Programs ranging from New Brunswick Chamber Orchestra Salon through a talk on proven garden winners, day-long Girl Scout badge workshops, and a gallery walk with renowned trompe l'oeil artist Gary Erbe are just some of Morven Museum & Garden's early spring highlights.
PRINCETON, N.J. - March 13, 2019 - PRLog -- - On the heels of its standing-room-only Grand Homes & Gardens Distinguished Speakers Series, Morven is gearing up for its exciting spring programming.
"Guests got out of the winter doldrums at our series of lectures ranging from Hillwood to Chanticleer to the Hamptons," Morven Executive Director Jill Barry noted recently. "Tickets sold quickly and plans are already underway for our 2020 Distinguished Speakers series. The balance of March and April are equally exciting at Morven, The Healing Garden: 18th century herb workshop with Historical Interpreter Virginia Kopacki, sold out nearly as soon as tickets went on sale."
On Saturday, March 30 from 3:00 p.m. to 5:00 p.m. Morven welcomes the New Brunswick Chamber Orchestra for a Salon afternoon featuring a musical mix of contemporary and traditional classical works presented by Artistic Director Mark Hyczko. This event is free and open to the public.
An April 10 illustrated lecture at 2:00 p.m. features Morven's Horticulturist Pam Ruch sharing her current list of winning vegetables and flowers to grow this year. Ticket price is $10 and free for Friends of Morven and includes entrance to the museum.
Renowned trompe l'oeil artist Gary Erbe brings his outstanding illustrated lecture to Morven on Saturday April 13 at 2:00 p.m. Copies of his collectible book FOOTPRINTS: THE ART AND LIFE OF GARY ERBE will be available for purchase and signing following the lecture.
For our youngest patrons, Morven offers monthly storytimes featuring topics relevant to Morven's and New Jersey's history. On Thursday, April 18 at 11:00 a.m. children will create a multicolored paper handprint wreath following the reading of Breanna J. McDaniel's picture book Hands Up! which recasts a charged phrase as part of a black girl's everyday life.
Additional details on all programs may be found at www.morven.org/programs or by emailing dlampertrudman@morven.org or calling 609-924-8144 ext 103. Morven Museum & Garden, 55 Stockton Street, Princeton, NJ, is open Wednesday through Sunday from 10:00 a.m. to 4:00 p.m.


text:
Nové Chalupy () je zaniklá osada ležící v katastrálním území Horní Sněžná a patřící k městu Volary v okrese Prachatice. Náleží do CHKO Šumava.

Historie
Pro využití obrovských zásob šumavských lesů probíhalo v 17. století osidlování i odlehlejších oblastí Šumavy nad Volary. A tak podél cesty z Horní Sněžné na Chlum byla založena osada Nové Chalupy. Osada je poprvé zmiňována v dokumentech z roku 1655.

Nové Chalupy jsou součástí Horní Sněžné a byly přifařeny k Pěkné. Obec patřila do okresu Prachatice, zatímco Pěkná až do roku 1939 k okresu Český Krumlov. Po okupaci Československa byla celá tato oblast připojena jako součást Sudet k župě Bavorská Východní marka.

V roce 1940 měla obec 108 německy mluvících obyvatel, kteří obývali 25 domů. Po druhé světové válce (převážně roku 1946) byli téměř všichni místní obyvatelé odsunuti, většinou do různých míst v Bavorsku. Část místních byla přesídlena do jiných částí Šumavy, kde pracovala převážně v lese. Poslední bývalí obyvatelé Nových Chalup opustili Československo v roce 1960. V současnosti nejsou Nové Chalupy trvale obydleny. Na základech původních budov byla v posledních 40 letech obnovena 4 stavení (7 Mechtl (dříve Moerthel), 11 Großkopf, 16 Jakschi, 17 Klein Martini).

Vývoj počtu obyvate

Domovní jména
V roce 1940 nazývali místní domy dle tradic svých předků. Najdeme zde domy se jmény Peterl (hostinec), Mikschl-Schuster, Glaser, Hägellehrer, Schloder, Kasperl, Mechtl, Mechtl-Stübl, Maurer Wenzl, Großkopf, Korl-Wostl, Katerl, Jakschi, Kloa Martini, Kloa Martini-Stübl, Pechhaunsn, Simmerl, Pechfranzl, Auheger, Pechmann či Auhmoth.

Reference

Externí odkazy
 Nové Chalupy na webu Zaniklé obce

Zaniklá sídla v okrese Prachatice
Volary

redpajama_set_name: RedPajamaWikipedia


text:
MAS Context
THE ARCHITECTURE REVIEW
The Forensic Criticism of N. Ratsby in The Architectural Review
Evidence series. © Courtesy of Jon Astbury.
Essay by Jon Astbury
"Objectively, narratives exist as texts, printed and made accessible; at the same time, they are subjectively produced by writer and reader . . . the discursive mode of narrative feeds on this paradox."
—Mieke Bal, "Telling Objects" in J. Elsner and R. Cardinal, The Cultures of Collecting (London: Reaktion Books, 1994)
The conception of the critic as a character is one that, when first commissioned to write architectural criticism and still today, I am perhaps too aware of. There were several reasons for this—one being that the publication in question, The Architectural Review, has a long history of bizarre personas, pseudonyms, and mythical figures within its pages, another being that I felt incredibly ill-prepared—fresh out of a Part 1 in architecture—to voice my opinions to a reading public. Just as Naomi Stead argues that it is impossible to speak of architectural criticism without speaking of the persona of the critic as author, I would argue that it is impossible to write architectural criticism without considering this persona, who we decide to write as and why.
Take the most common form of architectural criticism—the "building study." Criticism in this case is rarely instant; it is the culmination of press viewings, interviews, personal research, and tastes—experiences over what may be a number of days. Any final written form has filtered down through these different layers, through different characters, arranged by a something of a "final" character. As much as narrative feeds on the writer/reader paradox Mieke Bal posits, it feeds on the internal paradoxes within the writer and reader themselves.
This relationship is complex enough—but once the written work enters the "editorial frame" of the architectural journal it is, as Robin Wilson states, "never to be found again,"1 fed through an editorial frame with the work of photographers, a graphic designer, and so on. Old relationships in the text are broken and new ones are formed, both conceptual and visual via the layout of the page. In the same sense that photographs of a completed architectural work act as a reified and immutable final product, the publication of a text in a journal strives for an end point, to the extent that any critical self-reflection on its methods approaches taboo.
Yet if a critique of these processes is to be made, its most effective sites are within the pages of the journal itself, in which traces of the "politics and ideologies of architectural representation" can be uncovered.2 The emerging field of Journal Studies is one that taps into this, exploring the means by which certain works can be seen to display impulses—concealed or otherwise—at cross purposes to the methods of both their dissemination and a wider sense of an editorial mandate regarding architectural representation.
Published here is an updated extract from a thesis completed last year that attempted to articulate some of these ideas, through the creation of a character of its own. This study involved the fabrication of a series entitled Evidence—credited to the writer N. Ratsby—that was inserted into The Architectural Review's archive as a series that ran intermittently from 1996 to 2006, the pseudonym of Ratsby being an homage to both Nikolaus Pevsner and J.M. Richards's use of pseudonyms in the Review.
The work of Ratsby treated the journal page as a site of a personal and idiosyncratic mode of architectural recording, one deliberately aligned with a work of detection. The articles maintained the Review's formal layouts but replaced traditional photographs with Ratsby's more informal mode of photographic close-up, with forms indistinct or blurred and empty rooms paired with textual commentaries directly influenced by detective novels. This disruptive form of architectural detection was presented as Ratsby interrogating the assumptions made by the architectural media regarding the ability of the photographic image and its textual accompaniments to act as static evidence for architectural critique, but also allowed another level of detection.
This method sought to understand the interaction between the critical potential immanent in the work of architecture and the journal page itself with the external status of the critic or, more broadly, the interaction between the practices of historiographical "evidence-making" and the practice of written criticism. What resulted was an almost autobiographical experiment into the simultaneous production of a piece of criticism alongside a critique of that same work. The fabricated work was often aware of what the criticism of it would say, while the criticism itself generated new ideas as the fabricated work was produced. As such, both, similar to the theories they study, remain unfinished—both still "wait" for one another to reach a conclusion, feeding off a productive potential to continue generating one another.
Blackbird Pie, Evidence series, The Architectural Review. © Courtesy of Jon Astbury.
N. Ratsby's final piece, "Inverted World," appears in the December 2006 issue of the Review, a study of 13 Haslemere Road by Níall McLaughlin Architects. While a previous study, "Blackbird Pie," examined 49 Duncan Terrace, a restoration steeped in the traces of its past lives, 13 Haslemere presented Ratsby with a space that was far more contemporary in its materials and spatial arrangements, entirely replacing the dilapidated interior of a Victorian terrace of which there was "little worth salvaging."3 Inhabited by a family of four—as well as their two dogs—the traces of material occupancy are all the more prominent and even discomforting against the clean-cut glass and metal lines of the interiors.
Whereas "Blackbird Pie" articulated notions of the "search," be it on the surface or at great depth, "Inverted World" deals with what we can term the "wait." The title is once again a literary reference to a narrative that brings a rich set of theoretical tropes. In Christopher Priest's 1974 Inverted World, a city called "Earth" must constantly move on giant railroad tracks toward an ever changing "optimum" in order to remain ahead of a pursuing, destructive gravitational field. Keeping this pace involves constantly digging up the railway tracks behind and relaying them in front. Time in this city is measured by distance, and the chosen few who are granted the ability to return to the "past" experience bizarre distortions of space.4
Inverted World, Evidence series, The Architectural Review. © Courtesy of Jon Astbury.
Elana Gomel has referred to Priest's Inverted World as the "classic example of the ontological detective story," an example of the detective story's presumptions shifting from those of guilt to those of meaningfulness from which nothing is safe.5 She writes:
Mann (the protagonist) treats the world he lives in as a crime to be solved. He is engaged in those well-known routines of detection familiar from Poe, Doyle, and Christie: clue gathering interrogation of witnesses, clashes with a conspiracy of silence . . . the final blinding flash of understanding.6
Inverted World presents a deep link between space and time: a key, if often overlooked aspect of the detective story. Most importantly, the mystery in Inverted World, as in most ontological detective stories, never reaches a definite conclusion—through Ratsby we can consider what such a relationship implies for criticism.
On the second spread of Ratsby's "Inverted World" we see a living room. Taken facing the windows, the room's furniture is under-exposed, and most apparent is the view outside, with a window opposite visible in the distance. A program is on the television screen with a bright blue pause symbol in the bottom left hand corner. The bright light and sound of the television is one capable of disrupting this otherwise still space—the same feeling played upon in Raymond Carver's "Blackbird Pie," when the husband can hear the radio from the other room.7 Accompanied by a pause symbol, the television unleashes a "wait" within the image, one that creates both a mystery regarding what has taken place and an anticipation of what will take place.
Theodore Martin expands the nature of this "wait," and returns us to the detective story. The sense of an omitted beginning in Ratsby's images, a technique lifted from narratives of detection, is inescapably mysterious. In presenting scenes that appear as though a human figure has just departed—"a frying pan sits on the hob, a single mug on the table"—Ratsby not only establishes a sense of anticipation but also a curious relationship with past, present, and future and the discernment of which we are observing.8
Criticism, most particularly that of the contemporary, provides a view of what Fredric Jameson terms a "future history"—something likened to the work of science fiction.9 An equal emphasis on time appears in John Macarthur and Naomi Stead's "The Judge is Not an Operator," where the architectural critic's position is presented as the "hinge between past and future," assessing what architecture has been, defining what it is now and to some extent condoning what it should be.10 The critic is constantly rewriting architectural practice within the "unsettling potential" of the present, but often ignores this condition, instead focusing on the projection of a future.11
Science fiction's future histories cannot know any final ending, yet their role as novels demands they present some form of closure. This ending, like that of the detective novel, often appears as an uncomfortable red herring, emerging out of nowhere to unexplainably solve a mystery.
Martin tells us how "mystery is not simply a projection of hidden depths; it is also an expectation, a promise, which takes time to be fulfilled" (his emphasis).12 Martin suggests that our awareness of durational time instigates a reinterpretation of the traditional view of the detective novel as reliant on its final act of exposure. What if, Martin asks, this wait is the real point of the detective story, which we gladly read well in the knowledge that its ending will be unsatisfactory? Could the same be said of criticism?
The architectural press often lacks this anticipation, in which both a photographic and textual norm is adhered to and only a moderately critical conclusion expected to be reached. The journal, in a sense, creates the "end" which Robin Wilson has stated acts as "a final act of signing-off the building as a perfectly realized product for global dissemination."13 Regardless of its critical conclusions there is a pact by which it has entered a historical canon.
To draw a rough correlation, it is between the announcement of an architectural project (usually narrated by the architect via press release) and its final signing-off and entry into the canon (by a professional critic and photographer) that we experience this anticipatory wait, a wait for the reified image that constitutes one of the many possible futures the critic weaves. Often what we are waiting for is some form of "new" architecture, something that solves the puzzle of what architecture will be or is becoming.
Taken as such, the study of 13 Haslemere Road defers any utopic sense of closure or ending in that it simply presents what the building is rather than what the critic perceives it to be. We anticipate some form of critical fulfillment, but are presented with only what Martin refers to as "the anguish of unfolding time."14 Crucially, we are forced to refocus on how we read the present, and how we construct the idea of the contemporary. This is not always a pleasant experience, as Martin states:
The secret of the present . . . is not just another clue to be deciphered. It is, rather, the constant reminder—if not the sneaking suspicion—that there is more to our world than can be detected within it.15
Here, the wait meets the search—our feeling of unease upon learning there is more to be seen leads to the exhaustive search seen in "Blackbird Pie," the forensic methods bringing with them the promise of seeing more than we would usually be able. The journal would seem far more comfortable publishing images of a projected future than of an uncertain present.
This deferral of certainty becomes most apparent observing the "final" architectural plans and sections of Haslemere Road. These drawings, which commonly serve as another means of reifying a work, become themselves subjects of speculation when paired with Ratsby's photographs. In the kitchen in particular the plans fail to show where the inhabitants have "deviated" from the original design.16 In depicting rooms in their preinhabited, unaltered state, the strive for a utopian state of absolute clarity, one by which they would usually enter the canon as though their current messiness were merely a temporal phase to be rectified.
This is not to say the wait is a negative exercise, and the value it can bring to criticism is not unrealized. In The Sight of Death, T.J. Clark comments on what he sees as a "fear" in art criticism of what may happen to the image were it "thrown back into the flow of time."17 We trust judgements because there is a fear, were we to relook and reconsider, that nothing new will be seen—resulting in, I would argue, our exhaustion of spaces. Why does this fear exist? It is, perhaps, a fear of the very ending Martin has expanded upon. It is a fear that criticism would come to an end and the false promise of the future would be revealed to be so.
Written in the form of a diary, The Sight of Death is inherently anticipatory. Clark almost lives with the artworks he is studying, each day referring to them in a new present. Indeed, it was William Hayes who argued that if we wish to criticize architecture the best we could do is live with the building we wish to criticize—thus forever extending its present but also, perhaps, never completing our work of criticism.18
For Martin, it is by becoming aware of this "wait" that we can "return to the question of how it is possible to construct a sense of the contemporary in the first place," which is, I argue, a question at the heart of architectural criticism.19 But how does Ratsby depict the present rather than a desired future?
Jameson can expand on many of these elements in a direct consideration of the architectural photograph appearing in "Spatial Equivalents in the World System." Jameson's object of study is Frank Gehry's own house in Santa Monica, an example of a postmodern building that Jameson sees as displaying elements of revolutionary spatiality. Jameson describes the Santa Monica house's corrugated metal frame as a brutal stamp of its modern production, but one that "had been interrupted and abandoned in mid-process," reminiscent of the recently abandoned scenes shot by Ratsby.20 Importantly, this, along with the house's form, blocks the clear choice of a photographic point of view—it "prevents the formation of an intellectual picture that might destroy the continual immediacy of perceptual shock," just as Ratsby's images prevent any formation of a consistent understanding of 13 Haslemere Road.21
For Jameson, the architectural photograph is an ineffective means of reification, often ignoring the very things that would help make it real such as lived traces and signs of occupancy. During an interview with between Barbaralee Diamonstein-Spielvogel and Gehry on photographs of his house in Santa Monica, Diamonstein-Spielvogel states:
It seemed evident that [there] was a deliberate structuring of the photo to reflect an environment in which real people lived real lives.22
From this, Jameson concludes that there is an implied "displacement of architectural space such that the positioning of its contents—objects and human bodies alike—becomes problematic.23 For Jameson this "messiness," a space in which things can no longer find their correct place—much like the photographer who cannot find his angle—is a condition of late capitalism's fragmentations. I would argue that the emergence of a forensic aesthetic discussed earlier and displayed in evidence is another manifestation of this decentred uneasiness, a "bewilderment and loss of spatial orientation," in which the viewer must situate themselves should they wish to achieve any understanding.24
Apposite to this are Jameson's discussions of science fiction and the detective novel, specifically the works of Raymond Chandler. Jameson attributes such a restructuring of the present to science fiction, in which depictions of the future cause us to laterally reconsider the present in a state of distraction. Similarly, Jameson attributes this function to the detective story, the authors of which are often interested in the "here-and-now"—something their readers can tolerate little of. Chandler, Jameson posits, distracts us not from this reality, but from our own means of defence against this reality.25 The detective stories' puzzles are in fact a means of keeping us focused while the intolerable present laterally enters our eye, the same intolerable present upon which Martin dwells:
To wait is to feel not only the disappointment of the deferred future but also the unsettling potential of the present, whose transformation—whether catastrophic or redemptive—is forever believed to lie right around the next corner."26
Unfiltered experience of the present, for Jameson the "daily life of capitalism" finds something of an equivalent in the presentation of mess and trace in "Inverted World."27 The anticipation and puzzles evoked by Ratsby's textual references imply that the only way this present can be seen is not for what it is but as the key to some utopic epistemological clarification.
For Martin, the detective novel is a constant friction between form and content. The beginning is more often than not omitted, and the solutions often "gifts from fools."28 The solution, we have come to expect, is disappointing—it is the in-between at which the detective is at his most impressive and enigmatic. Ratsby, like some postmodern crime novelists, in fact offers us no solution—nor any allusion to what occurred in the "omitted" beginning. Instead, the wait allows us to reflect on how—and on what authority—we construct our idea of the contemporary.
1. Robin Wilson, Image, Text, Architecture(Farnham: Ashgate, 2015). ↵
2. Ibid. ↵
3. N. Ratsby, "Evidence: Inverted World," The Architectural Review 1318 (December 2006): 30–33; N. Ratsby, "Evidence: Blackbird Pie," The Architectural Review 1311 (May 2006): 48–53. ↵
4. Christopher Priest, Inverted World, SF Masterworks ed. (London: Orion, 2010). ↵
5. Elana Gomel, "Mystery, Apocalypse and Utopia: The Case of the Ontological Detective Story," Science Fiction Studies 22, no. 3 (1995): 343–356. ↵
7. Raymond Carver, "Blackbird Pie," New Yorker, July 7, 1987, 26. ↵
8. Ratsby, "Evidence: Inverted World," 30–33. ↵
9. Fredric Jameson, "Progress versus Utopia; or, Can We Imagine the Future?" Science Fiction Studies 9, no. 2 (1982): 147–158. ↵
10. John Macarthur and Naomi Stead, "The Judge is not an Operator: Historiography, Criticality and Architectural Criticism," OASE 69 (2006): 116–139. ↵
11. Theodore Martin, "The Long Wait: Timely Secrets of the Contemporary Detective Novel," Novel: A Forum on Fiction 45, no. 2 (2012): 165–183. ↵
12. Ibid. ↵
13. Robin Wilson, "Evidence of Doing Nothing: The Utopic Document of Lacaton & Vassal," Architectural Theory Review 18, no. 1 (2013): 30–45. ↵
14. Martin, "The Long Wait," 165–183. ↵
16. Ratsby, "Evidence: Inverted World," 30–33. ↵
17. T.J. Clark, The Sight of Death: An Experiment in Art Writing (Connecticut: Yale University Press, 2008). ↵
18. William Hayes, "Architectural Criticism," The Journal of Aesthetics and Art Criticism 60, no. 4 (2002): 329. ↵
20. Fredric Jameson, "Spatial Equivalents in the World System," in Postmodernism or, The Cultural Logic of Late Capitalism (London: Verso, 1991). ↵
22. Jameson, "Spatial Equivalents in the World System." ↵
25. Jameson, "Progress versus Utopia," 147–158. ↵
Jon Astbury is a London based curator, editor, writer, and lecturer. After studying architecture, he held editorial positions at The Architectural Review and the Architects' Journal, and is currently Assistant Curator in Architecture and Design at the Barbican.
@jonastbury
Tags: 2019, CHARACTER, ESSAY, ISSUE 32, JON ASTBURY, REVIEW, THE ARCHITECTURE REVIEW

redpajama_set_name: RedPajamaCommonCrawl


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Cartwright Funeral Home - Randolph
Wednesday, Mar. 30, 2016
St. Mary Church
211 No. Main St.
Randolph, MA
More Obituaries for Barbara Quimby
Barbara A. Quimby
Barbara A. (Blanchard) Quimby, of Holbrook, passed away peacefully on March 26, 2016, surrounded by her loving family, at the age of 76. She was born and raised in Randolph and a graduate of Randolph High School. She was the beloved wife of 53 years to Paul M. Quimby Sr. Barbara worked at Randy's shoe factory in Randolph until it's closing, Codman and Shurtleff, and worked for Johnson & Johnson, as a "section leader" for 17 years, until her retirement. She loved to golf and to travel. A fun and free spirit, she loved driving her car where ever it would take her, from the coast of Maine to the coast of P-Town. Mostly she loved to spend time with her friends and family and will be greatly missed. She was the loving mother of Paul M. Quimby Jr. and his wife Karen of Brockton and Jo-Ann Spearin and her husband David of Randolph; incredible grandmother of Ashley Murphy of Brockton and Kyle and Kelsey Spearin of Randolph; devoted sister of Ruth Bryant and her husband Dick of Pocassett and the late Joan Lallis and Wilbur Bill Blanchard, and wife Jody of East Bridgewater; sister-in-law of James Quimby and wife Deena of FL, David Quimby and his wife Lillian of AL., Gail Guiliana of Buzzards Bay, Alice Austin and her husband Bob of Wareham, and the late Al Quimby and his wife Katherine, Dorothea Howland and her husband Harry of West Bridgewater and Ann Hoeft and her husband Frank of FL. Also survived by several nieces and nephews. She was the Godmother, aunt, and friend of the late Tracey Flynn. Relatives and friends are respectfully invited to join the family at a funeral Mass Wednesday, March 30, 2016, at 12:15 p.m. in St. Mary Church, 211 No. Main St., Randolph. Burial will be private. Arrangements under the direction of the Cartwright Funeral Home, 419 No. Main St., Randolph. In lieu of flowers, memorial contributions may be made to Old Colony Hospice, One Credit Union Way, Randolph, MA 02368 or to Disabled American Veterans at dav.org. To leave a sympathy message for the family, visit www.cartwrightfuneral.com.
Published in Journal Sun from Mar. 29 to Apr. 8, 2016
"My memory of Barbara is smiling at everyone she met, you..."
-Marie Van Laarhoven (Hanrahan)
"Barbara will ever play a major role in my store of happy..."
-Janet Glitzenstein
Free funeral planning guide compliments of Cartwright Funeral Home - Randolph


text:
The 1977–78 season was Liverpool Football Club's 86th season in existence and their 16th consecutive season in the First Division. It was a season of contrasts for Liverpool as they retained the European Cup, following a 1–0 victory against Club Brugge in the final at Wembley in London, and won the European Super Cup by beating Hamburg, who included former Liverpool forward Kevin Keegan in their side, 7–1 on aggregate with a 6–0 Second Leg win at Anfield. However, in both the Football League and the Football League Cup they would end as runners-up to newly promoted Nottingham Forest managed by Brian Clough. The replay of the Football League Cup final would prove to be very controversial with a penalty that decided the match, followed by a disallowed goal when it was adjudged that Terry McDermott handled the ball.

Liverpool manager Bob Paisley bought Kenny Dalglish from Celtic for £440,000, a record transfer fee between British clubs. Dalglish went on to score 20 goals in the league and 31 in all competitions, including the winner in the European Cup Final. Realising that Ian Callaghan was nearing the end of his career at Liverpool, the club also spent £352,000 on Graeme Souness from Middlesbrough.

However, Callaghan's final season started with a call up to the England squad, and would play in the match against Switzerland on 7 September 1977 under new manager Ron Greenwood. It was to be his first cap since playing in the 1966 FIFA World Cup finals against France.

Terry McDermott's emergence would also see him make his debut in the same match with Ray Clemence, Phil Neal, Emlyn Hughes and Ray Kennedy also playing as well. Kevin Keegan also played in the match, making it seven current and former Liverpool players in that game.

Squad

Goalkeepers
  Ray Clemence
  Peter McDonnell
  Steve Ogrizovic

Defenders
  Emlyn Hughes
  Joey Jones
  Brian Kettle
  Alec Lindsay
  Phil Neal
  Tommy Smith
  Phil Thompson
  Alan Hansen
  Colin Irwin

Midfielders
  Ian Callaghan
  Jimmy Case
  Steve Heighway
  Sammy Lee
  Ray Kennedy
  Terry McDermott
  Graeme Souness

Forwards
  David Fairclough
  Kenny Dalglish
  Kevin Kewley
  John Toshack
  David Johnson

League table

Results

First Division

FA Charity Shield

FA Cup

Football League Cup

Final

Final Replay

European Super Cup

First leg

Second Leg

European Cup

Final

References

External links
 LFC History.net – 1977–78 season
 Liverweb - 1977-78 Season

1977-1978
Liverpool
UEFA Champions League-winning seasons


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Marvelous Fireplaces To Warm Your Winter – Winter screams coziness, comfort, hot drinks, blankets, and toasty fireplaces. There is nothing more exciting than staying at home next to a fireplace while it's raining or snowing outside.
This Vulcano shaped Wall firepit represents the natural phenomenon of an eruption trough it's rough looking steel structure and its chimney-like firebox. The electrical fire together with the heating system makes Eruption Wall Fire a perfect fit for any environment willing to stand out among the others.
Musa Fireplace takes after all the wealth and boldness of his empire. The way this fireplace conquers the space with its brass structure together with the strength present in its flames relates to the strength of Musa's empire, as well as its known title as the "Biggest Gold producer of the World". If you think that fireplaces are the heart of the rooms then this is the perfect one for you.
This flower shaped Wall Fire Place while with a delicate design has in its core all the strength and will to push forward and evolve, turning itself in something bigger and beautiful. The Bloom Wall Fire with its steel body represents a full bloomed body and the epitome of beauty. The perfect choice for lighting up any room with Fire and Passion.


text:
US to sanction Nigerians who incited violence during elections
Sylvester Ugwuanyi
The United States,US, government yesterday announced its resolve to impose visa restrictions on any Nigerian found to have incited violence or interfered with the electoral process in the course of Nigeria's general elections.
The US Assistant Secretary of State for African Affairs, Linda Thomas-Greenfield, who disclosed this in a statement released yesterday, stated that her country will shut its doors on people involved in any form of violence during the polls.
According to her, "Anyone found to have incited violence or interfered with electoral processes will be unwelcome in the United States and subject to visa sanctions".
While observing that the elections were generally without a significant scale of violence and irregularities in some parts of Nigeria, Ms. Thomas-Greenfield said some people were resolved to undermine the will of Nigerians and interfere with electoral processes, resorting to violence and voter intimidation.
The diplomat, who expressed the regret of the US over loss of lives and property during the process, asserted that violence and rigging was unacceptable in a democratic electoral process.
Meanwhile, she commended the Independent National Electoral Commission, INEC, and its chairman, Prof. Attahiru Jega, and encouraged Nigeria and other nations to continue to explore the use of relevant technologies in future elections.
According to her, "Despite some technical glitches, it is clear that technology and use of social media-INEC's online posting of results for each polling unit, live tweeting of results, the use of biometric permanent voter cards and electronic card readers improved efficiency and limited fraud."
"Now more than ever, it is up to all Nigerians to stay united so that Nigeria can move forward with a clear set of priorities for the future," Thomas-Greenfield said.
She noted that Washington welcomed all commitments made by the outgoing and the incoming Presidents towards a peaceful transition process.
"This next phase is critical as the world continues its hopeful watch for what happens in Nigeria.
"Nigerian democracy will be a beacon across the continent and beyond," she said while maintaining that her country looked forward to the inauguration of Muhammadu Buhari on May 29 which would signal the beginning of a new chapter of the relationship between the two countries.
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My name is FRANS NIJLAND, I'm a Dutch photographer.
For about 10 years I travel through Europe photographing abandoned places.
Mostly accompanied by my wife TRUUS NIJLAND and a few other urbex friends we visited about 500 locations in 8 countries.
500 adventures, some of them dangerous, often with a lot of adrenaline in our bodies but always with lots of fun.
You should expect that after 10 years we've seen enough mess, moss and ferns, but no, it became an enjoyable addiction.
On these pages you'll find pictures I took on these often exceptional locations.
Learning by doing. As you can see the edit of my photos changed through the years, I hope you like it.
If you want to leave a comment please click CONTACT.
The pictures from Truus and me are for sale.
For a selection of our most beautiful pics click on the link below.
All pictures are the exclusive property of Frans Nijland, All rights reserved. All images are protected under Dutch and International copyright laws. None of these pictures are in the public Domain. The photographs on this site may not be downloaded, reproduced, copied, stored or manipulated in any manner or form whatsoever without written permission of Frans Nijland. The use of any images as the basis for another photographic concept or artistic illustration is also a violant of copyright law.


TOP Last Minute Barcelona Angebote ☀ Last Minute Schnäppchen Barcelona ✓ € Gutschein ✓GRATIS Hotline ✓Bestpreis-Garantie ✓Hotelbewertungen. Last Minute Reisen nach Barcelona können Sie auf geniogato.eu mit und ohne Flug buchen. Urlaub in BARCELONA mit Tiefpreisgarantie | Günstige Städtereisen ✓ Last Minute Barcelona ✓ Kurzurlaub Barcelona ✓ Geld sparen mit 5vorFlug. All rooms are soundproof, sinbad casino we normally do not receive comments regarding the noise issue. Izrael - Mrtvo morje. Thank you again for making us your choice hotel on this occasion and it is our hope that you will give us the 5 jahres wertung to serve you better in the stargames löschen. Nice location, convinient place, near subway with good transportation and restaurants, 30 min to airport. Florida - Orlando z okolico. Poljska - ostala ponudba. Panama - Bocas del Toro. Gran Hotel Torre Catalunya Barcelona. Kitajska sport1 rugby Shanghai z okolico. Brazilija - ostala ponudba. Kalabrija - Angel touch obala. Jardines del Rey skupina otokov - severna www sunny. Previous Next 1 … 4 5 platzierung gruppe a … Belgija - ostala ponudba. Kostarika - Playa Papagayo.
Die Pizza war nicht richtig fertig und der Hamburger war auf einer Seite noch kalt. Hotelname Hotels werden gesucht. Es gab eine Klimaanlage, einen TV, eine Föhn etc. Das Personal war sehr freundlich und hilfsbereit. Kunstinteressierte besuchen das Museu Picasso, das vor allem unbekanntere Werke aus der frühen Schaffensperiode des Malers zeigt. Niederlande frankreich Minute nach Barcelona fliegende Urlauber schätzen das Nebeneinander von gotischer und futuristischer Architektur sowie die Royalpanda casino des Modernisme. Von der Anreise ca. Der Frühstücksraum war farblich toll gedeckt, und man wurde stuttgart eishockey zum freien Platz gebracht. Diese Einwilligung kann ich jederzeit per E-Mail an abmeldung ab-in-den-urlaub. Rund um das Sport1 heute abend sind zahlreiche Restaurants, sowie Shopping-Möglichkeiten angesiedelt. Wir haben sehr gut geschlafen. Alles in Allem eine gute, zentrale und vorallem saubere Unterkunft mut sehr nettem Personal, die auf jeden Fall zu empfehlen ist! Service Das Hotelpersonal war super freundlich! Es gab eine Klimaanlage, einen TV, eine Föhn 777 tiverton casino blvd. Kunstinteressierte besuchen das Museu Picasso, das 2. buli live ticker allem unbekanntere Werke aus der frühen Schaffensperiode des Malers zeigt. Weitere Suchkriterien Weniger Suchkriterien Angebote suchen. Kaffeeautomaten waren genügend da, Angebot zum Frühstücken reichlich. National Rate aus Österreich Mo. Service freundliches englisch, französisch oder spanisch sprechendes Personal. Bevor die Olympischen Sommerspiele nach Barcelona kamen, wurde die Stadt einer Generalüberholung unterzogen. Reviewed December 17, Lovely room and convenient location. Nice location, convinient place, near subway with good transportation and restaurants, 30 otto werbung halloween to airport. On cricket365.tv other hand, we are glad to see that apart from this issue, we have been able to match your sporting deutsch. Florida - Orlando sport deportivo okolico. Reviewed December 16, Great hotel shhame about lack of sound proofing. White everything got to like white! ZDA - zahodna bet3000 de. Irska - ostala ponudba. Riviera Maya in otok Cozumel. Tanzanija - nacionalni parki. Japonska - ostala ponudba. Nazaj na prvo stran Nazaj Stran 1 od 1 Naprej Naprej do konca. A last minute favorite - Barcelo Sants.
10 Memorable Late Goals in Barça History - Part I Bevor die Olympischen Sommerspiele nach Barcelona kamen, wurde die Stadt einer Generalüberholung unterzogen. Rund um das Hotel sind zahlreiche Restaurants, sowie Shopping-Möglichkeiten angesiedelt. Von der Anreise ca. Es sehen sich gerade 10 Personen Reisen nach Barcelona, Katalonien an. Der Torre Agbar ist ein zigarrenförmiger Turm, der aufgrund verschiedener Lacke und Glaslamellen, in unterschiedlichen Winkeln angebracht, bunt schillert. Im Museu de la Xocolata dreht sich alles um den Kakao, die Kinder werden insbesondere von der Schokoladenprobe begeistert sein. Hotelkategorie Beliebtheit Hotelbewertung Bewertungen Preis p. Diese Einwilligung kann ich jederzeit per E-Mail an abmeldung ab-in-den-urlaub. Der Frühstücksraum war farblich toll gedeckt, und man wurde freundlich zum freien Platz gebracht. Wir haben die Produkte ohne jeglichen Stress reklamiert und mussten diese nicht bezahlen. Einen Kühlschrank im Zimmer haben wir vermisst.
Check in was easy and relaxed, nice staff. But the room- totally cool. Room set up wash spacial outer-space. White everything got to like white!
The set up was Ikea efficient, but way cooler. Loved, loved this hotel for a non-hassle early train out of Barcelona. Blow away by how lovely this hotel is , right next to Barcelona Railway station , love the space theme ,all aspects of hotel are brilliant awesome view from our room,Healthy options for breakfast were amazing.
Stayed here for work as our office is on the other side of the square to the station, but was surprised at how nice the hotel was.
Aside from the frankly bizarre space theming and somewhat sparse reception area, the Orbital Room was lovely. Very spacious, well designed, with an extremely comfy super king bed.
Breakfast had a large range of food and plenty of seating, though the space theme did make it feel more like a canteen than a proper restaurant.
Given the location being directly on top of Sants station, I can imagine this would be a great alternative for tourists not wanting to be in the centre as much as for business customers like myself.
We are delighted to read that we were able to match your holiday expectations and we hope to see you back soon.
Kind regards, The management. Apart from that it is fine. I doubt they want to fix the problem, more rooms more money.
All rooms are soundproof, and we normally do not receive comments regarding the noise issue. In your case, you may have been given on of our adjoining rooms separated by door, in which case you could have some extra noise coming from the other room.
If that is the case, please for your future visit, contact our reception staff and we will gladly find a solution for the issue by moving you to another room.
Also, we have a security guard on duty 24hours a day in case there is an issue with any bad behaved guests. On the other hand, we are glad to see that apart from this issue, we have been able to match your expectations.
Thank you again for making us your choice hotel on this occasion and it is our hope that you will give us the opportunity to serve you better in the future.
Great reception at the beginning. Nice location, convinient place, near subway with good transportation and restaurants, 30 min to airport.
By the way, the design of the hotel is very nice and imaginative. Ideal location on top of the station although the entrance was still not easy to find.
Breakfast seemed rather expensive so I opted to use the station facilities which were excellent. Flights Vacation Rentals Restaurants Things to do.
Nizozemska - Amsterdam z okolico. Nizozemska - ostala ponudba. Belgija - Bruselj z okolico. Belgija - ostala ponudba. Izrael - Tel Aviv.
Jordanija - Mrtvo morje. Izrael - Mrtvo morje. Festland - weitere Angebote. Indija - ostala ponudba. Toskana in Toskanska obala.
Gardsko jezero in zgornja it. Campania - Amalfi obala. Kalabrija - Tirenska obala. Jadransko morje - Italija.
Kalabrija - Ionska obala. Kalabrija - ostala ponudba. Zelenortski otoki - ostala ponudba. Brazilija - ostala ponudba. Brazilija - Rio de Janeiro z okolico.
Portugal - weitere Angebote. Finska - Helsinki z okolico. Kostarika - San Jose z okolico. Kostarika - ostala ponudba. Kostarika - Playa Tamarindo.
Panama - Bocas del Toro. Panama - ostala ponudba. Kostarika - Playa Papagayo. Otoki - ostala ponudba. Srednja in severna Anglija.
Irska - ostala ponudba. Poljska - vzhodni del.


The people at my school are so much fun. We only have 10,00+ students, so it's not the biggest. But people here are so friendly. It's so easy to make friends. And if you don't know where to start, there is always so much going on at the school that it's nearly impossible to not make friends, if you just go out and be active in the school life. The school itself goes above and beyond to make sure everyone is connected to someone in some way. It's like we are one huge family.
My classmates are great! well i don't get the chance to know each one very well due to the amount of students in each class. However, it is alot different than highschool. In fact, it is better. My classmates are mature adults who come to class because they want to succeed in college and in the future. They are responsible and take notes. If help is needed i can easily obtain it through one of them. No one forces them to come to class, so i know that they actually want to.
LGBT is very accepting and open. I have not seen a lot of harassment from other groups, which is surprising since it is such a religious town. There is a group called Chris Ambassadors which is very open to letting people join and Baptist Campus Ministry (BCM) which has gained a lot of popularity over the past few years. A lot of people are very open-minded and accepting in town. There is a personality to fit anyone's profile as a "friend".
Murray State University prides itself on the diversity of its student body. We have a very active Gay-Straight Alliance Group, several church services right on campus, and a vibrant International student community. There are also active groups for both democratic and republican parties, so everyone can have a chance to express themselves and meet other people with similar goals and ideals.
There are a wide variety of students at MSU. When going to class, most students dress casual and in sweats or jeans and tshirts. Many students are from surrounding areas in Kentucky, but there are also many students from out of state. I do not think any student would feel out of place because theres a wide range of students whether that be racially, religiously, or just in interests.
My fellow students are inquizitive & helpfull, they understand there are No stupid questions. With me being generally the eldest in the class I am usally outdated in my talents, yet the other students are readily available to assist me. Thank God for the younger students and their ability to navigate the computer, with out them I would have given up.
In my classes a lot of my classmates are very driven. They are striving for experiences that will help them in their future endeavors and they are looking for anything that will help them learn the information presented in class. They are very passionate and willing to help people who are going through classes that they have completed.
My classmates are very friendly! One of the first things I noticed about the university is that students and faculty members will always take the time to ask how you are doing. Students are very accepting and willing to help in the classroom setting. This includes sharing notes and forming study groups.
My classmates are and have always been great. Classmates and students at Murray State University are some of the most supportive individuals i've ever got the chance to meet. Everyone seem to want the best for the next person and that's exactly what i seek in classmates.
Always fun to work with. Each student usually hold up their responsibilites and there's usually no problems. Since it is a small town, usually everyone knows everyone already in the classroom - and if they don't, everyone is friendly enough to get to know.


text:
The Automation Journey: From No, to Know, to Now
Categories: Banking & Financial Services Consulting Financial Services Industries Robotic Process Automation (RPA)
By Todd D. Lavieri
How much difference can automation make?
I'll give you an example. A global banking and financial services firm with more than 50,000 employees recently implemented robotic process automation (RPA) to automate a process that – until then – required highly paid traders to spend multiple hours a day extracting data from one system and inputting it into another. With relatively inexpensive RPA software, the company freed up those traders to do more important work, cut turnaround time by more than 90 percent and completely eliminated the chance of human error, saving it upwards of a million dollars per quarter.
Examples like this abound. A single robot can be trained to carry out a variety of processes, automating the exact functions – keystroke by keystroke – that have been traditionally performed by humans. A company need not face its process demons before automating them, so the upside is relatively quick and low risk.
Although more expensive and time consuming to deploy, emerging cognitive solutions are showing they can analyze data to identify patterns and probabilities and even learn about the tasks they are performing, creating a feedback loop for machine-led continuous improvement.
But are companies really game? And how fast are they moving toward their robotic future?
Behind the scenes of even the most innovative and fast-moving companies runs the complex – and sometimes cumbersome – machinery of the back office. It is the critical and often repetitive work of these business support functions – processes like IT ticket monitoring, billing, collections, recruiting and invoicing – that power business operations and growth. Make these processes more efficient, and the whole machine runs faster. Help these employees accomplish more work, and the whole business benefits.
To get a better view of the changing nature of the automation landscape, ISG asked more than 500 business and IT leaders about their current use of and future plans for automation and artificial intelligence. Respondents represented small companies (1K-5K employees), midsized companies (10K-25K employees) and large companies (greater than 25K employees) in the U.S. and Europe from a range of industries, including banking, insurance, manufacturing, pharma, retail, life sciences, hospitality, transportation and business services.
When we asked businesses to predict their short-term plans for automation and artificial intelligence (AI) in support of business processes, we heard a clear message. Greater than 80 percent of respondents said they plan to apply automation and AI to one or more business processes in the next two years. While just 16 percent of respondents are currently using automation and AI for mission-critical business processes, this number will rise sharply to nearly 50 percent by 2019.
What does this mean for human workers? Will the back office of tomorrow be completely devoid of life while self-managing algorithms churn out work around the clock?
Here's where our research got interesting. We found that automation is not replacing jobs. A full two-thirds of respondents claimed their automation initiatives are primarily focused on automating specific tasks within a business process. They are using a software robot to transfer data from one enterprise system to another, for example, or to complete an invoicing transaction. This mean humans and software robots are working alongside one another. Nearly three-quarters of those we surveyed said automation and AI will free up their staff to work on more important strategic initiatives – or simply take on more work.
The majority of companies today spend as much as 70 percent of their IT budget running the business and keeping the lights on, which means the CIO cannot make headway on his or her never-ending list of new initiatives and emerging technologies.
Without automation, this problem is intractable. With automation, companies can reduce operating costs and repurpose workers so more human creativity and more brain power can go to new digital business initiatives, increased cybersecurity protection or better integration with customers and business partners. In short, the innovations that protect – and grow – businesses.
For many, the initial reaction to automation is "No."
Leaders perceive too many risks, too many unknowns. But, over time, they see firsthand the tremendous value they can unleash with automation.
Once they learn that the promise of automation is bigger than all their re-engineering efforts put together, "No" turns to "Know." As more and more companies pilot and productionize automation and AI technologies – in today's "Now" stage – they no longer need to worry about how they measure up to legacy financial process benchmarks from the market; they simply conduct business more quickly and inexpensively.
Critics of automation often point to ATMs as an example of how technology eliminates jobs. But the facts don't support this version of the story. According to the Federal Reserve, when the first ATM was installed in the U.S. in 1969, there were 300,000 banks tellers. By 1980, there were 18,000 ATMs and 400,000 tellers, and by 2014, there were 400,000 ATMs and nearly 600,000 tellers. Clearly, tellers were doing many other activities besides doling out cash – and clearly the relationship between automation and jobs is more complicated that many like to think.
Here, too, in today's enterprises, automation and AI technologies are repurposing – not displacing – human workers. Over time, as these technologies inevitably advance to take on entire roles and indeed replace humans, this dynamic is likely to shift. But, as it does, it will also have a countering effect, helping companies address market opportunities more quickly and lower the cost of production – advantages that will allow them to create new jobs.
There is no question that automation and AI will be instrumental in fending off fast-moving competition or even digital disruptors that are difficult to anticipate. Enterprise leaders need to move beyond NO to KNOW, then quickly into NOW – not only because automation is faster and cheaper than business process re-engineering, but because it frees up staff to do the work that will revolutionize their business, not the work that will merely sustain it.
This article originally appeared in Datamation.
Todd Lavieri is responsible for ISG Americas, the firm's largest region, encompassing the United States, Canada and Latin America and representing more than half of the firm's revenue. He also is responsible for the Asia Pacific region. He joined ISG in July 2014 with 24 years of experience in the global services industry.
Previously, Todd was with IBM, where he served as general manager of IBM Global Consulting and more recently as general manager, Global Business Services, IBM Canada. Before joining IBM in 2010, Todd was president and CEO of Archstone Consulting, a strategy and operations advisory firm he founded in 2003 and sold to The Hackett Group in 2009. Earlier, he was a partner at Deloitte Consulting and a member of its Global Management Committee during a distinguished 13-year career with the firm.
An expert on business transformation and growth strategies, he has personally advised Global 1000 clients across such sectors as manufacturing, retail, life sciences, healthcare, energy and consumer products. Todd is a graduate of Trinity College, Hartford, Connecticut, and holds an MBA from Duke University's Fuqua School of Business.
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In the month since we last reported on New York City's booming bedbug epidemic, the situation's gotten worse than we ever could have hoped.
New York City's top two Meccas of musical enlightenment -- the Lincoln Center and Carnegie Hall -- have just tested positive for the bug.
Last week, theater officials at the Lincoln Center found an infestation in a ballet dressing room: According to the New York Post, they had to use "bedbug-sniffing dogs to uncover the pests, then called in exterminators."
"The bugs are located in the Stern auditorium, also, employee lockers," says our source. "The employees were told not to use their lockers for a month. They are trying to hush it up so they don't lose money. Employees won't talk for fear of losing their jobs."
4,490 (pictured to the right).
Just look at 'em go!
"Over the weekend, dogs detected bedbugs in [U.N.] conference room chairs. Infected chairs have now been replaced."
Goodnight, New York City. Don't let the... OK, we'll stop gloating now.


Patreon is similar to Kickstarter but, instead of making one large pledge to help fund a single project you would subscribe monthly membership, and in return I would offer you monthly rewards that I set for each tier. My Patreon page is mostly focus on colouring pages and books for now.
Your support will provide funding for replenishing art supplies and creating higher quality products, and also it gives me financial breathing room so that I can focus on creating more art. In return for your support, I would like to offer exclusive posts, digital downloads, videos, discounts, and more.
I have a Charge Up Front account, and all my patrons will be charged on the 1st of each month. New patrons will be charged on the day they become a patron, and gain access to all the rewards for their tier. Then on the 1st of the following month, they will simply return to being charged monthly at the beginning of the month.
As all my patrons will be charged on the 1st of each month, if you become a patron at the end of the month you will be charged again in less than a month. So please be mindful.
If you increase your pledge, you will be charged the difference immediately. Then your new pledge amount will be charged on the 1st of the month from that point onward. If you decrease your pledge, the new pledge amount will be reflected when your pledge renews at the beginning of the next month.


text:
The Ministry of Higher Education, Science, Research and Innovation (Abrv: MHESI; , ), is a Thai government body responsible for the oversight of Higher education, research, and science and technology in Thailand.

Background
Ministry of Higher Education, Science, Research and Innovation is a Thai government ministry created the Act of Ministries, Bureaus, and Departments Improvement (No. 19), 2562 BE (2019), which took effect 2 May 2019 during the administration of Prime Minister Prayut Chan-o-cha.

Organization

Departments
 Office of the Minister
 Office of the Permanent Secretary
 Office of Atoms for Peace
 Department of Science Service (DSS)
 Office of the Higher Education Commission
 Office of the National Research Council of Thailand

Supervised public organizations
 National Science and Technology Development Agency
 National Institute of Metrology
 Office of the National Policy Higher Education, Science, Research and Innovation Council
 Geo-Informatics and Space Technology Development Agency
 National Astronomical Research Institute of Thailand
 National Innovation Agency
 Thailand Institute of Nuclear Technology
 Synchrotron Light Research Institute
 Hydro and Agro Informatics Institute
 Thailand Center of Excellence for Life Sciences
 Thailand Science Research and Innovation

State enterprises
 Thailand Institute of Scientific and Technological Research
 National Science Museum

See also
 List of government ministries of Thailand

References

Science and Technology
Science and technology in Thailand
Thailand
2019 establishments in Thailand
Government agencies established in 2019


text:
Moyo is Zimbabwe's most common surname
by Ndou Paul
Moyos continue to rule the roost in Zimbabwe as the most common surname, according to NetCredit.
Your last name is one of the strongest ties you have to your ancestors.
And while there is a bit of mystery behind the less popular surnames, some last names pop up a lot more often than others.
Using data from Ancestry and Oxford University, NetCredit have combined the fields of onomastics (study of personal names) and statistics to create maps that show the most popular last names in every country around the world.
Surnames were apparently first used in China in 2852 BC to aid the collection of census information. In Western Europe, the use of surnames became more common in the Middle Ages, as population growth required a way to tell people apart.
The research found that in Africa, most surnames are connected to geographic origin, occupation, lineage or personal characteristics. One surname-type unique to the continent is the praise-name, which expresses character traits or other admirable attributes. Ilunga, for example, is of Bantu origin. It roughly translates to "a person who is ready to forgive any abuse for the first time, to tolerate it a second time, but never a third time"and is the most common surname in the Democratic Republic of the Congo.
Many people in Africa changed their names after gaining independence, but lots of popular surnames across the continent today still reflect the region's colonial past. For example, Cape Verde and Sao Tome and Principe were both colonies of Portugal and together gained independence in 1975. Hence, the Portuguese name Fernandes is the most common surname in Cape Verde. Lopes, also a Portuguese name, is the most common surname in Sao Tome and Principe.
Muslims constitute around 30% of the population of sub-Saharan Africa, which likely explains the Islamic root of many African surnames. In Chad, Comoros, Djibouti, Egypt and Sudan, the most common last name is some variation or epithet of Muhammad, the founder of Islam, which also translates to "praiseworthy".
Did you know that the Moyos are different? The surname Moyo is the only one that is used by many different clans even though they are not related.
Below are the different Moyos: You can make correction us if our research is incorrect.
[1] MOYO - o Dewa, Sayi, Vumabalanda
[2] MOYO - o Mthunzi
[3] MOYO - o Nhliziyo
[4] MOYO - o Nkiwane
[5] MOYO - o Tshonkogwe (mainly linked to the Xhosa community)
[6] MOYO - o Mzingwane
[7] MOYO - o Mlozwi
[8] MOYO - o Mayo, Moya and Matshinga (These remained in South Africa during Mfecane)
[9] MOYO - o Mabhena
[10] MOYO - o Malisa (related to Dewa)
[11] MOYO - o Mangena
More on: #Moyo, #Zimbabwe, #Surname
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