text:
The Holiday Desk Oct 28, 2013
by Tobias Seamon
Real-life villains to inspire costumes, including the conquistador so horrible the king of Spain made it a crime to say his name.
Albrecht Altdorfer, Jael and Sisera, ca. 1523. Courtesy National Gallery of Art, Washington, DC
Lope de Aguirre (c. 1511-1561)
As one historian said of Aguirre, no one who knew the man ever said a good word about him. Even Aguirre called himself "The Wanderer," "Traitor," and "The Wrath of God."
The younger son of a middling family in the Basque region of Spain, Aguirre came to the New World in 1534 to seek his fortune. The chroniclers in Peru were unanimous in describing his small stature, ugly face, lamed leg, beady eyes, thunderous voice, and constant stream of obscenities.
After discovering the fabled colonial wealth was controlled by the nobles, the Church, and royal bureaucrats, Aguirre spent 25 years breaking horses, working as a mercenary, and getting in trouble with the law. Along the way he sired a half-native daughter named Elvira, upon whom he doted, and who was "not at all bad-looking," according to a chronicler.
Peru was filled with hard-bitten drifters like Aguirre, malcontents capable of any mischief. Hoping to clean up the colony, the viceroy decided to send a large expedition down the Amazon in search of El Dorado, the legendary city of fabulous wealth, figuring the undesirables would resettle elsewhere or simply perish in the jungle.
The commander of the expedition was Pedro de Ursúa, a handsome young nobleman named governor of El Dorado before it had even been found; that was his first and last triumph.
Lope de Aguirre: One doesn't portray the Wrath of God lightly. It's not enough to throw on some chain mail and a conquistador helmet and start running around with coca leaves and froth spilling from your mouth. In addition, study Klaus Kinski in Aguirre, the Wrath of God. Kinski's portrayal of Aguirre is a tour de force of frustration and menace, but ask yourself, "How can I expand and improve on that?" If the answer is, "Fuck off, I can't," then stick with frothing and a hot Doña Inez as a costumed sidekick (would-be Inezes should go for a generic Renaissance gown with plenty of sweaty cleavage.) If the answer is anything other than the first, then you're the kind of pretentious douche Aguirre killed on sight and unfit to play the Wrath of God.
In September 1560, half of Ursúa's brigantines sank the moment they hit the river. Instead of delaying the journey, Ursúa decided to save space on his remaining ships by abandoning most of his food supplies. Around 300 Spaniards, including Aguirre and the adolescent Elvira, and around 600 Indian slaves set sail, hoping to forage from one of the least hospitable landscapes on earth.
Ursúa made another poor decision when he brought along his mistress, the Doña Inez de Atienza. Reputedly the most beautiful woman in Peru, Lady Inez was rumored to be a sorceress who had unmanned Ursúa with lascivious witchcraft.
Believing Ursúa was leading them to extinction, Aguirre recruited a gang of cutthroat supporters. On New Year's Day 1561, the mutineers cut down the governor of El Dorado.
Afterward, the group composed a rationale for why they had mutinied and began signing it. But Aguirre stunned everyone by boldly writing "Traitor" next to his name.
Aguirre explained that it was time to face facts: The mutineers would be considered criminals no matter what justifications they wrote. He also declared that El Dorado was a myth and the search should be abandoned. Instead, Aguirre advocated, they should sail back to Peru, rally other hard-luck cases like themselves, and take control of the country.
This was the first of several remarkable speeches and letters by Aguirre that rank among the earliest declarations of American independence. Unfortunately, the traitor's revolution degenerated into a reign of terror.
"Does God think that because it rains in torrents I shall not return to Peru and destroy the world? If so, He is mistaken in me."
The stress took its toll: Aguirre lost his mind, rarely sleeping, always wearing full armor, and killing on a whim. Cursed from the start, the expedition became consumed by murder, suspicion, and fear. The brutal execution of Doña Inez added to the horror: Aguirre's henchmen "enjoyed the slaughter and prolonged the agony," stabbing the lady repeatedly until "even the most hardened men in the camp, at the sight of the mangled victim, were broken-hearted."
The survivors eventually reached the ocean but not before Aguirre abandoned their starving slaves in a wasteland populated by cannibal tribes. On the small island of Margarita, off the coast of what is now Venezuela, they terrorized the population and drank themselves into a stupor. Then, blocked from moving through the sea by watchful colonial troops, Aguirre returned to the mainland, burned his boats and started marching south to Peru. The desertion rate climbed, and when the weather turned against him as well, he swore, "Does God think that because it rains in torrents I shall not return to Peru and destroy the world? If so, He is mistaken in me."
Run to ground in a small town, Aguirre's army melted away. But the Wrath of God had one last outrage to commit; knowing his revolt was finished and with it his daughter's respectability, Aguirre refused to let Elvira become a "mere mattress for the unworthy" as some soldier's spoil of war. Elvira begged to be spared but he stabbed her to death, sobbing, "My daughter, my daughter!" Finally, spent, he tossed away his weapons and lay down on a bed, waiting for the inevitable.
When the troops arrived, an unresisting Aguirre was stripped of his armor and shot. The blast only wounded him, and Aguirre spat, "That was nothing." After a second shot he gasped, "That will do," and fell dead. The traitor's head was displayed in an iron cage, along with Elvira's bloodstained bodice, but his ghost remained free. Even today, flares of gas in the nearby swamplands are said to be the traitor's spirit, damned forever to wander the subtropical landscape.
Charles the Bad (1332-1387)
Formally titled King Charles II of Navarre, Charles the Bad was summed up best by historian Barbara Tuchman: "He was volatile, intelligent, charming, violent, cunning as a fox, ambitious as Lucifer…His only constancy was hate."
Navarre's birthright was also his curse. A direct descendent of the deceased King Louis X, Navarre had better claim to the French throne than the reigning monarchs, his cousins the Valois. Believing he'd been cheated of the French crown, though he was king of a small Pyrenees monarchy and lord of extensive estates in Normandy, Navarre seethed with resentment. He announced his grudge in 1354 with an audacious murder. His target was the constable of France, Charles d'Espagne, an unappealing striver who'd become a favorite of French King Jean II. Jean heaped d'Espagne with rewards, including some of Navarre's lands, and Navarre realized he could wound the Valois and eliminate a rival in one fell swoop.
While Navarre waited in the woods, his brother and other assassins crept into the sleeping constable's room. Awakened, D'Espagne fell to his knees, pleading that he'd give back the land and anything else Navarre wanted. But the brother "villainously and abominably" attacked d'Espagne, the others joined in, and d'Espagne died, his corpse mangled with more than 80 wounds.
Utterly shameless, Navarre bragged about the murder in a letter to the pope, "God knows it was I who with the help of God had Charles d'Espagne killed." But Navarre's brazenness was matched by his wits; he knew that many loathed the favorite as much as he did, and he figured, correctly, that he'd get away with the assassination.
Charles the Bad: As this illumination of Navarre shows, the standard armor-plus-some-weird negligee might get you a passing grade as Charles the Bad. But when the nobles weren't torturing serfs, they proved their status by wearing clothes designed to show they were too wealthy for physical labor. Medieval hipsters wore shoes with curled-up toes, about 20 different mantles and cloaks, and long drooping sleeves that got in the way of everything. Thus, you should aim for pointed toes, a bit of armor, and a fugly robe, with booze-soaked cloths wrapped around everything. Then when the liquor runs out you can watch haughtily as desperate friends beg to suck the booze out of your bandages. Extra points if you've betrayed everyone by stealing the liquor in the first place. Double extra points if you light a match while someone is still sucking.
The Hundred Years War between France and England was at its height, offering innumerable opportunities for intrigue, but the situation changed after the Battle of Poitiers in 1356, when Jean II was routed and captured by the English.
With the French economy in tatters, the nobility disgraced by Poitiers, and bandit armies plundering the countryside, the peasants revolted in 1358. Paris was seized and peasants ran amok in the surrounding areas. Navarre's duplicity helped turn the tide when, for once fighting briefly on behalf of the Valois, he invited a peasant leader named Cale for a parley under truce. A naïve Cale believed the laws of chivalry applied to him as much as any man, but Navarre imprisoned him, then rode out and massacred the stunned peasants. Afterwards he celebrated by crowning Cale with a red-hot circle of iron and beheading him.
Only 56 but aged beyond his years, he was wrapped in brandy-soaked bandages every night to ward off chills.
Navarre continued to battle the Valois any way he could, whether collaborating with English invaders, dosing the dauphin with arsenic, or making a brief alliance with the Paris mob during an attempted coup. He also found time to poison a cardinal and a mercenary warlord, as well as to turn the glittering count of Foix against his heir, ruining the mightiest family in southern France. It was clear there would never be peace until Navarre was suppressed, and in 1364 King Charles V openly declared war on Navarre. It took many years, but one by one Navarre's strongholds were reduced until, in 1378, his political destruction was complete and he was pent up in his impoverished mountain kingdom.
Navarre's death in 1387 was as grotesque as his life. Only 56 but aged beyond his years, he was wrapped in brandy-soaked bandages every night to ward off chills, with the shroud-like linens actually sewn together so they would stay in place. Navarre ordered that no one could approach with an open flame, but one winter evening when he was being sewn up a servant grabbed a candle to burn off a pesky thread. The shrieking Navarre was instantly bound in flames and lingered in agony for weeks before giving up the ghost. The story of his macabre death was a sensation throughout Europe, everyone agreeing that if any man got what they deserved, Charles the Bad was he.
Bloody Bill Anderson (c. 1839-1864)
While Jesse James continues to be a pop culture icon, his mentor "Bloody" Bill Anderson goes overlooked. This is a shame, because Anderson is perfect for Hollywood: a handsome, young sociopath with an amazing head of hair.
The Anderson family first made its name in the late 1850s along the Kansas-Missouri border. Bill and a younger brother were horse thieves; another brother murdered an Indian; their father was shot down while attacking a judge; and in 1860 their mother was struck dead by lightning, perhaps to stop her from making more Andersons.
Bill would have remained a petty criminal except for the Civil War. The conflict along the Kansas-Missouri border was unrivaled for bitterness, with pro-Confederate nightriders executing Unionist neighbors and loyalist militias plundering Southern sympathizers. Anderson was a typical guerrilla, robbing and smuggling, occasionally shooting at Union soldiers, and using the war as cover for personal vendettas.
Everything changed in 1863, when federal authorities sent Anderson's three younger sisters to Kansas City in an effort to eliminate the guerrillas' support network. The girls were jailed in a residential building but modifications by federal guards accidentally destabilized it and the building collapsed, leaving one of the girls dead, another crippled for life, and the third seriously injured.
Believing the building collapse was deliberate, Bill and the guerrillas went berserk and descended en masse on Lawrence, Kan., an abolitionist stronghold, where they massacred nearly the entire male population, including children. Anderson led the way, personally killing 14 of the approximately 200 victims and telling a Lawrence woman, "I'm here for vengeance and I have found it."
Bloody Bill Anderson: You have two options, Sweet Bill or Sour Bill. A photo of Sweet Bill reveals him in his prime, wearing an expensive black velvet outfit with his long locks swept back beneath a stylish hat. Finding the right outfit should be pretty easy for most urbanites, but if you lack cool hair or the right lid, then Sour Bill is the look for you. A photograph taken just hours after his death shows Bill's embroidered guerrilla shirt with two large ammunition pockets sewn onto the chest—just like for Bill, this will have to be a DIY effort, meaning you'll need to put a Colt to someone's head and snarl, "Git stitchin'." With the crazed hair, closed eyes, and peculiar grimace, Sour Bill is perfect for both arriving at the party in style and ending the night crudely passed out on the living room floor.
His revenge had only begun. Anderson spent the winter in Texas, then returned to Missouri the following spring and terrorized the state. With Frank and Jesse James, Bill tortured Unionists, robbed banks, and bombarded passing steam ships for fun. With his trademark Union scalps adorning his saddle bags and gaudy ribbons tied around his hat, Anderson appalled even veteran Confederate officers with his barbarism.
Bill upped the ante in late September with a train robbery in the small town of Centralia. Holding up trains was unusual at the time, and the James brothers undoubtedly took notes when Anderson blocked the tracks, then looted the civilian passengers. There were also 24 unarmed Union soldiers on the train, most of them on furlough, and Anderson ordered them to line up and strip. After pulling one man aside as a captive, Anderson had the defenseless men executed, telling them, "You all are to be killed and sent to hell."
After pulling one man aside as a captive, Anderson had the defenseless men executed, telling them, "You all are to be killed and sent to hell."
Bill's wasn't finished, and that afternoon he ambushed the federal troops that had been following him. The guerrillas went wild, cutting off noses and genitals along with scalps.
Anderson was the most hunted man in Missouri but that didn't make him anxious. In late October, he was spotted bowing in the mirror. "Good morning, Captain Anderson," he greeted himself, "How are you this morning?" "Damn well, thank you," he replied.
Bill's situation took a turn just the next day, when he was lured into a federal trap. Though outnumbered, Anderson could have made a run for it. Instead, Bloody Bill put the spurs to his horse and charged the Union line, pistols blazing. Accompanied by only one other rider, he seemed as if he could have been carried through the line by sheer hate, but the moment ended in a storm of bullets. Except for several strange photos of his corpse, Bloody Bill was no more.
Jeronimus Cornelisz (1598-1629)
Most people associate the Dutch with happy things, such as windmills, tulips, and drugs. But only the latter applied to the apothecary Jeronimus Cornelisz, and even his murky profession pales in comparison to the mass murder he inspired on a few tiny islands off the coast of Australia.
The son of an apothecary, Jeronimus grew up in Frisia, a northern province of the Netherlands. Cornelisz's parents were Anabaptists, but nothing seemed too unusual about Cornelisz's beliefs when he took up his father's mortar and pestle and moved to the thriving city of Haarlem in 1627.
There he prospered, setting a stuffed crocodile above his pharmacy counter as a trademark, and living above the shop with his young wife. He also made some dubious friends, freethinkers of the wildest beliefs, namely that individuals who had brought God into their hearts were incapable of sin no matter what acts they committed. One of these libertines, the painter Torrentius, was arrested and tortured by the Calvinist authorities, who put the town executioner on the case. But Jeronimus had plenty of other worries.
His wife had died of infection shortly after delivering their first child with assistance from a deranged old midwife, who admitted that she suffered "torments inside her head." Clearly lacking an eye for reliable help, the new father chose a notorious slut to nurse the infant. Within a few months the child died of syphilis; the case created a scandal when Jeronimus brought it to court, as some blamed the disease on his dead wife, not the wet nurse.
With his wife and son dead, his business ruined, and himself possibly a person of interest to Haarlem's hangman, Jeronimus surrendered his shop to creditors in October 1628, and fled to Amsterdam. There he signed on with the Dutch East India Company, the traditional last resort for the otherwise unemployable. The company was desperate for men of learning and immediately gave Jeronimus a position as deputy agent aboard the Batavia, a trade ship bound for the Spice Islands in Indonesia.
Jeronimus Cornelisz: The best way to approach Cornelisz is to dress as if Rip Van Winkle had won the Powerball but with an attitude like Charles Manson. Put on the goofiest pilgrim costume you can find, with tons of fake-looking medals and gold braid, and of course don't forget the noose. Then start ranting about God, women, and, most of all, yourself. As you can see, every day at Batavia's Graveyard was like Halloween, filled with mischief and hijinks, so get as crazy as you want. Don't forget, though, after you've driven the party insane, to let others do the dirty work. While the tough guys are brawling on the front lawn, you can sidle up to their girlfriends, slip them some shitty research chemicals, and make promises you'll be sure not to keep.
The voyage was a nightmare. The alcoholic captain quarreled with the company's top representative, named Pelsaert; many of the crew, led by the pharmacist, became mutinous; and an ugly competition broke out over an unusually attractive woman passenger. The mutineers were about to make their move when, in June 1629, the Batavia slammed into a coral reef near a tiny cluster of islands called the Abrolhos about 80 miles off the barren coast of Australia.
The captain, Pelsaert, and other senior crew soon set off in a longboat to seek help from Java, leaving the apothecary in charge of the 200 shipwrecked passengers. About 160 of them were huddled on an open, waterless island they named Batavia's Graveyard. Jeronimus sent another 40 or so, namely a soldier named Hayes plus others who might be troublemakers, to investigate nearby islets that Jeronimus believed were also devoid of water.
Jeronimus soon became a cult-like figure, commanding the island from a central tent, wherein were kept all the weapons, food, and supplies they'd scavenged from the shipwreck. Surviving on rainwater and strictly rationed food, the pharmacist quickly decided that he had too many mouths to feed and something had to be done about the Graveyard's surplus population.
One young henchman became so frenzied that he ran around shouting, "Who wants to be stabbed to death? I can do that very beautifully!"
The murders were simple and brutal. The apothecary, preaching that he could do no sin, merely named a family or individual and his henchmen cut them down with swords, pikes, axes, and mauls, eventually leaving over 110 corpses hurled into mass burial pits. Others were drowned or strangled, with the women set aside for the mutineers' pleasure. With murders occurring almost daily, one young henchman became so frenzied that he ran around shouting, "Who wants to be stabbed to death? I can do that very beautifully!"
Jeronimus avoided killing anyone with his own hands, though he did prepare one dose of poison in case it was needed. Instead he gloried in his newfound godhead, controlling his thugs with flowery words, dressing absurdly in fine coats and trinkets, and forcing the attractive female passenger to become his concubine. His sick fantasy could only extend so far, however, and by late August several things became clear: The mutineers were running out of food and water, and the men he'd sent to die on other islands weren't dying at all but were thriving.
Hayes and his people were fortunate; not only had they discovered an island with several fresh wells, but birds, fish, and small wallabies were plentiful. Also in Hayes's favor: Several escapees from the Graveyard had informed him of Cornelisz's reign of horror. Calling themselves "The Defenders," Hayes and his men had a line of watchmen and handmade weapons prepared for when mutineers attacked.
Jeronimus tried to smooth-talk his way into ambushing the Defenders. Proclaiming his friendship, he offered a truce in which his mutineers would exchange wine and cloth for food and water. The pharmacist and his men milled around the beach at Hayes's island, waiting for a chance to attack. But the Defenders leapt first, and the pharmacist's henchmen were seized and killed. Jeronimus himself was tied up, thrown into a rocky hole, and forced to pluck birds, given a raw one to eat out of every nine he cleaned.
When Pelsaert and a rescue ship arrived, Cornelisz tried to doubletalk his way through a trial, but, eventually broken by water torture, he confessed and was sentenced to have both hands chopped off before being hung, the worst punishment in the Dutch books.
The apothecary had one last trick up his sleeve, and promising that "God will perform unto me this night a miracle, so that I shall not be hanged," he swallowed his own poison. His concoction was a failure, however, merely tormenting him with digestive issues, and Pelsaert commented snidely that, "his so-called miracle was working from below as well as above."
Hands lopped off, Jeronimus stood on the gallows screaming at the equally angry crowd. Insisting he'd get a fair trial in the afterlife, he met the noose shrieking, "Revenge! Revenge!" The onlookers were then sickened by his extended death throes, but not enough for them to grab the swinging legs and help the man toward his much-desired audience before God.
Sadie the Goat, Gallus Mag & Other Denizens of Satan's Circus (late 1800s)
Although the red-light district called Satan's Circus only encompassed a 20-block area of Manhattan, the moniker could have represented all of New York's villainous wards. The Bowery, Five Points, and the waterfront all had their infernal charms, including brothels, gambling hells, opium dens, drinking dives, or perverse dancehalls that combined a bit of everything. The cast of scoundrels and hussies haunting these districts formed a cavalcade of sins, all of them worthy of costumed emulation.
Among the most colorful characters along the 1870s waterfront was a female gang leader called Sadie the Goat. She got her nickname by headbutting victims in the stomach and mugging them. Sadie the Goat ran her gang in style, even stealing a boat one summer and flying the Jolly Roger on its mast. The Goat and her crew sailed up and down the Hudson River, killing and looting their way through riverside hamlets, but Sadie was finally forced to return to New York when farmers began shooting at the sloop on sight.
The Goat was positively kittenish, though, compared to the roughest woman in New York, Gallus Mag. A six-foot tall Englishwoman, Mag ran a Water Street dive with pistols jammed in her skirt and a truncheon strapped to her hand. Because beating up wharf rats wasn't enough for Gallus Mag, she often chewed or cut off a victim's ear and then plopped it into a pickling jar. One of those pickled ears once belonged to Sadie the Goat, but Sadie got back in Mag's good graces by bringing her a share of her pirated spoils. Honored by the gesture, Mag dipped into the jar and returned Sadie's ear. The Goat was so pleased that she had the ear placed in a locket that she wore around her neck.
Denizens of Satan's Circus: For veracity's sake, the trick is to be far more disgusting than you or anyone else within 50 yards is going to be comfortable with. Tips for approximating their foul lives (and odors) include: daytime drinking, not bathing for a least one week before the party, abusing alcohol, letting hair grow where it shouldn't, getting drunk as hell, and storing your costume in a plastic bag full of ham inside of a sauna. The best bet here is to go with steampunk. For the ladies, a gigantic black hat with wilted feathers poking out is key, with a bustling black dress and a hatchet-faced expression also recommended. As for those poor bastards with a natural affinity for Ludwig the Bloodsucker…well, maybe going as Anonymous this year isn't such a bad idea after all.
Mag and Sadie weren't the only satanic ladies running around New York. A procuress called Jane the Grabber specialized in abducting the daughters of well-off families and turning them into prostitutes. And if Jane happened to grab any nice jewelry along the way, she could sell it via Marm Mandelbaum, for two decades the city's leading fence. Marm ran a veritable criminal empire out of her haberdashery, passing along millions of dollars of stolen goods. When the district attorney finally nabbed her in 1884, she jumped bail and absconded to Canada, sticking the bondsman with a fraudulent property title.
A procuress called Jane the Grabber specialized in abducting the daughters of well-off families and turning them into prostitutes.
As vile as these women were, the gents were just as bad, such as a vampire named George Leese, aka "Snatchem." Snatchem was not a handsome man; a journalist described him as "a beastly, obscene ruffian, with bulging, bulbous, watery-blue eyes, bloated face and coarse swaggering gait." When he wasn't working as part of the Slaughter House Gang, Snatchem moonlighted as a leech at bareknuckle prizefights. There he would clean the boxers' wounds by lapping up their blood between rounds. He had few regrets about his chosen professions, proudly describing himself as a "kicking-in-the-head-knife-in-a-dark-room fellow."
At least Snatchem was paid for his vampirism, unlike a Bowery freak called Ludwig the Bloodsucker. A dumpy German with an oversized head and nasty thatches of hair sprouting from both ears and the end of his nose, Ludwig apparently drank body fluid just for fun. Where these beverages came from isn't mentioned, though it appears that whatever shortages the Bowery may have experienced from time to time, human blood wasn't among them.
Thankfully for those who couldn't stand another day of guzzling blood, the Bowery dive McGurk's Suicide Hall offered a fatal rest from their labors. The low-rent establishment got its name after a couple of aging hookers, Blond Madge and her partner Big Mame, decided to end it all by drinking carbolic acid. Madge died on the spot, though poor Mame spilled most of hers, ending up alive but so hideously disfigured that she was banned from the bar. Madge and Mame started a craze, and in 1899 alone six people killed themselves at McGurk's. Considering the staff at Suicide Hall, it's a wonder more clientele didn't top themselves. The headwaiter, Short Change Charley, kept a bottle of knockout drops ready in case he wanted to mug someone completely instead of just bilking them of their coins. The bouncer, "Eat-Em-Up" Jack McManus, was a brute capable of beating up four drunks at a time. Eat-Em-Up eventually met his match, though, and died with a lead pipe literally wrapped around his head. And through it all, the owner, John McGurk, shamelessly profited from the bar's reputation, making the place into a morbid tourist attraction.
For those wishing to learn more about these wicked lives and times, suggested readings include Stephen Minta's Aguirre, Barbara Tuchman's A Distant Mirror, Albert Castel and Thomas Goodrich's Bloody Bill Anderson, Mike Dash's Batavia's Graveyard, and Luc Sante's Low Life.
Tobias Seamon recently published the novella The Fair Grounds. More can be found here. More by Tobias Seamon
The 2017 Good Gift Games
by Matthew Baldwin
Our resident board-game expert picks the best new games released this year.
The 2018 Tournament of Books Long List
by The Tournament of Books Staff
Here they are: our favorite, Rooster-worthy novels from 2017. A few weeks from now we'll narrow these down to our final list for the 2018 Tournament of Books presented by Field Notes.
The Top Albums of 2016
by Andrew Womack
The best music from 2016 meant more than usual this year.


text:
Written sources for English medieval timber architecture
Gardiner, Mark (2015) Written sources for English medieval timber architecture. In: Historic Wooden Architecture in Europe and Russia: Evidence, Study and Restoration. Birkhäuser, Basel, pp. 68-77. ISBN 9783035605426
Gardiner Written Sources - Textjd.docx
Gardiner Written Sources - Textjd.docx - Chapter
Given the wealth of documentary sources which survive for so many aspects of life in medieval England, it is rather disappointing that so few records have survived for timber churches. While further detailed searches would undoubtedly produce a greater harvest, even Salzman – who spent a considerable part of his life perusing documents in the Public Record Office (now The National Archives) – was not able to find many references to timber churches. Although written records are important for understanding the context in which timber churches were constructed and reconstructed, they provide somewhat meagre returns for those studying the buildings themselves.
Timber buildings, Churches, Medieval buildings
V Historical and Philosophical studies > V210 British History
College of Arts > School of History & Heritage > School of History & Heritage (History)

redpajama_set_name: RedPajamaCommonCrawl


ShuttleGo. Making that trip to the LRT and back, a breeze!
We make getting to the LRT a breeze.
Shuttlego.com is a short distance, low density private shuttle service. We serve the first mile that commuters take, which is the distance from their homes to the train station. Due to short travel distances, our shuttle can run at a higher frequency, which greatly minimises customers' wait time.
We'll pick you up from your apartment to the LRT station in the morning, and drop you back home in the evening. Just hop on and hop off -- it's that simple.
We have identified drivers, vans and all the things we need to get started with the service, we currently have 3 routes in mind and we need your support to unlock them - pledging lets us know that we are on the right track and we hope will make your commute to work that much more pleasant.
However, the person must send pitchIN the proof of transfer by attaching the receipt to the email address: [email protected] with the Subject Heading: ShuttleGo. Upon receiving that, the folks at pitchIN can then quickly update the project page.
After making the bank transfer, please send pitchIN the proof of transfer by attaching the receipt and your name to the email address: [email protected] with the Subject Heading: ShuttleGo. Making that trip to the LRT and back, a breeze!
Snail shipped hand crafted shuttlego.com fancy laptop stickers.
You will get an early bird one month pass for the Riana Green shuttle line plus a sticker. Only activated when there are at least 60 shuttlers subscribed for Riana Green line.
You will get an early bird one month pass for the Mont Kiara shuttle line plus a sticker. Only activated when there are at least 60 shuttlers subscribed for Mont Kiara line.
You will get an early bird one month pass for the Kota Damansara shuttle line plus a sticker. Only activated when there are at least 60 shuttlers subscribed for Kota Damansara line.
You will get a one month pass for the Riana Green shuttle line plus a sticker and a T-shirt. Only activated when there are at least 60 shuttlers subscribed for Riana Green line.
You will get a one month pass for the Mont Kiara shuttle line plus a sticker and a T-shirt. Only activated when there are at least 60 shuttlers subscribed for Mont Kiara line.
If you don't live in the 3 areas (Riana green, Kota Damansara, Mont Kiara) and are keen on getting us to open up a line where you are this is the pledge for you. You will get a one month pass plus a sticker and a T-shirt and if at least another 60 people also request the same area it will be unlocked. In the event there aren't enough people to do this - your area will be put on a waiting list and the moment it is unlocked you will be the first to enjoy the service.
You will get a one month pass for the Riana Green shuttle line plus a sticker and a T-shirt and one month of brewed coffee. Only activated when there are at least 60 shuttlers subscribed for Riana Green line.
You will get a one month pass for the Kota Damansara shuttle line plus a sticker and a T-shirt and one month of brewed coffee. Only activated when there are at least 60 shuttlers subscribed for Kota Damansara line.
You will get a one month pass for the Mont Kiara shuttle line plus a sticker and a T-shirt and one month of brewed coffee. Only activated when there are at least 60 shuttlers subscribed for Mont Kiara line.
You will get a one month pass for the Riana Green shuttle line plus a sticker and a T-shirt and one month of breakfast. Only activated when there are at least 60 shuttlers subscribed for Riana Green line.
You will get a one month pass for the Kota Damansara shuttle line plus a sticker and a T-shirt and one month of breakfast. Only activated when there are at least 60 shuttlers subscribed for Kota Damansara line.
You will get a one month pass for the Mont Kiara shuttle line plus a sticker and a T-shirt and one month of breakfast. Only activated when there are at least 60 shuttlers subscribed for Mont Kiara line.
If you run a business and want to drive foot traffic - or want us to drive foot traffic to you at lunch time. We will ferry people over from the our existing communities to your retail location between 10 and 3pm, Monday to Friday for one month.


text:
You are here: Home / Mobile / LG Orders Mobile Team to Start Development of the LG G7 from Scratch
LG Orders Mobile Team to Start Development of the LG G7 from Scratch
June 25, 2019 by Seth Walton
With the 2018 Consumer Electronics Show inside the rear-view replicate, the next main patron tech event is Mobile World Congress 2018, with a purpose to be held in February. It changed into first of all pronounced that the LG G7, LG's next-era G collection flagship telephone, might make an look either there or at an event in March in advance of an April release.
That now seems not going. Jo Seong-jin, Vice chairman and CEO of LG Electronics, has reportedly ordered tremendous revisions to the company's upcoming flagship cell phone, tentatively known as the "G7", according to The Investor.
Purchasing a Top Android Phone is a Good Decision
Identifying Awesome Assets For Tech News and Online game Information
Simplify Your Life With New Windows 7 Gadgets
Mojo networks' tips to secure data protection, safe internet usage
The Investor, quoting an unnamed employer authentic, states that LG G7 engineers were advised to halt current paintings associated with the telephone's improvement and "overview [it] from scratch." The reputable instructed The Korea Herald that simply after the vice chairman announced at CES closing week that LG becomes changing its smartphone method, the LG G7 team become ordered to start over.
Rumor within the organization has it that the group hasn't been capable of finding a strong selling factor for the G7. A new selection on the smartphone's launch date can be launched across the Lunar New Year excursion subsequent month.
As of now, no longer a good deal is understood approximately the LG G7. According to rumors, the device is predicted to have smaller bezels while preserving an 18:9 thing ratio display. It's also anticipated to have dual cameras at the front, which may imply that one in every one of its sensors can be used for LG's facial recognition function.
In what could have been foreshadowing, Mr. Senong-jin stated at CES in January that the company wouldn't always launch smartphones at a predefined time intervals, and would as a substitute unveil them "once they [were] needed." By now, LG's struggles inside the phone international are nicely-documented, although it does nicely in other fields inclusive of top-class home equipment. Mr. Senong-jin has stated that he's considering keeping present smartphone fashions longer and that LG could even introduce a brand new flagship telephone emblem.
An LG Electronics public relations official later informed The Investor guide that LG's mobile department changed into searching for new advertising and marketing techniques associated with launches and that not anything was set in stone.
The Investor document referred to that under former President Juno Cho, the corporation's phone unit posted deficits for 11 instantly quarters with a predicted 233 billion gained ($219 million) in losses. Concerns are spreading throughout the whole cellphone commercial enterprise, according to the official quoted in the record, and inflicting worries about what type of adjustments might be made to the organization's V series smartphones. LG has launched V series flagships every autumn beginning from 2015.
The Investor brought that "marketplace observers" count on a scale-down of LG's cellphone enterprise after the unit changed into degraded to a vice-president-led unit on the quiet of November.
If the G7 group has been told to begin development of the G7 from scratch, it might be a rare but now not unprecedented occasion in telephone history. We assume to learn extra approximately LG's 2018 G series flagship in the coming weeks.
When it involves mobile development, there are quite a few alternatives available. React Native? Sencha? SDKs? APKs? Xamarin? It can all seem a piece an awful lot. Hopefully, this manual gives you an awesome concept of what you're dealing with whilst you broaden your first Android Application, and it simple steps it takes to get from an idea to a Play store listing.
The first step to any mobile utility is the concept. Think of something that you, or a person you understand, would discover beneficial to have on their phone. This could be something simple, like a brand new way to browse your preferred website, or something more complex, that would even contain a Bluetooth tool. You don't always need to innovate, you simply have to do something better than what is available.
The User Experience
Don't make the error of underestimating the fee of your person's experience within your application. If a person receives annoyed along with your app, they are probably to prevent the usage of it. Have a examine your favorite programs. What makes them first-rate to use? Ask your friends to strive the app out, search for remarks and utilize it.
It might also assist you to visualize the interface and use of your mobile utility the use of "framework" and "timeline" software program, however, you could add just do it by using a hand on paper.
The design of your utility is likewise very essential. This includes the improvement of a "Brand", a regular design in the course of your utility and saves list the use of Logos, colors and fonts.
No one likes advertisements. It's the painful fact. Ideally, you have to keep away from seeking to monetize your utility too early as you may scare away potential long-time users. It's what Amazon did, they took (and are still taking) hits with their commercial enterprise so as too comfortable long-time clients.
Despite what a few humans might also try to let you know, the capacity to write down your very own software program is critical to a nicely designed utility. It may additionally appear frightening initially, however, there are a big wide variety of publications available, such as Codecademy, or scotch.Io, that will help you. Don't attempt to run earlier than you can stroll.
As for which language you should analyze, it comes down to what you want from your application, how a good deal you are willing to spend, and what you're maximum cozy with, to be able to be discussed beneath.
Your utility will be well evolved in an effort to prevail. After you feel secure developing in your preferred language, it is time to move to cellular development.
You have a number of alternatives here, some less difficult than others.
One alternative is React Native, that's written the usage of Web technology, such as JavaScript, JSX, and HTML. This is a model of Facebook's React framework which could run "Natively" (within the operating structures personal language) which commonly will increase performance. It can be very tough for novices.
Another alternative is Xamarin, a framework currently bought by Microsoft, which uses C# and Visual Studio.
Yet some other choice is ExtJS developed with the aid of Sencha, which is again, JavaScript.
The most popular IDE for Android App Development, and the one I endorse for this guide is Android Studio, that's multiplatform (Windows, OSX, and Linux), and is developed by way of Google.
Filed Under: Mobile


text:
Evil Theists › Events and Things To Do › Any General Event
Texas Prayer Rally, What do you think?
Garrett Fogerlie
Prayer Rally Draws Thousands in Houston
By MANNY FERNANDEZ AND DANIEL CADIS
Michael Stravato for The New York Times
Participants singing and praying inside "The Response," a national day of prayer called for by Texas Gov. Rick Perry at Reliant Stadium in Houston on Saturday.
1:20 p.m. | Updated HOUSTON — Standing on a stage surrounded by more than 30,000 Christians on Saturday morning, Gov. Rick Perry of Texas called on Jesus Christ to bless and guide the nation's military and political leaders and "those who cannot see the light in the midst of all the darkness," in a brief but rousing sermon-style spiritual address at the controversial prayer rally that he sponsored at the same time that he is weighing whether to run for president.
"Lord, you are the source of every good thing," Mr. Perry said, as he bowed his head, closed his eyes and leaned into a microphone at Reliant Stadium. "You are our only hope and we stand before you today in awe of your power and in gratitude for your blessings, and humility for our sins. Father, our heart breaks for America. We see discord at home. We see fear in the marketplace. We see anger in the halls of government, and as a nation we have forgotten who made us, who protects us, who blesses us and for that we cry out for your forgiveness."
Mr. Perry read several passages from the Bible, as thousands of people stood on their feet or knelt in the aisles or on the concrete floor in front of the stage, some wiping tears from their eyes and some shouting "Amen!"
A lifelong Methodist who regularly attends an evangelical megachurch near his home in West Austin, Mr. Perry has been speaking and preaching in the sanctuaries of churches throughout Texas since he was state agricultural commissioner in the 1990s. In his address at Reliant Stadium on Saturday, he appeared calm, confident and unapologetically Christian. "Like all of you, I love this country deeply," he told the crowd. "Thank you all for being here. Indeed, the only thing that you love more is the living Christ."
Before the rally started, thousands of men, women and children listened to Christian-themed singers and music groups at the stadium.
At about 9 a.m., an hour before the program was scheduled to start, the stadium, with a seating capacity of 71,500, had tens of thousands of empty seats, particularly in the upper decks. By 10 a.m, organizers estimated that about 20,000 people were in attendance. By the time Mr. Perry took the stage at about 11:30 a.m., they said there were more than 30,000 in the stadium.
The event, a day of prayer and fasting called "The Response," was created and promoted by Mr. Perry who said that he wanted people of all faiths to attend. But Christianity dominated the tone of the prayer service and the religious affiliations of the crowd. The event is shaping up to be one of the biggest tests of Mr. Perry's political career, coming on the cusp of his decision about whether to seek the Republican nomination for president.
At about 10 a.m., Luis Cataldo took the stage to give opening remarks.
"I wish you could see what I see here," said Mr. Cataldo, a leader of the International House of Prayer, a Christian ministry in Kansas City, Mo. "This is the body of Christ."
Mr. Cataldo said that there would be no long speeches, no banners and no signs. "You didn't come here to listen to people preach," he told the crowd. "You came to pray, and Jesus wants to hear your voice."
Outside the stadium, more than 150 people gathered in small groups along the sidewalks to protest Mr. Perry's involvement in the event and his support of the American Family Association, the primary organizer behind the prayer rally. The association is a conservative evangelical group based in Mississippi that condemns homosexuality and is listed as an antigay hate group by the nonprofit Southern Poverty Law Center.
In addition to Mr. Perry, several influential Christian conservatives were scheduled to either lead prayers or read from the Bible, including Dr. James C. Dobson, a psychologist who founded Focus on the Family; Tony Perkins, the president of the Family Research Council in Washington; and Dr. Richard Land, the conservative president of the Southern Baptist Ethics and Religious Liberty Commission.
Mr. Perry came up with the idea for the event in December but did not make an announcement about it until June. In letters to his fellow governors and in other statements, Mr. Perry used Bible verses to describe the rally's purpose: He wanted to humbly ask God to intervene on behalf of the troubled nation, to provide spiritual solutions to the country's problems and to bless and transform the lives of Americans. The governor repeatedly stressed that the gathering would be apolitical and "open to any member of the public who wants to join with us in prayer," as his letter to Gov. Robert Bentley of Alabama stated.
Mr. Bentley did not attend. Gov. Sam Brownback, Republican of Kansas, appeared to be the only other governor to attend. He was scheduled to give a prayer later in the afternoon. Gov. Rick Scott of Florida made a video statement that was to be played in the stadium.
My personal #1 reason that I don't like religion is because I like knowledge! And Religion suppresses knowledge; not just the knowledge unfortunately, but it suppresses the entire drive to understand.
http://www.EvilTheists.com
Share/Bookmark (Show All)
Forum Jump: Please select one: -------------------- Private Messages User Control Panel Who's Online Search Forum Home General -- Introductions -- Off Topic Section -- Questions for Atheists (Non-Believers) -- Questions for Theists (Believers) -- Surveys, Polls and Statistics -- Discussions and Debates -- What do you believe? -- Movies and Documentaries -- Anything and Everything -- Help Desk Proof -- Proof of God or Gods -- Proof of Evolution -- Proof of Creation -- Proof of ... News -- General News -- Religious and Atheist News -- Science -- History Evil Theists Site -- Articles Essays Etc -- Submit or Add Something -- Videos -- Humor -- Questioning Your Beliefs -- Surveys -- Quotes -- Famous Atheists -- Books -- Promotions -- Religious Extremists Events and Things To Do -- Any General Event -- Atheist Events -- Helping Others -- Religious Events Websites, Blogs, and Merchandise -- Sites About Atheism -- Sites About Evolution -- Sites About Religion -- Sites About Science -- Anything Else -- Merchandise


Getting Older is not some formula that can work for everyone, but you can apply some methods that can help you begin with your own plan for proper aging. Make a commitment to enhance the quality and quantity of your years. Aging is perceived as negative only if you decide to approach it from this perspective. The following tips will help you find a positive approach.
If you are worried about getting older, stop focusing on the numbers in your life. A lot of people spend too much time focusing on things like their age and weight. Do things that are fun and let your doctor deal with your numbers.
Increase the amount of resveratrol in your diet. Researchers have found some promising connections between calorie restricted diets and anti-getting older benefits. A compound called Resveratrol, which is found in nuts and grapes, has similar benefits. You can also find it within the roots of a plant called the Japanese Knotweed, this is commonly used in supplements. Resveratol is also found within Senna quinquangulata roots as well.
Get the recommended amount of sleep. By sleeping for a full seven hours or more each night you will maintain a normal hormone balance and feel more relaxed throughout the day. Not sleeping between seven to nine hours per night will leave you feeling sluggish and irritable.
TIP! When you get older, your home becomes a sanctuary and safe place. When life becomes stressful, you should be able to return to your home and enjoy yourself in a highly personal, comforting environment.
As you age, your home is a reflection of who you are and becomes your personal sanctuary. Make your home personalized to fit your needs and comforts, so you can always have a welcoming place to return to after dealing with the daily trials of life. Home will be a place where you will feel more at ease.
Regardless of which guidelines you choose to follow, you are sure to notice an improvement in the way your mind and body age. It is entirely under your control. You can take a proactive role in dealing with the trials of getting older, so that you can enjoy life more and age on your own terms.
When you are starting out, you might feel a bit overwhelmed when dealing with the subject of additional info. There is a lot to take in, but it will be a great benefit if you spend time learning. Applying all that you learn about additional info will benefit your life in many ways.


The classic dancing scene from Jean-Luc Goddard's crime comedy Bande a Part. It so impressed Quentin Tarantino that he named his movie production company, "A Band Apart", after the film and referenced it in Pulp Fiction. Goddard later said that he would much rather Tarantino had just given him a lot of money instead.


text:
« TVD's Press Play
Thad Kopec,
The TVD First Date »
Graded on a Curve: Lynyrd Skynyrd,
Nuthin' Fancy
By Michael H. Little | Published: June 12, 2017
It is my unreconstituted thunk that Lynyrd Skynyrd is America's second greatest rock'n'roll band, right behind the Velvet Underground. Hyperbole? Mebbe. But during the four short years before fate shot their airship down, the Southern rockers produced a veritable shitload of immortal (and yes smart) tunes that I, for one, have been listening to with pleasure for decades.
1975's appropriately titled Nuthin' Fancy isn't the best Skynyrd LP out there. It may even be the worst of the five albums the original Lynyrd Skynyrd—which is the only Lynyrd Skynyrd that matters—recorded between 1973 and 1977. It lacks the sublime touches that make Skynyrd's first and second albums rock landmarks, and the assortment of to-die-for songs ("That Smell," "One More Time," "All I Can Do Is Write About It") scattered throughout the two LPs that came after it. The way I see it, Nuthin' Fancy only boasts two songs—I'm talking about "Saturday Night Special" and "Am I Losin'"—that are truly indispensible.
The biggest problem lies in the songs, natch, and the problem with the songs is that they were written in a rush, in the studio between tours. I'll stand Ronnie Van Zant up against any American songwriter (exceptin' B. Dylan) ever, but when it came to Nuthin' Fancy he simply didn't have the same amount of time he'd had to write such immortal tunes as "Sweet Home Alabama," "Tuesday's Gone," or "Simple Man" from 1973's (Pronounced 'Lĕh-'nérd 'Skin-'nérd) and 1974's Second Helping. (Indeed, he'd never again have the time to sit down and do some leisurely songwriting during his lifetime, which is why Lynyrd Skynyrd was never able to top the transcendental brilliance of its first two LPs.)
Another problem is that Van Zant, whose idea of a great band was Bad Company, opted for the 'eavy touch rather than the light one on such songs as "I'm a Country Boy" (anti-NYC rant), "On the Hunt" (misogynistic rant in which Ronnie at least has the decency to concede he's a slut too), "Cheatin' Woman" (typical anti-woman rant distinguished only by cool organ and Van Zant's wonderfully lazy but knowing vocals), and "Whiskey Rock-A-Roller" (self-explanatory). He may have believed that driving it right down the audience's throat constituted the basis of Lynyrd Skynyrd's success, but he was wrong. Sure, Lynyrd Skynyrd could produce very good hard rock—both "On the Hunt" and "I'm a Country Boy" boast riffs every bit as barbarous and stripped to the bone as anything by his English heroes in Bad Company—but in this reviewer's humble opinion the band was at its best when it boogied. And while Nuthin' Fancy has its charms, the fact that four of its eight songs are gravel simple hard rockers is not one of them.
Of the remaining songs, "Saturday Night Special" is the only one has that characteristic Lynyrd Skynyrd sound. Van Zant's condemnation of dirt-cheap man-killers was written before the ordeal in the studio and it tells—it's heavy but slinky at the same time, and Van Zant is at his storytelling best. The song is both funky and full of menace, and new drummer Artimus Pyle does things on the kit—just listen to them cymbals!—that are positively hair-raising. Meanwhile, "Am I Losin'" is a bona fide sweetheart; the melody is country pretty in a Dickey Betts kinda way, and this is Ronnie Van Zant like you've never heard him—tender, vulnerable, and a bit confused by the end of a long friendship. And the six-string solo—presumably by the soon to split Ed King of Yankee Blue New Fucking Jersey for Christ's sake—is exquisite, and as sweet an example of Dixie-fried guitar slinging as you ever will hear.
"Railroad Song" is a harmonica-fueled, chug-a-lugging salute to Jimmie Rodgers, and Van Zant's vocals are sly, insinuating, wonderful. If you don't believe a fella can sing the words "choo-choo train" without making a fool of himself, here's your proof. And Pyle—who started drumming at the age of eight atop a bulldozer, mimicking its primal noise—sure knows how to produce steam. As for "Made in the Shade," it's a jaunty jug band lark, and the kind of mandolin and dobro-tinged sound you might hear emanating from a down south juke joint before things get really ripe and raunchy. The bass is a thing of beauty—ditto that honky-tonk piano.
Don't get me wrong; if it's heavy you want, Nuthin' Fancy will most definitely strike your fancy. And there's no denying that hard rock was always an essential weapon in the Lynyrd Skynyrd armamentarium. But me, I'd sooner boogie than bump and grind every time. Lynyrd Skynyrd may have gone down in history as a three-guitar army but when I think of them, it's Billy Powell's fancy piano runs that come to mind. Like Guns 'N' Roses, Lynyrd Skynyrd was a hard rock band that won you over not with its bluster, but with the way it could make your heart dance. At their best—such as on the sublime "Tuesday's Gone"—Lynyrd Skynyrd soared rather than roared, and that's what distinguishes 'em from the nasty and brutish likes of Bad Company. They didn't jam it down your throat—they made you fall head over heels in love with it. And that's a gift granted to very few bands indeed.
This entry was posted in The TVD Storefront. Bookmark the permalink. Trackbacks are closed, but you can post a comment.


Mrs Duffin, Mrs Spilsbury, Mrs Priddle, Miss Toone and Mrs Thomas.
Any adult, parent/carer or child can report a concern to the safeguarding team who will take the issue seriously, fully investigate and then offer support where needed.
The role of safeguarding in school is to education children about keeping themselves safe, happy and well. Our curriculum supports this through weekly Jigsaw sessions as well as one off enrichment days, assemblies and visitors.
As well as supporting the children in school, we do also offer support and guidance to parents who need help in the home or with specific concerns, this might involve making a Multi Agency Referral to Children and Families Direct who can then signpost the most relevant external support.
If you have any questions regarding safeguarding, our role as a team in the school or would like to know more about a specific issue please do not hesitate to get in touch.
Below are some link to external websites that you might find helpful for yourself, your family or someone you know.
Online Safety Video - Have you seen something scary online?


text:
Kuckei + Kuckei
Guy Tillim
series of works
Berlin, 2021 - 2022
Museum of the Revolution, 2014-2018
Joburg: Points of View, 2014
Libreville, 2012
Second Nature, 2010 - 2011
Roma, Città di Mezzo, 2009
Avenue Patrice Lumumba, 2007 - 2008
Congo Democratic, 2006
Petros Village, 2006
Jo'burg, 2004
Leopold and Mobutu, 2003
Kunhinga Portraits, 2002
Soldiers I, 2002 - 2003
Soldiers II, 2002 - 2003
Departure, 2003
3. – 25.6.2022
Museum of the Revolution
23.8. – 5.10.2019
29.8. –10.10.2015
2.5. –14.6.2014
Avenue Patrice Lumumba
30.4. –10.7.2010
A Look Away - South African Photography Today
25.10. –20.12.2008
MACK, co-published with Fondation Henri Cartier-Bresson, Paris, 2019
These photographs were made on long walks through the streets of African capitals, including Johannesburg, Durban, Maputo, Beira, Harare, Nairobi, Kigali, Kampala, Addis Ababa, Luanda, Libreville, Accra, Dakar and Dar es Salaam, and the series takes its title from the Museum of the Revolution in Maputo, Mozambique, which is situated on the Avenida 24 Julho. The 24th of July 1875 marked the end of an Anglo-Portuguese conflict for possession of the territory that was decided in favour of Portugal. One hundred years later the name of the avenue remained the same because Mozambique's independence from Portugal was proclaimed in June 1975 and now the 24th of July is Nationalisation Day.
In the Museum of the Revolution, there is a panoramic painting produced by North Korean artists depicting the liberation of the capital from Portuguese colonial rule. It illustrates the rhetoric of a revolution as the leader and followers parade through the streets and avenues, laid out with grandeur by the colonial powers. These streets, named and renamed, function as silent witnesses to the ebb and flow of political, economic and social shifts of power and become a museum of the many revolutions that have taken place in African countries over the past 65 years.
In Tillim's photographs, the streets of these African capitals reflect a new reality, distinct from the economic stagnation wrought by socialist policies that usually accompanied African nationalism, the reality of rebuilding and enterprise, and new sets of aspirations imbued with capitalistic values.
Edit Beijing
Editions Bessard, 2017
Guy Tillim's Edit Beijing is a series of diptychs and triptychs shot on the streets of Beijing during a residency organised by the Parisian publisher, Editions Bessard. It has been nominated for the Kassel Photobook Award 2017.
It is a Limited Edition of 500 copies design by Sybren Kuyper aka SYB, the book come inside a simple slipcase.
66 including 2 foldouts pages
O Futuro Certo
Steidl Verlag, 2015
Co-published by The Walther Collection, this book presents selections from Guy Tillim's most influential works and series of the last decade, including "Mai Mai militia in training," "Jo'burg," "Avenue Patrice Lumumba," and "Second Nature." Anchored in photojournalism but working against the grain of spectacle, Tillim portrays the communities, social landscapes and symbolic structures of societies altered by conflict. From explorations of modernist architecture—and its utopian ruins—in post-colonial Angola, Congo and Mozambique, to the homes and private lives of Johannesburg's inner-city residents, Tillim's work raises timely questions about the politics and representation of the built environment.
Joburg: Points of View
Punctum Press, 2014
In Joburg: Points of View the artist returns to the city which he last photographed a decade ago. At that time, Johannesburg offered a provocation to Tillim's understanding of documentary photography and debates around representing a politically contested landscape. More recently, the artist has been increasingly interested in notions of judgment and control around image-making.
Of the new series, Tillim writes:
"In 2004 I spent four months in downtown Johannesburg. I saw the city then as a giant puzzle. My plan, to photograph small pieces at a time and put them together to create a portrait, soon seemed pointless in the face of the city's infinite impulses that could not be contained in a manner of my liking. I couldn't see everything and be everywhere. I realized that to suggest some kind of truth, it wouldn't matter particularly where I was, but I'd have to let the place speak through me rather than trying to assign co-ordinates to a piece of puzzle. Of course the uncomfortable question then arose: who was I in this city, in this landscape?
It was this shift or realization, or sensation, that links the work then to the pictures I took in the city in 2013, setting me off on a journey to make landscapes that would attempt, as far as possible, to be without pointed judgment, on the grounds that my judgment or preconceptions of a landscape, of a mountain or a skyscraper, say, are irrelevant in the face of its immutability. The process of finding an answer would call for making pictures that are more like windows than mirrors or pale reflections. A window's neutrality and its equitability would suggest intangible context; where the frame is no longer a tyranny, where it is an invitation to explore rather than state a claim. The frame cannot escape the question about what it can't see and can't know, but perhaps there's a place where the question simply ceases to arise."
28 diptychs pages
Prestel Verlag, 2012
In this book the acclaimed photographer of the series Avenue Patrice Lumumba travels to a Pacific paradise and South America to see beyond the standard postcard images.
In reading the accounts of the artists who accompanied Captain James Cook to French Polynesia, Guy Tillim was interested to note that among the captain's crew was an artist who struggled with the problem of how to convey such an idyllic landscape. Addressing the same challenge, Tillim has created a beautiful, almost mesmerizing series of photographs from Polynesia as well as from Brazil that offer their own answers. Taken at face value, these images are at once gorgeous, subtle and rich in detail. Published in a large landscape format, this book contains highly nuanced images that represent some of the most sophisticated landscape and urban photographs of recent times.
Guy Tillim's earlier photographs documented war-torn Africa and the people whose lives have been shaped by years of conflict and hardship. In this book he focuses on the structures that dot the urban landscape of these troubled countries. The eighty images in this book from Angola, Mozambique, Madagascar, and the Democratic Republic of Congo reveal modern buildings constructed with illusions of prosperity and peace and then left to decay. This collection reflects the intuitive brilliance that is Guy Tillim's hallmark, tells Africa's story of failure and atrophy, and points to the intersection of present-day Africa with its colonial past in countries that were forsaken in the name of progress and the perpetual quest for power.
Guy Tillim was born in Johannesburg in 1962.
He started photographing professionally in 1986, working with Afrapix collective until 1990.
His work as a freelance photographer include positions at Reuter and Agence France Press.
Guy Tillim lives and works in Vermaaklikheid in the Western Cape, South Africa
.
HCB Award, Fondation Henri Cartier-Bresson, Paris, France
Robert Gardner Fellowship in Photography, awarded by the Peabody Museum, Harvard University, MA
Leica Oskar Barnack Award (for the Jo'burg series), Germany
Daimler Chrysler Award for Photography, South Africa
Higashikawa Overseas Photographer Award, Japan
Prix SCAM (Société Civile des Auteurs Multimedia) Roger Pic, France (for Kuito, Angola)
Prix Care for Humanitarian Reportage, Finalist, France
Mondi Award (S.A.) for photojournalism (report on the Himba people of Northern Namibia)
Berlin, Kuckei + Kuckei, Berlin, Germany
Museum of the Revolution, Fondation Henri Cartier-Bresson, Paris, France
Museum of the Revolution, Kuckei + Kuckei, Berlin, Germany
Jo´burg, Kunstverein Ludwigsburg, Germany
Caligari, Fondazione di Sardegna, Italy
O Futuro Certo, Museo d´Arte Contemporanea Rome, Italy
Museum of the Revolution, Stevenson, Cape Town, South Africa
Edit Beijing, Stevenson, Cape Town, South Africa
Points Of View, Kuckei + Kuckei, Berlin, Germany
Jo'burg: Points Of View, Stevenson, Johannesburg, South Africa
Jo'burg, Kuckei + Kuckei, Berlin, Germany
Second Nature, Centre photographique d'Ile-de-France, Pontault Combault, France
Libreville, Stevenson, Johannesburg, South Africa
Avenue Patrice Lumumba, The University of Texas at El Paso, El Paso, TX
Avenue Patrice Lumumba, Frederick R. Weisman Art Museum, Minneapolis, MN
Second Nature, Kuckei + Kuckei, Berlin, Germany
Second Nature, Huis Marseille stichting voor fotografie, Amsterdam, Netherlands
Second Nature II, Stevenson, Cape Town, South Africa
Second Nature, James Harris Gallery, Seattle, WA
Avenue Patrice Lumumba, Blue Sky Gallery, Portland, OR
Avenue Patrice Lumumba, CAC – Cincinnati Contemporary Arts Center, Cincinnati, OH
Second Nature, Stevenson, Cape Town, South Africa
Avenue Patrice Lumumba Exhibit, Lannan Foundation, Santa Fe, NM
Avenue Patrice Lumumba, MoCP – The Museum of Contemporary Photography, Chicago, IL
Avenue Patrice Lumumba, Oldenburger Kunstverein, Oldenburg, Germany
Avenue Patrice Lumumba, Kuckei + Kuckei, Berlin, Germany
Avenue Patrice Lumumba, Extra City – Kunsthal Antwerpen, Antwerp, Belgium
Avenue Patrice Lumumba, Foam Fotografiemuseum, Amsterdam, Netherlands
Avenue Patrice Lumumba, Extraspazio, Rome, Italy
Avenida Patrice Lumumba, Museu Serralves – Museu de Arte Contemporânea, Porto, Portugal
Guy Tillim, Fondation Henri Cartier-Bresson, Paris, France
Guy Tillim, Haunch of Venison, Zurich, Switzerland
Guy Tillim, Haus Für Kunst, Altdorf, Switzerland
Avenue Patrice Lumumba, Stevenson, Cape Town, South Africa
Congo Democratic, Extraspazio, Rome, Italy
Congo Democratic, Goodman Gallery, Johannesburg, South Africa
Petros Village, Museo di Roma in Trastevere, Italy
Petros Village, Michael Stevenson, Cape Town, South Africa
Guy Tillim, Leica Galerie Frankfurt, Frankfurt/Main, Germany
Leopold and Mobutu, The Photographer's Gallery, London, Great Britain
Jo'burg, Rencontres Photographiques de Bamako, Mali
Jo'burg, Festival Artist, PhotoEspana, Madrid, Spain
Jo'burg, Johannesburg Art Gallery, Johannesburg, South Africa
Durban Art Gallery, Durban, South Africa
Jo'burg, South African National Gallery, Cape Town, South Africa
DaimlerChysler Award exhibition, Mercedes-Benz Museum, Stuttgart, Germany, and DaimlerChrysler Contemporary, Berlin, Germany
Leopold and Mobutu, Michael Stevenson, Cape Town, South Africa
Kunhinga Portraits, Sala Uno, Rome, Italy
Kunhinga Portraits, Michael Stevenson, Cape Town, South Africa
Congo, Bell-Roberts Photographic Gallery, Cape Town, South Africa
Congo, Fotofiesta Medellin, Colombia
Departure, Higashikawa Photo Festival, Hokkaido, Japan
Departure, Bell-Roberts Gallery, Cape Town, South Africa
Departure, NSA Galley, Durban, South Africa
Departure, PhotoZA, Johannesburg, South Africa
Kuito, Angola, Societe des Auteurs Multimedia, Paris, France
Kuito, Angola, South African Museum, Cape Town, South Africa
Kuito, Angola, Gallery Dupon, Paris, France
Kabul, Afghanistan, Durban Centre for Photography, Durban, South Africa
Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection, Perez Art Museum, Miami
Global(e) Resistance – Pour une histoire engagée de la collection contemporain de Jonathas Andrade à Billie Zangewa, Centre Pompidou, Paris
Des marches, démarches, Frac Provence-Alpes-Côte d'Azur, France
Crossing Nights: Regional Identities x Global Context,Museum of Contemporary Art Detroit, USA
Evoking Reality. Konstitution von Wirklichkeit in Fotografie und Videokunst, Daimler Contemporary Berlin
Recent Histories, Huis Marseille Museum for Photography Amsterdam
Structures of Identity – Photography from the Walther Collection,FOAM Amsterdam
Making Africa: A Continent of Contemporary Design, Albuquerque Museum
Extreme Territories, RAY Photography Triennale, Frankfurt a. Main, Germany
10 YEARS OLD // 2007-2017: a history of the world told through the images of the Fondazione Cassa di risparmio di Modena Collection, Modena, Foro Boario
Il Cacciatore Bianco / The White Hunter: African memories and representations, FM Centro per l´Arte Contemporanea – Milan
Afrique Capitales, La Villette, Paris, France
A Short History of South African Photography, Fotografia Europea 2017: Time maps. Memory, archives, future, Chiostri di San Pietro, Reggio Emilia, Italy
FOTOGRAFIA – Festival Internazionale di Roma, Rome Italy
On the Subject of the Ready-made, Daimler Contemporary, Berlin, Germany
(Infra) Structure: Complex, Below And Further On, Lannan Foundation, Santa Fe, NM
A Verdant Summer, Taymour Grahne Gallery, New York City, NY
Rome Commission, Instituto Italiano di Cultura di Londra, London
Schema, Stevenson, Cape Town, South Africa
Making Africa – Un Continente De Diseño Contemporáneo, Museo Guggenheim de Arte Moderno y Contemporáneo, Bilbao, Spain
After Eden – Photography from The Walther Collection, La Maison Rouge, Paris, France
Strange Worlds – Works from the collection, Fondazione Fotografia Modena, Modena, Italy
Construyendo mundos – Fotografía y arquitectura en la era moderna, Museo Colecciones ICO, Madrid, Spain
The Order of Things – Photography from The Walther Collection, The Walther Collection, Neu-Ulm, Germany
The Divine Comedy – Heaven, Purgatory And Hell Revisited By Contemporary African Artists, National Museum of African Art – Smithsonian Institute, Washington, DC
Making Africa – A Continent of Contemporary Design, Vitra Design Museum, Weil am Rhein, Germany
Spatial Stories, Center for Visual Art (CVA), Denver, CO
Fotografie: International – Video, Mixed Media, Daimler Art Collection, Stuttgart, Germany
Open Museum Open City – MAXXI, Museo nazionale delle arti del XXI secolo, Rome, Italy
The Divine Comedy – Heaven, Purgatory And Hell Revisited By Contemporary African Artists, SCAD Museum of Art, Savannah, GA
Constructing Worlds: Photography and Architecture in the Modern Age, Barbican Art Gallery, London, Great Britain
How Far How Near, Stedelijk Museum Amsterdam, Amsterdam, Netherlands
Perspectives 1, Stevenson, Cape Town, South Africa
Destini/Storie/Vite. Fotografie dalla Collezione Fondazione cassa di Risparmio di Modena, Centro de Arte Moderna e Contemporanea della Spezia (CAMeC), La Spezia Italy
Present Tense, Centro de Arte Moderna – CAM – Fundação Calouste Gulbenkian, Lisbon, Portugal
Room Service – Vom Hotel in der Kunst und Künstlern im Hotel, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany
Die Göttliche Komödie. Himmel, Hölle, Fegefeuer aus Sicht afrikanischer Gegenwartskünstler, Museum für Moderne Kunst (MMK), Frankfurt/Main, Germany
Apartheid & After, Huis Marseille stichting voor fotografie, Amsterdam, Netherlands
Prix Pictet: Power, The Museum of Photographic Arts, San Diego, CA
Dark Blue – The Water as Protagonist, Haggerty Museum of Art – Marquette University, Milwaukee, WI
Power, Aperture Gallery, New York City, NY
Das Fenster im Blick, Art Foyer der DZ Bank Kunstsammlung, Frankfurt/Main, Germany
Power, Artstation, Tel Aviv
My Joburg – Kunstszene Johannesburg, Kunsthalle im Lipsiusbau, Dresden, Germany
Fotografia – Festival Internazionale Di Roma. Vacatio, MACRO Museo d´Arte Contemporanea Roma, Rome, Italy
Present Tense – Photographies du Sud de l´Afrique, Centre Culturel Calouste Gulbenkian, Paris, France
Power, Kunsthalle Zürich, Zurich, Switzerland
Power, Warehouse A', Port of Thessaloniki, Thessaloniki, Greece
My J'oburg, La Maison Rouge, Paris, France
Distance and Desire: Encou nters with the African Archive, The Walther Collection, Neu-Ulm, Germany
Power, Beirut Exhibition Center, Beirut, Lebanon
Cityscapes – Cinco Fábulas Urbanas, CENTROCENTRO CIBELES DE CULTURA Y CIUDADANÍA, Madrid, Spain
Prix Pictet – Power, Gallery of Photography, Dublin, Ireland
Power – Prix Pictet, Huis Marseille stichting voor fotografie, Amsterdam, Netherlands
SERRALVES COLLECTION: RECENT WORKS, Museu Serralves – Museu de Arte Contemporânea, Porto, Portugal
Aufstieg und Fall der Apartheid: Fotografie und Bürokratie des täglichen Lebens, Haus der Kunst München, Munich, Germany
Prix Pictet Power, Istanbul Modern, Istanbul, Turkey
Power, Hungarian House of Photography in Mai Manó House, Budapest, Hungary
1era. Bienal de Montevideo 2012 – El Gran Sur (The Great South), BIENAL DE MONTEVIDEO, Montevideo, Uruguay
Power, Galerie Vanessa Quang, Paris, France
The Traveller – A Visual Journey by Alexander Ramselaar, Tent – Centrum Beeldende Kunst, Rotterdam, Netherlands
Power, Bernheimer Fine Art Photography, Munich, Germany
_ The Prix Pictet – Power Exhibition_, The Saatchi Gallery, London, Great Britain
Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life, ICP – International Center of Photography, New York City, NY
Viewpoint / A closer look at showing, Huis Marseille stichting voor fotografie, Amsterdam, Netherlands
Wir sind die anderen – We are the others, Art Foyer der DZ Bank Kunstsammlung, Frankfurt/Main, Germany
Lost Places – Orte der Photographie, Hamburger Kunsthalle, Hamburg, Germany
Auf Augenhöhe: Meisterwerke aus Mittelalter und Moderne, Ulmer Museum, Ulm, Germany
La Triennale 2012 – Intense Proximity, Palais de Tokyo, Paris, France
Africa/Africa – Abbaye St André, Centre d'art contemporain Meymac, Meymac, France
African Photography: For Whose Eyes?, Mandeville Gallery, Schenectady, NY
Prix Pictet – Growth, Ayyam Gallery – Beirut, Beirut, Lebanon
Prix Pictet – Growth, Gallery of Photography, Dublin, South Africa
Prix Pictet: Growth, The Corcoran Gallery of Art, Washington, DC
GROWTH – Prix Pictet, arteversum, Dusseldorf, Germany
The Eye is a Lonely Hunter – Images of Humankind, Reiss-Engelhorn-Museen, Mannheim, Germany
Beyond Frontiers – Summer show, Kuckei + Kuckei, Berlin, Germany
Present Tense, Gulbenkian. Próximo Futuro, Lisbon, Portugal
Appropriated Landscapes, The Walther Collection, Neu-Ulm, Germany
Prix Pictet, Christophe Guye Gallery, Zurich, Switzerland
Il corpo metafora di un'esperienza, CIAC – Centro Italiano Arte Contemporanea, Foligno, Italy
Growth – Prix Pictet, Warehouse A', Port of Thessaloniki, Thessaloniki, Greece
Photography: New Documentary Forms, Tate Modern, London, Great Britain
New Documentaries Form at Tate Modern, Akbank Art Center, Istanbul, Turkey
Figures & Fictions: Contemporary South African Photography, Victoria & Albert Museum – V&A, London, Great Britain
Possible Cities: Africa In Photography and Video, Haverford College, Haverford, PA
Where is my Place?, La Galleria di Piazza San Marco, Venice, Italy
The Original Copy: Photography of Sculpture, 1839 to Today, Kunsthaus Zürich, Zurich, Switzerland
21st Century: Art in the First Decade, Queensland Art Gallery / Gallery of Modern Art, Brisbane, QLD
FINE ART 2010, ARTCO Galerie GmbH, Herzogenrath
DRAMA in SEVEN ACTS, OMC Gallery For Contemporary Art, Huntington Beach, CA
BREAKING NEWS. Contemporary Photography from the Middle East and Africa, Ex Ospedale Sant'Agostino, Modena, Italy
The Original Copy: Photography of Sculpture, 1839 to Today, MoMA – Museum of Modern Art, New York City, NY
Always Moving Forward, Gallery 44 Centre for Contemporary Photography , Toronto, ON
Photography Group Show, Galerie van der Mieden, Antwerp, Belgium
ARTCO – FINE ART, ARTCO Galerie GmbH, Herzogenrath, Germany
Summer 2009/10: Projects, Stevenson, Cape Town, South Africa
WELT – BILDER 3, Stadthaus, Zurich, Switzerland
EX NUGIS SERIA d'Afrique et d'ailleurs…, Maison d'Art Bernard Anthonioz, Nogent-sur Marne, France
Beyond Beauty: Photographs from the Duke University Special Collections Library, Duke University, Durham, NC
Kunst aus einhundert Jahren 1909 – 2009. Highlights der Daimler Kunst Sammlung, Galerie im Prediger, Schwäbisch Gmünd, Germany
Thy Brothers' Keeper, Kulturzentrum Zehntscheuer, Rottenburg am Neckar, Germany
prospekt Johannesburg, Gl Holtegaard, Holte
Die Tropen, South African National Gallery, Cape Town, South Africa
Great Expectations – Contemporary Photography Looks At Today'S Bitter Years, Casino Luxembourg – Forum d'art contemporain, Luxembourg
Mercedes- Benz Award for South African Art and Culture 2009, Daimler Contemporary, Berlin, Germany
Then & now: South African photography, MGA – Monash Gallery of Art, Wheelers Hill, Victoria, Australia
Face of Our Time, San Francisco Museum of Modern Art – SFMOMA, San Francisco, CA
is it tomorrow yet?, Singapore Art Museum, Singapore
Zones of Conflict, Pratt Manhattan Gallery, New York City, NY
A Look Away – South African photography today, Kuckei + Kuckei, Berlin, Germany
Die Tropen. Ansichten von der Mitte der Weltkugel,Martin-Gropius-Bau, Berlin, Germany
Snap Judgments, Stedelijk Museum CS, Amsterdam, Netherlands
Home Lands-Land Marks: Contemporary Art from South America, Haunch of Venison – London, Great Britain
Peripheral vision and collective body, MUSEION – Museum für moderne und zeitgenössische Kunst , Bolzano, Italy
Then and Now: Eight South African Photographers, Center for Documentary Studies at Duke University, Durham, NC
Cities in Crisis – Photographs of the South African Urban Landscape, University of Johannesburg, Johannesburg, South Africa
FotoGrafia. Festival Internazionale di Roma, Palazzo delle Esposizioni, Rome, Italy
Guy Tillim (RSA) und Verborgene Welten mit Vanessa Püntener (CH) und Olga Titus (CH), Haus für Kunst Uri, Altdorf, Switzerland
Reality Check, South African National Gallery, Cape Town, South Africa
Os Tropicos – Die Tropen, Centro Cultural Banco do Brasil – CCBB – Rio de Janeiro, Rio de Janeiro, Brazil
Snap Judgments: New Positions in Contemporary African Photography, Brooks Museum of Art, Memphis, TN
Biennale Cuvée, OK Offenes Kulturhaus OÖ, Linz, Austria
Presumed Innocence: Photographic Perspectives of Children, DeCordova Sculpture Park and Museum, Lincoln, MA
Summer 2007/8, Stevenson, Cape Town, South Africa
2nd Arts in Marrakech International Biennale, Marrakech Biennale Association, Marrakech, Morocco
Zeitgenössische Fotokunst aus Südafrika, Kunstmuseum Bochum, Bochum, Germany
South Africa on Paper, Gallery Barry Keldoulis, Sydney, Australia
Africa Remix – Contemporary art of a continent, Johannesburg Art Gallery (JAG), Johannesburg, South Africa
Global Cities, Tate Modern, London, Great Britain
Documenta 12, Documenta, Kassel, Germany
Thy Brothers' Keeper, Boca Raton Museum of Art, Boca Raton, FL
Juicios instantáneos, Museo Tamayo, Mexico City, Mexico
Zeitgenössische Fotokunst aus Südafrika, NBK – Neuer Berliner Kunstverein, Berlin, Germany
Another World – Bamako 2005, CENTRALE for contemporary art, Brussels, Belgium
South African Art Now, Stevenson, Cape Town, South Africa
27° Bienal de São Paulo, Bienal de Sao Paulo, São Paulo, Brazil
Africa Remix, Moderna Museet, Stockholm, Sweden
Photography, Video, Mixed Media III, Daimler Contemporary, Berlin, Germany
VU!, Noorderlicht Fotogalerie, Groningen, Netherlands
Snap Judgments: New Positions in Contemporary African Photography, Miami Art Central, Miami, FL
Africa Remix – Contemporary Art of a Continent, Mori Art Museum, Tokyo, Japan
Thy Brothers Keeper, Flint Institute of Arts, Flint, MI
Outside Europe, Stadtgalerie Kiel, Kiel, Germany
Snap Judgments – New Positions in Contemporary African Photography, ICP – International Center of Photography, New York City, NY
Outside Europe – Aus der Sammlung DaimlerChrysler, Daimler Contemporary, Berlin, Germany
South African art 1848 – now, Stevenson, Cape Town, South Africa
Africa Remix – Contemporary art of a continent, Centre Pompidou – Musée National d´Art Moderne, Paris, France
Africa Remix – Contemporary Art of a Continent, Hayward Gallery, London, Great Britain
Afrika Remix – Zeitgenössische Kunst eines Kontinents, Museum
Kunstpalast, Dusseldorf, Germany
A Decade of Democracy: South African art from the permanent collection, South African National Gallery, Cape Town, South Africa
Festival Internazionale di Roma, Rome, Italy
UNVEILED, OMC Gallery For Contemporary Art, Dusseldorf, Germany
Positions of South African Photography – Today, OMC Gallery For Contemporary Art, Dusseldorf, Germany
Shooting Resistance: South African Photography 1976 – 1994, Axis Gallery Inc., New York City, NY
Foreign Affairs: Conflicts In The Global Village, The Alternative Museum (TAM), New York City, NY
eyeAfrica: African Photography 1840-1998, Castle of Good Hope, Cape Town, South Africa
Colors: Art from South Africa, Haus der Kulturen der Welt, Berlin, Germany
Centre Georges Pompidou, Paris
Centre National des Arts Plastiques, France
DZ Bank Art Collection, Frankfurt
Fondation Henri Cartier-Bresson, Paris
Fondation Leschot, Freiburg, CH
Fundacao de Serralves, Porto
Fundacio Foto Colectania, Barcelona
Gordon Schachat Collection, Johannesburg
Hood Museum of Art, Hanover, USA
Huis Marseilles Fotomuseum, Amsterdam
International Centre of Photography, New York
Johannesburg Art Gallery, SA
Lannan Foundation, Santa Fe
Museum of Modern Art, New York
National Gallery of Canada, Ottawa
National Museum of Photography, Copenhagen
Neuer Berliner Kunstverein, Berlin
Queensland Art Gallery, Australia
Sasol Corporate Art Collection
South African National Gallery – Iziko Museums, Cape Town
South African Reserve Bank Art Collection
Standard Bank Arfrican Art Collection
Stedelijk Museum, Amsterdam
The Walther Collection, Neu-Ulm/Burlafingen and New York
toggle cv


We host a review and analysis of the results of the Presidential primary in New York. With: Eugene Craig III, grassroots activist and 3rd Vice-Chair of the Maryland Republican State Party; media consultant and political strategist Catalina Byrd; and Arun Gupta, contributor to The Washington Post, YES! Magazine, In These Times, The Progressive, Telesur,and The Nation, and author of Bacon as a Weapon of Mass Destruction: A Junk-Food Loving Chef's Inquiry into Taste.


Positioning herself as an advisor and counselor, Pat forms long term relationships with her clients, working closely with them on all issues pertaining to their business, not just the accounting related ones. Her clients see her as their roadmap, guiding them through important decisions and serving as their support system.
Pat entered the world of public accounting when she was 16, accepting a job at Solomon, Berkson and Baerson Inc which evolved into Baerson, Witonski, Berkowitz & Rubin LLC. She has enjoyed advising closely held businesses and their owners ever since. She specializes in providing tax and accounting advisory services to various type of business clients.
Pat enjoys spending time with her two wonderful daughters as well as gardening, and scoping out antique and thrift shops for vintage treasures.
The firm has a strong support system in each department to assist our clients with any issue they may encounter. The teamwork among the staff is amazing and beneficial to everyone.
I have really enjoyed developing relationships with my clients and feeling that I am a valued member of their team. Just knowing that you can contribute to their success or be there to guide them thru their rough times is very rewarding.


text:
You Won't Believe How Much The 'Stranger Things' Kids Earn!
How much were you earning at 14? Possibly a few dollars here and there? Well, the kids of Stranger Things are probably earning more than you ever will. No offence, but it's true.
The young stars of Netflix's Stranger Things earn six-figure salaries per episode.
Before the show became a smash hit, the show's child actors were reportedly earning $30,000 per episode, however, that soon changed.
today was the best #strangerthingsday ever
A post shared by Stranger Things (@strangerthingstv) on Nov 6, 2018 at 7:05pm PST
The cast renegotiated their salaries once the show was a ratings success. So, how much are they earning per episode for Seasons three and four? See for yourself.
– Winona Ryder (Joyce Byers): $350,000
– David Harbour (Jim Hopper): $350,000
– Millie Bobby Brown (Eleven): $350,000
– Finn Wolfhard (Mike Wheeler): $250,000
– Gaten Matarazzo (Dustin Henderson): $250,000
– Caleb McLaughlin (Lucas Sinclair): $250,000
– Natalia Dyer (Nancy Wheeler): $250,000
– Charlie Heaton (Jonathan Byers): $250,00
– Noah Schnapp (Will Byers): $250,000
– Sadie Sink (Max Mayfield): $150,000
– Dacre Montgomery (Billy Hargrove): $150,000
Yep, you guessed it – the cast are earning between $2.8 million and $1.2 million per season, and most of them aren't even 18 yet!
If you want to feel even more sorry for yourself, it's reported that Millie Bobby Brown is earning even more than her cast mates, with Variety claiming that the 14-year-old is getting additional fees on top of her high salary.
headed to loch nora for the full size candy bars | regram: @milliebobbybrown
A post shared by Stranger Things (@strangerthingstv) on Oct 31, 2018 at 5:16pm PDT
However, the cast of Stranger Things are far from being the highest-paid TV stars of 2018.
According to Variety, Elisabeth Moss earns $1 million per episode for The Handmaid's Tale, while Julia Roberts gets $600,000 per episode for her new show, Homecoming.
Missed Botica's Bunch? Catch up by clicking play below!


At Mistley Manor we have a choice of spacious and relaxing lounges on each level, providing ideal areas in which to socialise.
Here you can delight in the serene and peaceful surroundings whilst reading a book, chat to friends or simply watch the television. There are also small console tables available for residents who like to play cards, chess, draughts, solitaire, board games etc. or perhaps complete a small jigsaw puzzle.


text:
Q: Do I need to unsubscribe from timer(1000)? If I create a timer() with one execution like:
timer(1000).subscribe(() => console.log("some logging"));

do I need to unsubscribe?
The docs say:

If period is not specified, the output Observable emits only one value

so, as far as i learned about RxJS yet, I guess, that timer() might be completed after the execution. But I am not quite sure. There is not marble diagram, which shows an completed timer().
NOTE
I am not asking about how to unsubscribe; I need to know if a timer() without a given period completes and does not need to be unsubscribed.

A: It will complete since you are not providing the second argument "period".
Here is the documentation http://reactivex.io/rxjs/class/es6/Observable.js~Observable.html#static-method-timer
Here is an example exposing the error and complete in the subscription https://stackblitz.com/edit/angular-rxjs-timer-test?file=index.ts
I hope that is helpful

A: This is a good question on the bases of the timer() documentation, which is a bit confusing if you do not read it carefully and in full, at it is initially stating:
... that emits an infinite sequence of ascending integers,...
Regardless, the answer to the question is NO, you do not have to unsubscribe as demonstrated by the accepted answer.
I wanted to offer here a little trick, (if you are unsure, in hurry or get lazy or sloppy understanding your rsjx tools), but still want to make sure, your subscriptions unsubscribe, you could use:
yourObservable.pipe(take(1)).subscribe( . . . // your action(s) //

The piped take(1) will close the subscription for you.

redpajama_set_name: RedPajamaStackExchange


text:
Q: please let me know the meaning of "Madam Secretary" dialogues Whenever I cannot understand some English expression, I am getting big help from this site. Very useful website and good people.
Anyway. I am watching American Drama "Madam Secretary" season1, episode 15. And there are some dialogues I can't understand. Please help me!
Here is the dialogue.

Elizabeth:  Yeah. And he said that Samila Mahdavi is working  for the CIA.
Andrew: And you're thinking Juliet could've been running  her.
(FYI, Samila was dead Iranian Intelligence Agenct and Juliet was CIA agent but betrayed CIA)
Elizabeth (os): That's where I've been going with it. As a rogue  asset. Is that even possible?
Andrew: At this point? (scoffs)
Elizabeth:  That's what I was afraid of. He also said something  about Mahdavi being involved in a plot against the  Iranian government. I mean... Do you think that  that's what this whole thing could be about?
I can understand roughly but I need to know what the sentences meaning exactly. I am very appreciate if somebody who watched this drama help me.
Thanks!

A:
Andrew: And you're thinking Juliet could've been running her.
[And you're thinking that Juliet could have been using her as a spy.]
Elizabeth (os): That's where I've been going with it.
[That's what I've been thinking.]
Elizabeth: As a rogue asset. Is that even possible?
[As an unofficial spy in unapproved operations]
Andrew: At this point? (scoffs)
[Given what we know about the current circumstances?]
Elizabeth: That's what I was afraid of.
[From what you say, what I was worried might happen appears to be the case]

(Fair warning:  I haven't watched the program.)


text:
Our Staff Nurturing the next generation
Stephana Arnold
A native Hamilton, Ontario, Stephana Arnold attended the Canada's National Ballet School where she received the prestigious Peter Dwyer Award and Honours standing on her Intermediate and Advanced Cecchetti Ballet Examinations.
Upon graduation, she danced with several small companies before being asked to join the National Ballet of Canada in 1992-1995.
In 1996, Stephana joined Les Grands Ballets Canadiens de Montreal and quickly rose through the ranks to First Soloist. With her dynamism and dramatic stage presence, she danced a wide and eclectic variety of Principal and Soloist roles in Concerto Barocco , Nutcracker, Queen of Spades, Giselle, Pillar of Fire and Symphony of Songs to name a few. She was also a favourite muse for many choreographers and worked with such names as James Kudelka, Eduoard Lock, Jiri Kylian, Ohad Naharin, Shawn Hounsell, Septime Webber and Kevin O'Day. Stephana was invited to dance at many Gala evenings such as tributes to Celia Franca, Evelyn Hart and other highly respected dance festivals across Canada.
The year 2003 brought her to Ballet British Columbia where she danced a diverse array of Principal roles, from the Woman in Mark Godden's Conversation Piece, John Alleyne's Faerie Queen, Kylian's Petit Mort and lastly, Jean Grand-Maitre's Carmen to rave reviews in 2007. While still dancing she became Ballet B.C.'s Company Teacher from 2004-2009.
In 2010, Stephana came out of retirement to dance in the Opening Ceremonies for the Vancouver Winter Olympics. Currently she is an Award Winning Choreographer, Resident Choreographer for Catching Art Contemporary Ballet Theatre, Senior Coach at Pro Arte Centre in North Vancouver and is a sought after Guest Teacher, Adjudicator and Personal Trainer. (http://www.stephana-balletfit.com/)
Stephana Arnold joined Fraser Valley Academy of Dance as a guest teacher for classical ballet during our August 2017 Summer Intensives. She continues to teach at FVAD during the school year with classes in Classical Ballet and Contemporary Dance.
(Photograph above: "Flying" by David Cooper Photography davidcooperphotography.com)
Alexander McCune
Amanda Sheffield
Irina Lavrova
Kayla Cameron
Mr. John C. Carney
Mrs. Carolyne Carney
Reid Colton
Seira Shimamura


text:
Courtesy: PC Athletic Communications
Marshall Leads PC in Setback to Winthrop
By Presbyterian College Athletics
Final Box Score
CLINTON, S.C. – The Presbyterian College women's lacrosse team lost to Winthrop, 17-4, on Wednesday afternoon at Bailey Memorial Stadium. Mia Creighton was the game's leading scorer with eight points (7G-1A), while Sarah Marshall led the Blue Hose with three points (1G-2A).
Scoring the Game
Presbyterian College kept it even early, as Kayla Koch recorded a pair of early saves and the Blue Hose were able to clear the ball to the offensive zone. Madison Berg's shot at 28:18 was saved by the Eagles' Alaina Girani.
Winthrop broke the deadlock with a goal from Creighton at 25:44. She doubled the lead with her second goal at 18:22. The Eagles grew the lead to 6-0 over the next eight minutes. Kara DiClemente scored PC's first goal of the day with 8:33 remaining off an assist from Marshall to make it a 6-1 game. However, the Eagles entered half winning 11-1.
The Blue Hose struck first in the second half, as Sophie Krist scored a man-up goal off Marshall's second assist at 28:59 to bring the score to 11-2. Winthrop and PC traded goals, with Marshall scoring her 23rd of the season, assisted from Cady Roberts, at 21:10. Megan Dreyer scored an unassisted goal, her 14th of the year, with 9:52 remaining to cut a 2-0 run by Winthrop and make it 14-4. The Eagles added three more goals, including one with eight seconds remaining, to win 17-4.
Presbyterian College moves to 1-13 on the year and 0-4 in the Big South, while Winthrop improves to 6-8 (3-0).
Sarah Marshall has scored a goal in seven consecutive games and leads the team with 34 points (23G-11A).
Kara DiClemente scored her first goal of the year and second point.
Kayla Koch recorded a season-high 12 saves.
Presbyterian College welcomes Arizona State to Bailey Memorial Stadium for a non-conference game on Sunday, April 14, in a 1:00 pm start. The game will be broadcast on ESPN+.
thursday, apr. 25
Barnett, Roarick Honored By Big South
saturday, apr. 20
Longwood Pulls Away to Spoil Lacrosse Senior Day
friday, apr. 19
Lacrosse Hosts Longwood On Saturday For Senior Day
wednesday, apr. 17
Blue Hose Drop Hard Fought Game at Gardner-Webb


I'm a bit behind in posts, I imagine I will catch up next week with Sebastian back in school.
We celebrated Christmas in Michigan this year. Lots of sweet treats and love surrounding us. We made it for my mom's family Christmas, my first in years. My cousins are all grown up! It seems to happen over night, but really it's during the years that I have missed. Grandpa came for a bit, dressed in his brown suit. I was so happy to see him. We were all missing Grandma, quietly in our hearts. On Christmas afternoon we went over to Grandpa's and there was a beautiful photo of Grandma on the table. We were in Australia last Christmas so I was unable to see my grandma before she passed and also unable to be at the funeral. While I could not be there physically, I wrote something which my cousin read out to those in the audience, countless friends and family, grieving. As anniversaries of such events can be difficult to go through, I reread my post, and was embraced by her memory.
While remembering those that were not there, we were creating new memories with those that were. Sebastian enjoyed visits with each of his cousins, which always involves lots of smiles and laughter. And in some cases, serious conversation. Sebastian's cousin Logan is starting to realize that Sebastian is not able to do things that his younger brother, just a few months old, is already starting to do. Although Logan and I have talked about Sebastian and his different abilities, he seemed to hold to the belief that he was still a baby so he would get there eventually. And he still does, a bit. He has now decided that some kids don't walk until they are 3 or 3.5. He told me that maybe Sebastian will have to take a wheelchair to school, but we can still help him learn how to walk. I'm thankful for the hope that Logan has for Sebastian's future.
All conversation was not serious. There was gift opening, game playing, and plenty of smiles. I love how my nephews and neice love Sebastian. They are always so happy to see him and so excited to talk on the phone or even by video on Skype. Being in the same time zone is fabulous, but being just five hours away is even better!
After the family Christmas party we headed over to Holland, Mi on the west side of the state, where I went to college and many of my college friends have returned to raise their families together. We always feel so blessed by good friends whenever we are in town and everyone gets together for a short visit. Now that we all have kids, I'm enjoying getting to know the little ones that are a part of my favorite people and happy to introduce Sebastian to that wonderful world too.
Family and friends. Friends that are family. Love and friendship. Laughter and hugs. This is it for me, Christmas. Some folks get stressed by the parties and the people but I am so thankful to be 'home' for Christmas this year. There's nothing quite like it.
I love the family shots of Seb and what a special relationship he and Logan have already.
I adore his little colourful hoody and playing with the Monchichi! ( I had those when I was small!) I am so happy you jave more support and are settling well into life xoxo love to you and Ali and Seb as always.