest in Formby, he did not like the associated demands from Beryl.
She also met the representative of Warner Brothers in the UK, Irving Asher, who was dismissive, saying that Formby was:
"Too stupid to play the bad guy
and too ugly to play the hero."
Three weeks later Formby was approached by John E. Blakeley of Blakeley's Productions, who offered him a one-film deal.
The film, Boots! Boots!, was shot on a budget of £3,000 in a one-room studio in Albany Street, London. Formby played the John Willie character, while Beryl also appeared, and the couple were paid £100 for the two weeks' work, plus 10 per cent of the profits.
The film followed a revue format, and Jo Botting, writing for the British Film Institute, described it as having:
"A wafer-thin plot that
is "almost incidental."
Botting also considered the film to have:
"Poor sound quality, static
scene set-ups and a lack
of sets."
However while it did not impress the critics, audience figures were high.
Formby followed this up with Off the Dole in 1935, again for Blakeley, who had re-named his company Mancunian Films. The film cost £3,000 to make, and earned £80,000 at the box office.
As with Boots! Boots!, the film was in a revue format, and Formby again played John Willie, with Beryl as his co-star. According to Formby's biographer, Jeffrey Richards:
"The two films for Blakeley are
an invaluable record of the
pre-cinematic Formby at work".
The success of the pictures led Basil Dean to offer Formby a seven-year contract with ATP, which resulted in the production of 11 films, although Dean's fellow producer, Michael Balcon, considered Formby to be:
"... an odd and not particularly
loveable character".
The first film from the deal was released in 1935. No Limit features Formby as an entrant in the Isle of Man annual Tourist Trophy (TT) motorcycle race. Monty Banks directed, and Florence Desmond took the female lead.
According to Richards, Dean did not try to play down Formby's Lancashire character in the film, and in fact employed Walter Greenwood, the Salford-born author of the 1933 novel Love on the Dole, as the scriptwriter.
Filming was troubled, with Beryl being difficult to everyone present. The writer Matthew Sweet described the set as "a battleground" because of her actions, and Monty Banks unsuccessfully requested that Dean bar Beryl from the studio.
The Observer thought that:
"Parts of No Limit are pretty dull
stuff, but the race footage was
shot and cut to a maximum of
excitement."
Regarding the star of the film, the reviewer thought that:
"Our Lancashire George is a grand
lad; he can gag and clown, play the
banjo and sing with authority ...
Still and all, he doesn't do too bad."
The film was so popular that it was reissued in 1938, 1946 and 1957.
The formula used for No Limit was repeated in George's following works: Formby played the 'urban little man' -- defeated, but refusing to admit it.
George portrayed a good-natured, but accident-prone and incompetent Lancastrian, who was often in a skilled trade, or the services.
The plots were geared to Formby trying to achieve success in a field unfamiliar to him (in horse racing, the TT Races, as a spy or a policeman), and by winning the affections of a middle-class girl in the process.
Interspersed throughout each film is a series of songs by Formby, in which he plays the banjo, banjolele or ukulele. The films are, in the words of the academic Brian McFarlane:
"... unpretentiously skilful in their
balance between broad comedy
and action, laced with Formby's
shy ordinariness".
No Limit was followed by Keep Your Seats, Please in 1936, which was again directed by Banks with Desmond returning as the co-star.
Tensions arose in pre-production with Banks and some of the cast requesting to Dean that Beryl be banned from the set. Tempers had also become strained between Formby and Florence Desmond, who were not on speaking terms except to film scenes.
The situation became so bad that Dean avoided visiting his studios for the month of filming. The film contained the song "The Window Cleaner" (popularly known as "When I'm Cleaning Windows"), which was soon banned by the BBC.
The corporation's director John Reith stated that:
"If the public wants to listen to Formby
singing his disgusting little ditty, they'll
have to be content to hear it in the
cinemas, not over the nation's airwaves."
Reith particularly objected to two of the verses:
"To overcrowded flats I've been,
Sixteen in one bed I've seen,
With the lodger tucked up in between,
When I'm cleaning windows!
Now lots of girls I've had to jilt,
For they admire the way I'm built,
It's a good job I don't wear a kilt,
When I'm cleaning windows!"
31 years later, in 1967, the BBC banned the Beatles' 'Lucy in the Sky With Diamonds' because of the song's alleged references to drugs. However writer of the song John Lennon claimed in a 1971 interview that Lucy in the Sky With Diamonds has no connection to LSD. He explained that he was inspired to write the song after his son brought him a drawing that he made in nursery school:
“It never was about LSD, and nobody
believes me. This is the truth: My son
came home with a drawing and showed
me this strange-looking woman flying
around. I said, ‘What is it?’ and he said,
‘It’s Lucy in the sky with diamonds,’ and
I thought, ‘That’s beautiful.’
I immediately wrote a song about it.
The song had gone out, the whole
album had been published and
somebody noticed that the letters
spelled out LSD, and I had no idea
about it. … It wasn’t about LSD at all.”
Formby and Beryl were furious that their song was blocked. In May 1941 Beryl informed the BBC that the song was a favourite of the royal family, particularly Queen Mary, while a statement by Formby pointed out that:
"I sang it before the King and
Queen at the Royal Variety
Performance."
The BBC relented and started to broadcast the song.
When production finished on Keep Your Seats, Please, Beryl insisted that for the next film there should be:
"No Eye-Ties and stuck-up
little trollops involved."
Beryl was referring to Banks and Desmond, respectively.
By then Dean had tired of the on-set squabbles, and for the third ATP film, Feather Your Nest, he appointed William Beaudine as the director, and Polly Ward, the niece of the music hall star Marie Lloyd, as the female lead.
Bret noted:
"The songs in the film are comparatively
bland, with the exception of the one
which would become immortal: 'Leaning
on a Lamp-post'."
By the time of the next production, Keep Fit in 1937, Dean had begun to assemble a special team at Ealing Studios to help develop and produce the Formby films; key among the members were the director Anthony Kimmins, who went on to direct five of Formby's films.
Kay Walsh was cast as the leading lady and, in the absence of Beryl from the set, Formby and Walsh had an affair, after she fell for his flirtatious behaviour off-camera.
Although Beryl was furious with Walsh, and tried to have her removed from the film, a showdown with Dean proved fruitless. Dean informed her that Walsh was to remain the lead in both Keep Fit, and in Formby's next film (I See Ice, 1938). In order to mollify Beryl, Dean raised Formby's fee for the latter film to £25,000.
When filming concluded on I See Ice, Formby spent the 1937 summer season performing in the revue King Cheer at the Opera House Theatre, Blackpool, before appearing in a 12-minute slot at the Royal Variety Performance in November.
The popularity of George's performances meant that in 1937 he was the top British male star in box office takings, a position he held every subsequent year until 1943.
Additionally, between 1938 and 1942 he was also the highest-paid entertainer in Great Britain, and by the end of the 1930's was earning £100,000 a year.
In early 1938 Dean informed the Formbys that in the next film, It's in the Air, Banks would return to direct and Walsh would again be the leading lady. Beryl objected strongly, and Kimmins continued his directorial duties, while Ward was brought in for the female lead.
Beryl, as she did with all Formby's female co-stars, read the 'keep-your-hands-off-my-husband' riot act to the actress.
In May 1938, while filming It's in the Air, Formby purchased a Rolls-Royce, with the personalised number plate GF 1. Every year afterwards he would purchase either a new Rolls-Royce or Bentley, buying 26 over the course of his life.
In the autumn of 1938 Formby began work on Trouble Brewing, released the following year with 19-year-old Googie Withers as the female lead; Kimmins again directed.
Withers later recounted that Formby did not speak to her until, during a break in filming when Beryl was not present, he whispered out of the corner of his mouth:
"I'm sorry, love, but you know,
I'm not allowed to speak to you."
Googie thought that this was "very sweet."
George's second release of 1939—shortly after the outbreak of the Second World War—was Come On George!, which cast Pat Kirkwood in the female lead.
Formby and Kirkwood disliked each other intensely, and neither of the Formbys liked several of the other senior cast members. Come On George! was screened for troops serving in France before being released in Great Britain.
-- George Formby and the Second World War
At the outbreak of the Second World War Dean left ATP and became the head of the Entertainments National Service Association (ENSA), the organisation that provided entertainment to the British Armed Forces.
Over the course of five months Formby requested to sign up for ENSA, but was denied; Dean however relented in February 1940, and Formby was signed on a fixed salary of £10 per week, although he still remained under contract to ATP.
George undertook his first tour in France in March, where he performed for members of the British Expeditionary Force.
Basil Dean commented on Formby's work for the organisation:
"Standing with his back to a tree or a wall
of sandbags, with men squatting on the
ground in front of him, he sang song after
song, screwing up his face into comical
expressions of fright whenever shells
exploded in the near distance, and
making little cracks when the firing
drowned the point lines in his songs".
The social research organisation Mass-Observation recorded that Formby's first film of 1940, Let George Do It!, gave a particularly strong boost to early-war British civilian morale.
In a dream sequence after being drugged, Formby's character punches Hitler during a Nuremberg Rally. According to Richards:
"The scene provides the visual
encapsulation of the people's
war, with the English Everyman
flooring the Nazi Superman."
The scene was so striking that the film became Formby's first international release, in the US, under the title To Hell With Hitler.
Let George Do It! was also shown in Moscow, where it was released in 1943 under the title Dinky Doo. The film attracted packed houses, and received record box-office takings for over ten months.
The critics also praised the film, and the Kinematograph Weekly called it Formby's "best performance to date", and the film, "a box office certainty".
Formby's ENSA commitments were heavy, touring factories, theatres and concert halls around Great Britain. He also gave free concerts for charities and worthy causes, and raised £10,000 for the Fleetwood Fund on behalf of the families of missing trawlermen.
George and Beryl also set up their own charities, such as the OK Club for Kids, whose aim was to provide cigarettes for Yorkshire soldiers, and the Jump Fund, to provide home-knitted balaclavas, scarves and socks to servicemen.
Formby also joined the Home Guard as a dispatch rider, where he took his duties seriously, and fitted them around his other work whenever he could.
Formby continued filming with ATP, and his second film of 1940, Spare a Copper, was again focused on an aspect of the war, this time combating fifth columnists and saboteurs in a Merseyside dockyard.
However cinema-goers had begun to tire of war films, and so his next venture, Turned Out Nice Again returned to less contentious issues, with Formby's character caught in a domestic battle between his new wife and mother.
Early in the filming schedule, he took time to perform in an ENSA show that was broadcast on the BBC from Aldwych tube station as Let the People Sing. George sang four songs, and told the audience:
"Don't forget, it's wonderful
to be British!"
Towards the end of 1940 Formby tried to enlist for active military service, despite Beryl informing him that by being a member of ENSA he was already signed up. However the examining board rejected him as being unfit, because he had sinusitis and arthritic toes.
George spent the winter season in pantomime at the Opera House Theatre, Blackpool, portraying Idle Jack in Dick Whittington. When the season came to an end, the Formbys moved to London and, in May 1941, performed for the royal family at Windsor Castle.
George had commissioned a new set of inoffensive lyrics for "When I'm Cleaning Windows", but was informed that he should sing the original, uncensored version, which was enjoyed by the royal party, particularly Queen Mary, who asked for a repeat of the song.
King George VI presented Formby with a set of gold cuff links, and advised him to "wear them, not put them away".
With the ATP contract at an end, Formby decided not to renew or push for an extension. Robert Murphy, in his study of wartime British cinema, points out that:
"Balcon, Formby's producer at the
time, seems to have made little
effort to persuade him not to transfer
his allegiance."
This was despite the box office success enjoyed by Let George Do It! and Spare a Copper. Numerous offers came in, and Formby selected the American company Columbia Pictures, in a deal worth in excess of £500,000. The contract was to make a minimum of six films—seven were eventually made.
Formby set up his own company, Hillcrest Productions, to distribute the films, and had the final decision on the choice of director, scriptwriter and theme, while Columbia would have the choice of leading lady.
Part of Formby's reasoning behind the decision was a desire for parts with more character, something that would not have happened at ATP.
At the end of August 1941 production began on Formby's first film for Columbia, South American George, which took six weeks to complete.
Formby's move to an American company was controversial, and although his popular appeal seemed unaffected, John Mundy noted in 2007 that:
"His films were treated with
increasing critical hostility."
The reviewer for The Times wrote that the story was "confused," and considered that "there is not sufficient comic invention in the telling" of it.
Murphy commented that:
"The criticism had more to do with
the inadequate vehicles which he
subsequently appeared in than in
any diminution of his personal
popularity."
In early 1942 Formby undertook a three-week, 72-show tour of Northern Ireland, largely playing to troops, but also undertaking fund-raising shows for charity—one at the Belfast Hippodrome raised £500.
He described his time in Ulster as:
"The pleasantest tour
I've ever undertaken".
George returned to the mainland by way of the Isle of Man, where he entertained the troops guarding the internment camps. After further charity shows—raising £8,000 for a tank fund—Formby was the associate producer for the Vera Lynn film We'll Meet Again (1943).
In March he also filmed Much Too Shy which was released in October that year. Although the film was poorly received by the critics, the public still attended in large numbers, and the film was profitable.
In the summer of 1942 Formby was involved in a controversy with the Lord's Day Observance Society, who had filed law suits against the BBC for playing secular music on Sunday.
The society began a campaign against the entertainment industry, claiming that all theatrical activity on a Sunday was unethical, and cited a 1667 law which made it illegal.
With 60 leading entertainers already avoiding Sunday working, Dean informed Formby that his stance would be crucial in avoiding a spread of the problem. Formby issued a statement:
"I'll hang up my uke on Sundays only
when our lads stop fighting and getting
killed on Sundays ... as far as the Lord's
Day Observance Society are concerned,
they can mind their own bloody business.
And in any case, what have they done for
the war effort except get on everyone's
nerves?"
The following day it was announced that the pressure from the society was to be lifted.
At the end of 1942 Formby started filming Get Cracking, a story about the Home Guard, which was completed in under a month, the tight schedule brought about by an impending ENSA tour of the Mediterranean.
Between the end of filming Get Cracking and the release of the film in May 1943, Formby undertook a tour of Northern Scotland and the Orkney Islands, and had nearly completed shooting on his next film, Bell-Bottom George.
The reviewer for The Times opined that:
"Get Cracking, although a distinct
improvement on other films in which
Mr. Formby has appeared, is cut too
closely to fit the demands of an
individual technique to achieve any
real life of its own."
Bell-Bottom George was described 60 years later by the academic Baz Kershaw as being:
"Unashamedly gay and peppered
with homoerotic scenes."
Bret concurs, and notes that:
"The majority of the cast and almost
every one of the male extras was
unashamedly gay."
The film was a hit with what Bret describes as Formby's "surprisingly large, closeted gay following".
The reviewer for The Manchester Guardian was impressed with the film, and wrote that:
"There is a new neatness of execution
and lightness of touch about this
production ... while George himself
can no longer be accused of trailing
clouds of vaudevillian glory."
The reviewer also considered Formby:
"... our first authentic and strictly
indigenous film comedian."
After completing filming, the Formbys undertook a further ENSA tour. Although Dean personally disliked the Formbys, he greatly admired the tireless work they did for the organisation.
In August 1943 Formby undertook a 53-day tour of a significant portion of the Mediterranean, including Italy, Sicily, Malta, Gibraltar, Libya, Tunisia, Egypt, Lebanon and Palestine.
He entertained 750,000 troops in thirteen countries, touring 25,000 miles (40,000 km) in the process and returning to England in October.
The couple travelled around the countryside in a Ford Mercury that Formby had purchased from the racing driver Sir Malcolm Campbell, which had been converted to sleep two in the back.
In January 1944 Formby described his experiences touring for ENSA in Europe and the Middle East in a BBC radio broadcast. He said that:
"The troops are worrying quite a lot
about you folks at home, but we soon
put them right about that.
We told them that after four and a half
years, Britain was still the best country
to live in."
Shortly after he began filming He Snoops to Conquer—his fifth picture for Columbia—he was visited on set by the Dance Music Policy Committee (DMPC).
The DMPC was responsible for vetting music for broadcast, and for checking if music was sympathetic towards the enemy during the war.
The DMPC interviewed Formby about three songs that had been included in Bell-Bottom George: "Swim Little Fish", "If I Had a Girl Like You" and "Bell-Bottom George".
Formby was summoned to the BBC's offices to perform his three songs in front of the committee, with his song checked against the available sheet music. A week later, on the 1st. February, the committee met and decided that the songs were innocuous, although Formby was told that he would have to get further clearance if the lyrics were changed.
Bret concluded that George had been the victim of a plot by a member of the Variety Artists' Federation, following Formby's scathing comments on entertainers who were too scared to leave London to entertain the troops.
The comments, which appeared in the forces magazine Union Jack, were then widely reported in the press in Britain. The Variety Artists' Federation demanded that Formby release names, and threatened him with action if he did not do so, but he refused to give in to their pressure.
Formby went to Normandy in July 1944 in the vanguard of a wave of ENSA performers. He and Beryl travelled over on a rough crossing to Arromanches giving a series of impromptu concerts to troops in improvised conditions, including on the backs of farm carts and army lorries, or in bomb-cratered fields.
In one location the German front line was too close for him to perform, so he crawled into the trenches and told jokes with the troops there. He then boarded HMS Ambitious for his first scheduled concert before returning to France to continue his tour.
During dinner with General Bernard Montgomery, whom he had met in North Africa, Formby was invited to visit the glider crews of 6th. Airborne Division, who had been holding a series of bridges without relief for 56 days.
He did so on the 17th. August in a one-day visit to the front line bridges, where he gave nine shows, all standing beside a sandbag wall, ready to jump into a slit trench in case of problems; much of the time his audience were in foxholes.
After the four-week tour of France, Formby returned home to start work on I Didn't Do It (released in 1945), although he continued to work on ENSA concerts and tours in Britain.
Between January and March 1945, shortly after the release of He Snoops to Conquer, he left on an ENSA tour that took in Burma, India and Ceylon (now Sri Lanka).
The concerts in the Far East were his last for ENSA, and by the end of the war it was estimated that he had performed in front of three million service personnel.
-- George Formby's Post-War Career: 1946–1952
In 1946 the song "With My Little Stick of Blackpool Rock", which Formby had recorded in 1937, began to cause problems at the BBC for broadcasts of Formby or his music.
The producer of one of Formby's live television programmes received a letter from a BBC manager that stated:
"We have no record that "With My Little
Stick of Blackpool Rock" is banned. We
do however know, and so does Formby,
that certain lines in the lyric must not be
broadcast."
Between July and October 1946, Formby filmed George in Civvy Street, which would be his final film. The story concerns the rivalry between two pubs: the Unicorn, bequeathed to Formby's character, and the Lion, owned by his childhood sweetheart—played by Rosalyn Boulter—but run by an unscrupulous manager.
Richards wrote:
"The film has symbolic significance;
at the end, with the marriage between
the two pub owners, Formby bowed
out of films, unifying the nation mythically,
communally, and matrimonially".
The film was less successful at the box office than George's previous works, as audience tastes had changed in the post-war world. Fisher opines that because of his tireless war work, Formby had become too synonymous with the war, causing the public to turn away from him, much as they had from the wartime British Prime Minister, Winston Churchill.
Bret believes that post-war audiences wanted intrigue, suspense and romance, through the films of James Mason, Stewart Granger, David Niven and Laurence Olivier.
Bret also indicates that Formby's cinematic decline was shared by similar performers, including Gracie Fields, Tommy Trinder and Will Hay.
Formby's biographers, Alan Randall and Ray Seaton, write that in his late 40s, Formby "was greying and thickening out", and was too old to play the innocent young Lancashire lad.
The slump in his screen popularity hit Formby hard, and he became depressed. In early 1946 Beryl checked him into a psychiatric hospital under her maiden name, Ingham. He came out after five weeks, in time for a tour of Scandinavia in May.
On his return from Scandinavia, Formby went into pantomime in Blackpool; while there, he learned of his appointment as Officer of the Order of the British Empire (OBE) in the 1946 King's Birthday Honours. Although delighted, he was upset that Beryl went without official recognition, and said:
"If somethin' was comin' our way,
ah'd like it to be somethin' Beryl
could have shared."
Later that year the Formbys toured South Africa shortly before formal racial apartheid was introduced. While there they refused to play racially-segregated venues. When Formby was cheered by a black audience after embracing a small black girl who had presented his wife with a box of chocolates, National Party leader Daniel François Malan (who later introduced apartheid) telephoned to complain; Beryl replied:
"Why don't you piss off,
you horrible little man?"
Formby returned to Great Britain at Christmas and appeared in Dick Whittington at the Grand Theatre, Leeds for nine weeks, and then, in February 1947, he appeared in variety for two weeks at the London Palladium. Reviewing the show, The Times thought:
"Formby was more than ever the
mechanized perfection of naive
jollity. His smile, though fixed, is
winning, and his songs are catchy."
In September 1947 he went on a 12-week tour of Australia and New Zealand. On his return he was offered more film roles, but turned them down, saying:
"When I look back on some of the films
I've done in the past it makes me want
to cringe. I'm afraid the days of being a
clown are gone. From now on I'm only
going to do variety."
George began suffering increasing health problems, including a gastric ulcer, and was treated for breathing problems resulting from his heavy smoking. He finished the year in pantomime, appearing as Buttons in Cinderella at the Liverpool Empire Theatre, with Beryl playing Dandini.
In September 1949 Formby went on a 19 city coast-to-coast Canadian tour, from which he returned unwell. While subsequently appearing in Cinderella in Leeds, he collapsed in his dressing room. The attending doctor administered morphine, to which Formby briefly became addicted.
Further poor health plagued George into 1950, with a bout of dysentery, followed by appendicitis, after which he recuperated in Norfolk, before giving another royal command performance that April.
He undertook two further international tours that year: one to Scandinavia, and a second to Canada. His earnings of Ca$200,000 were heavily taxed: Canadian taxes took up $68,000, and UK taxes took 90% of the balance.
Formby complained to reporters about the level of taxation, saying:
"That's it. So long as the government
keeps bleeding me dry, I shan't be in
much of a hurry to work again!"
He and Beryl spent the rest of the year resting in Norfolk, in temporary retirement.
Formby was tempted back to work by the theatrical impresario Emile Littler, who offered him the lead role of Percy Piggott in Zip Goes a Million, a play based on the 1902 novel Brewster's Millions by G. B. McCutcheon; Formby was offered £1,500, plus a share of the box-office takings.
The show premiered at the Coventry Hippodrome in September 1951 before opening at the Palace Theatre, London on the 20th. October. The Times commented unfavourably, saying that:
"Although the audience were appreciative
of the play, they could not conceivably
have detected a spark of wit in either the
lyrics or the dialogue."
The paper was equally dismissive of Formby, writing that:
"He has a deft way with a song or
a banjo, but little or no finesse in
his handling of a comic situation".
A month after the play opened in London, Formby was the guest star on Desert Island Discs, where one of his choices was his father's "Standing on the Corner of the Street".
In early 1952 Formby's health began to decline and, on the 28th. April, he decided to withdraw from Zip Goes a Million. On the way to the theatre to inform Littler, Formby suffered a heart attack, although it took the doctors five days to diagnose the coronary and admit him to hospital.
George was treated for both the attack, and his morphine addiction. He stayed in hospital for nine weeks before returning home to Lytham St Annes, Lancashire, where he announced his retirement.
-- George Formby's Health Problems and Intermittent Work: 1952–1960
During his recuperation, Formby contracted gastroenteritis and had a suspected blood clot on his lung, after which he underwent an operation to clear a fishbone that was stuck in his throat.
He had recovered sufficiently by April 1953 to undertake a 17-show tour of Southern Rhodesia (now Zimbabwe), before a special appearance at the Southport Garrick Theatre. That September he turned on the Blackpool Illuminations.
From October to December 1953 Formby appeared at the London Palladium in 138 performances of the revue Fun and the Fair, with Terry-Thomas and the Billy Cotton band; Formby appeared in the penultimate act of the evening, with Terry-Thomas closing the show.
Although Formby's act was well-received, the show was not as successful as had been hoped, and Terry-Thomas later wrote that:
"Formby put the audience in a certain
mood which made them non-receptive
to whoever followed. Even though my
act was the star spot, I felt on this
occasion that my being there was an
anti-climax."
He requested that the order be changed to have Formby close the show, but this was turned down.
Formby suffered from stage fright during the show's run—the first time he had suffered from the condition since his earliest days on stage—and his bouts of depression returned, along with stomach problems.
Formby took a break from work until mid-1954, when he starred in the revue Turned Out Nice Again, in Blackpool. Although the show was initially scheduled to run for 13 weeks, it was cut short after six when Formby suffered again from dysentery and depression.
George again announced his retirement, but continued to work. After some television appearances on Ask Pickles and Top of the Town, in late 1954 and early 1955 respectively,
Formby then travelled to South Africa for a tour, where Beryl negotiated an agreement with the South African premier Johannes Strijdom to play in venues of Formby's choice.
They then sailed to Canada for a ten-day series of performances. On the return voyage George contracted bronchial pneumonia, but still joined the cast of the non-musical play Too Young to Marry on his arrival in Britain.
In August 1955 Beryl felt unwell and went for tests: she was diagnosed with cancer of the uterus and was given two years to live.
The couple reacted to the news in different ways, and while Beryl began to drink heavily—up to a bottle of whisky a day to dull the pain—George began to work harder, and began a close friendship with a school teacher, Pat Howson.
Too Young to Marry toured between September 1955 and November 1956, but still allowed Formby time to appear in the Christmas pantomime Babes in the Wood at the Liverpool Empire Theatre.
The touring production was well received everywhere except in Scotland, where Formby's attempted Scottish accent is thought to have put people off.
For Christmas 1956 George appeared in his first London pantomime, playing Idle Jack in Dick Whittington and His Cat at the Palace Theatre, although he withdrew from the run in early February after suffering from laryngitis.
According to Bret, Formby spent the remainder of 1957 "doing virtually nothing", although he appeared in two television programmes, Val Parnell's Saturday Spectacular in July and Top of the Bill in October.
From March 1958 Formby appeared in the musical comedy Beside the Seaside, a Holiday Romp in Hull, Blackpool, Birmingham and Brighton. However by the time it reached Brighton the play was playing to increasingly smaller audiences, and the run was cut short as a result.
The play may not have been to southern audiences' tastes—the plot centres on a northern family's holiday in Blackpool—but those in the north, particularly Blackpool, thought highly of it and the show was a nightly sell-out. When the show closed Formby was disappointed, and vowed never to appear in another stage musical.
The year 1958 was professionally quiet for George; in addition to Beside the Seaside, he also worked in one-off appearances in three television shows.
He began 1959 by appearing in Val Parnell's Spectacular: The Atlantic Showboat in January, and in April hosted his own show, Steppin' Out With Formby.
During the summer season he appeared at the Windmill Theatre, Great Yarmouth, although he missed two weeks of performances when he was involved in a car crash on the August Bank Holiday.
When doctors examined him, they were concerned with his overall health, partly as a result of his forty cigarettes-a-day smoking habit. He also had high blood pressure, was overweight and had heart problems.
Formby's final year of work was 1960. That May he recorded his last session of songs, "Happy Go Lucky Me" and "Banjo Boy", the former of which peaked at number 40 in the UK Singles Chart.
He then spent the summer season at the Queen's Theatre in Blackpool in The Time of Your Life—a performance which was also broadcast by the BBC. One of the acts in the show was the singer Yana, with whom Formby had an affair, made easier because of Beryl's absence from the theatre through illness.
George's final televised performance, a 35-minute BBC programme, The Friday Show: George Formby, was aired on the 16th. December. Bret considered the programme to be:
"Formby's greatest performance—
it was certainly his most sincere."
However reviewing for The Guardian, Mary Crozier thought it "too slow". She went on to say:
"George Formby is really a music-hall
star, and it needs the warmth and
sociability of the theatre to bring out
his full appeal."
Beryl's illness was worsening. Worn down by the strain, and feeling the need to escape, Formby took the part of Mr Wu in Aladdin in Bristol, having turned down a more lucrative part in Blackpool.
-- George Formby's Final Months: a New Romance, Death, and a Family Dispute
Two hours before the premiere of Aladdin—on Christmas Eve 1960—Formby received a phone call from Beryl's doctor, saying that she was in a coma and was not expected to survive the night.
Formby went through with the performance, and was told early the next morning that Beryl had died. Her cremation took place on the 27th. December, and an hour after the service Formby returned to Bristol to appear in that day's matinee performance of Aladdin.
He continued in the show until the 14th. January when a cold forced him to rest, on doctors' advice. He returned to Lytham St. Annes and communicated with Pat Howson; she contacted his doctor and Formby was instructed to go to hospital, where he remained for the next two weeks.
On Valentine's Day 1961, seven weeks after Beryl's death, Formby and Howson announced their engagement. Eight days later he suffered a heart attack which was so severe that he was given the last rites of the Catholic Church on his arrival at hospital in Preston.
He was revived and, from his hospital bed, he and Howson planned their wedding, which was due to take place in May. He was still there when, on the 6th. March, he had a further heart attack and died at the age of 56.
The obituarist for The Times wrote that:
"He was the amateur of the old smoking
concert platform turned into a music-hall
professional of genius."
Donald Zec, writing in the Daily Mirror, called him:
"As great an entertainer as any
of the giants of the music-hall".
The Guardian considered that:
"With his ukulele, his songs, and his
grinning patter, the sum was greater
than any of those parts: a Lancashire
character."
In the eyes of the public, Formby's passing was genuinely and widely mourned.
Formby was laid to rest alongside his father in Warrington Cemetery with over 150,000 mourners lining the route. The undertaker was Bruce Williams who, as Eddie Latta, had written songs for Formby.
An hour after the ceremony the family read the will, which had been drawn up two weeks previously. Harry Scott—Formby's valet and factotum—was to receive £5,000, while the rest was to go to Howson; at probate Formby's estate was valued at £135,000.
Formby's mother and siblings were angered by the will, and contested it. In the words of Bret:
"Mourning Formby was marred by
a greedy family squabbling over
his not inconsiderable fortune."
Because the will was contested, Formby's solicitor insisted that a 3-day public auction was held for the contents of Formby's house, which took place in June.
CAPE CANAVERAL, Fla. – Inside the Astrotech payload processing facility in Titusville, United Launch Alliance engineers and technicians encapsulate the Tracking and Data Relay Satellite, or TDRS-L, spacecraft in its payload fairing. TDRS-L will then be transported to Launch Complex 41 at Cape Canaveral Air Force Station. Photo credit: NASA/Daniel Casper
The Educational Launch of Nanosatellites 19 (ELaNa 19) payload is encapsulated inside the Rocket Lab Electron rocket payload fairing on Dec. 1, 2018, at the company’s facility in New Zealand. The ELaNa 19 payload comprises 10 CubeSats selected through NASA’s CubeSat Launch Initiative. The liftoff marks the debut of the agency’s innovative Venture Class Launch Services (VCLS) effort. Managed by NASA’s Launch Services Program at Kennedy Space Center in Florida, VCLS was developed to offer small payloads dedicated rides to space.
The fifth Advanced Extremely High Frequency (AEHF-5) satellite for the U.S. Air Force Space and Missile Systems Center is encapsulated inside a 5-meter-diameter payload fairing in preparation for launch atop a United Launch Alliance Atlas V rocket. Photo credit: United Launch Alliance
NOAA’s GOES-T satellite is in view inside the Astrotech Space Operations facility in Titusville, Florida, on Feb. 7, 2022, as it is being prepared for encapsulation in the United Launch Alliance Atlas V payload fairings. The fairings will secure and protect the satellite during launch.
GOES-T is scheduled to launch on March 1, 2022, atop the Atlas V 541 rocket from Space Launch Complex 41 at Cape Canaveral Space Force Station.
GOES-T is the third satellite in the GOES-R series ― the Western Hemisphere's most advanced weather-observing and environmental monitoring system. Data from GOES-T will help meteorologists see the big picture as well as read the fine print, providing critical real-time information before, during and after severe weather and disasters strike.
The launch is being managed by NASA’s Launch Services Program based at Kennedy Space Center in Florida, America’s multi-user spaceport.
Photo credit: NASA/Ben Smegelsky
CAPE CANAVERAL, Fla. – Encapsulated in its payload fairing, NASA's Tracking and Data Relay Satellite, or TDRS-L, spacecraft is being mounted on a transporter for its trip from the Astrotech payload processing facility in Titusville to Launch Complex 41 at Cape Canaveral Air Force Station. Photo credit: NASA/Kim Shiflett
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CAPE CANAVERAL, Fla. – Inside the Astrotech payload processing facility in Titusville, United Launch Alliance engineers and technicians encapsulate the Tracking and Data Relay Satellite, or TDRS-L, spacecraft in its payload fairing. TDRS-L will then be transported to Launch Complex 41 at Cape Canaveral Air Force Station. Photo credit: NASA/Daniel Casper
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”