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Home » Christian York » Death » Rumors
Christian York
Real Name
Jason Spence
Date of Birth
April 13, 1977
Place of Birth
With news spreading that Sean OHaire has passed away, there have been a ton of speculations as to the details of his death. One of the rumors circulating right now is that the former WWE star was battling a severe case of depression. The belief is that he was having a hard time since he had failed careers in professional wrestling, MMA and boxing. Still no official word yet on the cause of his death.
September 10, 2014
The feeling backstage in WWE is that the segment between Kane and Daniel Bryan on Monday Night Raw was so strong that Bryan could effectively take time off up until Extreme Rules 2014 and the company would be fine. As many already know, Bryan has left WWE temporary to be with his family as they mourn the death of his father.
April 25, 2014
There are rumors going around that WWE has instructed their performers and former employees to avoid having any contact with Nancy Grace. Vince McMahon was said to be rather furious at how she handed the death of the Ultimate Warrior and how she blindsided Diamond Dallas Page. No official memo was sent out or anything, but word is spreading among the industry.
April 19, 2014
While it normally takes a while for the cause of death to be revealed, it looks like we do not have to wait in the case of Sean OHaire. TMZ, which has been known to cover things related to WWE and professional wrestling in general, is reporting that the former tag team champion committed suicide by hanging himself. Reports are also stating that it was his father who discovered the body.
September 10, 2014
A message on Twitter from Kevin Nash about the death of his former WCW protege Sean OHaire.
September 10, 2014
A message on Twitter from Lance Storm about the death of Sean OHaire.
September 10, 2014
Some unfortunate news for wrestling fans tonight. The rumors of Sean O'Haire being dead are true. Several performers, including Tyler Reks, Lance Storm and Scotty Riggs, have no confirmed the death and expressed condolences towards their former colleague. The former WWE and WCW star was just 43 years of age. His cause of death are not immediately known.
September 9, 2014
The relationship between Hulk Hogan and WWE has been further extended, as the former world heavyweight champion is now going to be involved in a movie for the company. WWE Studios is producing Celebrity Death Pool, featuring Ken Jeong from the Hangover series and David Hasselhoff. Hogan has a small role in the movie, but the company is expected to promote him heavily to draw in their fan base.
August 21, 2014
With a lot of fans going on social media and proclaiming the death of his company, MVP has become quite vocal in defense of TNA. The former United States Heavyweight Champion has been telling people that the company will continue to churn through. He is under the belief that a new television deal will be worked out before the end of the year.
August 1, 2014
"Hello, everyone. I will not be on Twitter for a while. My father, Joe Laurer, passed away the other day, and I have to deal with family matters. My dad is in a much better place now, and we will be reunited one day." - Chyna reveals the death of her father on Twitter
May 26, 2014
"Hey, Owen, can't believe it's been fifteen years since you left us. It still hurts the same and not a day goes by that I don't think of you and smile. There are so many things I wish I could tell you, but most of all, I'd just tell you how much I miss you, brother." - Bret Hart commemorating the death of his brother Owen Hart
May 24, 2014
Expect to see Big Show taking some time off from WWE in the near future, as he has been signed to play a role in an upcoming movie called Vendetta, a joint project between WWE Studios and Lionsgate. The film is about a man who commits a crime in order to be sent to prison, so that he can avenge the death of his wife by going after the prisoner who killed her.
May 23, 2014
Today is a sad one for professional wrestling fans. It marks the third year anniversary of the death of Randy Savage, one of the biggest legends in WWE history. The former Intercontinental Champion passed away after suffering a heart attack and crashing into a tree while driving. Much like before his death, fans have been begging WWE to induct him into the hall of fame.
May 20, 2014
When the wrestling world discovered that Lee Marshall passed away, there was not a lot of details floating around. The latest news is that the former WCW announcer died after losing his battle to throat cancer. His son was recently interviewed by the Los Angeles Times about the death, and he revealed a couple of details to the newspaper.
May 8, 2014
A video from Diamond Dallas Page, where the former WCW star paid tribute to Lee Marshall, whose death recently brought his name back into the conscious of professional wrestling fans.
May 6, 2014
"I must tell you that I commented that night when he did come on stage with his two beautiful little girls looking so proud, as he was as well, but when they left and went to the back, I noticed it even more... I felt that he wasn't walking well and I thought that was due to some injuries that caused that. I also noticed that when he came to speak, that he seemed, I don't want to say out of breath, but he was sweating and all that. I didn't think too much of it on the night and thought maybe he was nervous or whatever, but I just didn't feel like there was something wrong with him and I had no idea whatsoever as to what was to follow, that was quite a shock." - Bruno Sammartino discusses Ultimate Warrior condition before death
April 30, 2014
A picture of Chris Masters doing a tribute to the Ultimate Warrior, whose surprising death took place earlier this month, by dressing up as the legendary WWE star.
April 29, 2014
In a very touching display, Chris Masters did a tribute to the Ultimate Warrior, whose death rocked the world of professional wrestling earlier this month. While working an independent wrestling show in England, Masters dressed up as Ultimate Warrior, use his theme song, performed his trademark running entrance and even wrestled the same style.
April 28, 2014
Back in 2000, the world of professional wrestling was saddened by the death of Masakazu Fukuda. While working a tournament match, Fukuda was hit by a flying elbow drop from Katsuyori Shibata. The blow proved to be fatal, as Fukuda had to be taken to the hospital, where he died a couple of days later. New Japan finished the tournament and dedicated the event in his honor.
April 28, 2014
Earlier tonight, Jim Ross posted on Twitter about the death of Lee Marshall, his former colleague in WCW. While his work in professional wrestling will forever be remembered by many, it is his work as the voice of Tony the Tiger, the iconic cereal character, that the world knows him for.
April 27, 2014
Upon finding out about the death of his father, Daniel Bryan was given time off by WWE to mourn with his family. He skipped out on Smackdown and the live events this past week, and rumors had it that WWE was willing to let him stay off the road until Extreme Rules 2014. Reports are surfacing, though, that Bryan is now scheduled for Monday Night Raw and Smackdown this week.
April 27, 2014
"Glad I was able to shake the man's hand and speak for a moment. My thoughts and prayers to your wife and two daughters. Rest in peace, Ultimate Warrior." - Tensai comments on the death of the WWE legend
April 26, 2014
A tribute video of the Ultimate Warrior, whose death stunned WWE fans all over the world, by Diamond Dallas Page.
April 25, 2014
On February 22, OMEGA Championship Wrestling is doing a live event in Smithfield, North Carolina. Matt Hardy and Shane Helms will be headlining the event as a tag team. Gunner, Christian York and Reby Sky have all been announced for the show as well.
February 6, 2014
With TNA looking to cut costs, the company opted to release a couple of performers. One of the ones that did not survive the cut was Christian York, whose biggest role in the company was winning the Gutcheck challenge. He is expected to return to the independent wrestling circuit.
July 3, 2013
Some speculations are floating right now about Mark Henry after how his character has been booked as of late. The belief is that the former world heavyweight champion is being punished by WWE for something. Henry was knocked out in a matter of seconds at Survivor Series 2014. Plus, he also suffered a clean loss to Ryback on Monday Night Raw. No word yet on whether or not there is actual backstage heat, though.
November 26, 2014
Since Sting made his WWE debut last night at Survivor Series 2014 by attacking Triple H, many are under the impression that a match between the two will be taking place soon. That might not necessarily be the case. Management is still hoping that Undertaker can be healthy enough to work a match at Wrestlemania 31, where he would do the dream match with Sting. HHH is said to be a backup opponent in case Undertaker cannot go.
November 24, 2014
Since rumors have been running rampant over the last couple of days about her possible departure from WWE, a lot of wrestling fans are under the belief that AJ Lee was punished by management at Survivor Series 2014 and forced to drop the title very quickly to Nikki Bella. Sources are saying that is not the case. It was an idea that the creative department came up and was not influenced by backstage heat.
November 24, 2014
For a good period of time there, the belief was that Randy Orton would be the mystery partner for the baby faces in the main event of Survivor Series 2014. There is a chance that might still happen. The former world heavyweight champion is backstage with WWE right now. Management could pull the trigger on a last minute change and have Orton, who was off filming a movie, replace one of the current team members.
November 23, 2014
Reports have surfaced that Roman Reigns is backstage at Survivor Series 2014. Some believe that he could be making an appearance during the pay per view. No word yet on what role that will be, but he could play a part in the main event elimination tag team match. Reigns could be utilized to attack Seth Rollins, which would reignite the feud between the two of them that was started before Reigns was sidelined by an injury.
November 23, 2014
Since they are now one of the more entertaining acts in the industry, Miz and Damien Sandow are the favorites to win the WWE tag team championship at Survivor Series 2014. Cody Rhodes and Goldust have lost a good amount of momentum, mainly due to the creative department not putting much focus on them. The feeling is that Miz and Sandow can help bring some energy back into the tag team division.
November 23, 2014
WWE is really desperate to increase the subscribers count for the WWE Network, and it might prompt them to pull the trigger on something that fans have long been waiting to see. In addition to providing their online service for free during the entire month of November, management is now seriously discussing the possibility of having Sting make his official on screen debut for the company.
November 22, 2014
There is a little bit of a buzz generating from the independent wrestling circuit. Shelton Benjamin and Charlie Haas are going to be reuniting for a show in Houston, which is being promoted by Booker T. The reason why there is a buzz brewing is because Kurt Angle recently teased fans on Twitter by asking them if they want to see a Team Angle reunion, which has sparked rumors that the Olympic gold medalist might be making a surprise appearance at the event.
November 22, 2014
Reports have surfaced that WWE intends on having Prince Devitt and Kenta Kobayashi continue working as a tag team. A possible tag title run is being discussed. However, this might lead to some problems, as one of the things that Devitt reportedly requested when he signed his contract was that he not be forced to stay in developmental for too long of a period. Devitt feels that he has enough international experience to be qualified for the main roster.
November 22, 2014
In what became a running joke, the New Day stable, which consists of Xavier Woods, Kofi Kingston and Big E Langston, kept being delayed by WWE. The trio worked live events together, but they were not utilized on television. Reports have surfaced that the reason why management held off on their push was because of the situation taking place in Ferguson, where a white cop killed a black teenager. The company did not want anything that can be construed as racial on their programming, so the group had to wait.
November 22, 2014
While their new television contract with Destination America does not start until 2015, there are talks that TNA could start filming episodes of Impact Wrestling again in December. Initially, Dixie Carter had planned to do taping at the Manhattan Center in January, but those will now more than likely be canceled. The company would then film episodes in England during their annual tour of the country.
November 21, 2014
Some further details have been released about the return of Chris Jericho to WWE in January. In order to main his character's popularity, the former world heavyweight champion prefers to not be shown on television. Jericho wants to work live events, where he can still experience the thrill of entertaining an audience and be a marketing asset at the same time. An appearance at Royal Rumble 2015 is still a possibility.
November 20, 2014
While it is a well known fact now that Jim Ross will be calling the first Global Force Wrestling pay per view in January, it is still a mystery as to who will be joining him for the event. Reports have surfaced that both Ross and Jeff Jarrett were leaning towards adding Mike Tenay to the team. However, there might be some complications with that, as TNA has just secured themselves a new television deal.
November 20, 2014
Earlier in the week, it was revealed that Alberto Del Rio was going to be signing with two different wrestling promotions at the beginning of 2015. Reports have surfaced that one of those companies will be TNA. Del Rio is said to be adamant about being able to work in Mexico again, and TNA provides a bit more freedom than the bigger corporation up north. The belief is that the announcement can be made as soon as January.
November 18, 2014
Rumors about AJ Lee leaving WWE have popped up again. This time, the belief is that the Divas Champion will be wrapping up with the company in December. A part of the reason why the speculations have popped up is because AJ recently started her own website, independent of the company. Some believe that she is trying to make that her main source of revenue. For what it's worth, AJ is not advertised for events at the end of December.
November 18, 2014
There's been quite a bit of speculation this week about former divas returning to WWE. The latest name on the rumor mill is Maryse Ouellet. A big part of that is because the Miz mentioned the possibility on Twitter. There are those that believe that Maryse could be interested in a return, if it meant that she would get a spot on Total Divas. The exposure could help her business ventures exponentially.
November 18, 2014
Speculations are floating around right now that Brad Maddox has been given a release by WWE. Many noted that his profile was moved from the current roster to the alumni section on the website. Maddox has not been used much over the last couple of months, outside of a random appearance where he was actually allowed to work as an in ring performer. No confirmation has been given by WWE yet, however.
November 14, 2014
During the meeting with Rey Mysterio last week, it was made very clear that Vince McMahon was in charge of the situation. He is the one that desperately wants the popular masked performer back in the ring, even though Mysterio has made it clear that he does not want to make a return. McMahon reportedly pushed the former world heavyweight champion to return on a full time schedule, even though Mysterio does not feel that his body can hold up for that.
November 13, 2014
After months of silence between the two sides, Rey Mysterio and WWE got together recently backstage to discuss the contract situation that has been lingering for a bit. Reports are surfacing that Mysterio essentially told management that he was no longer interested whatsoever in working with the company and wishes to move on to other things. WWE is still hoping that the former world heavyweight champion will change his mind, as they really need the drawing power in Mexico.
November 11, 2014
Earlier in the week, Chael Sonnen caught the attention of the professional wrestling industry when he revealed that WWE had offered him a $5 million contract, which he claims to have turned down because he was dedicated to UFC at the time. However, sources within WWE are stating that the story is completely fabricated. Vince McMahon reportedly does not view Sonnen as someone worth that high amount of money.
November 6, 2014


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Hard cover, large size Jewish Torah book, gold stamped in bonded leather
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The Torah (Pentateuch) is the first of three parts of of the Hebrew Bible (Old Testament). Contains 5 books:
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2006 Celler Cal Pla Mas den Compte Planots
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750ml Bottle $512.94
Case of 6
750ml Bottle $512.94
Case of 6
Item #55419
Size: 750ml
Type: Red Wine
Country: Spain
Region: Priorat
"It offers an alluring perfume of pain grille, crushed stone, violets, cinnamon, black cherry, and blueberry. A feminine, elegant style of Priorat, it has layers of succulent, spicy fruit, silky tannin, and exceptional length."
Reviewed by: The Wine Advocate - 95pts
Prices, promotions and availability may vary by store and online.
2006 Gran Clos Priorat
"Deep red color. Intense aroma of ripe blackberries, blueberries and plums, with spicy balsamic notes. Well balanced and expressive, with concentration of elegant ripe tannins. Tastes of ripe blackberries, blueberries and black plums. Shades of licorice, wild herbs and minerals. Long, persistent finish with an aftertaste of pleasant fruit."
$66.99 / 750ml Bottle
$381.84 / Case of 6
$381.84 / Case of 6
2011 Clos Mogador
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Catherine Damman on "Steve Paxton: Selected Works" at Dia:Beacon
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David Armstrong. Photo: Ryan McGinley.
THE FIRST, most distinctive thing about David Armstrong you noticed upon meeting him was his voice. It had not so much an accent as a sort of wistful cadence. It sounded like a mother comforting a child she is preparing to suffocate with a pillow.
I met David in the summer of 1981 in Provincetown. He was staying at the home of a man named Paul Johnson, a sparkly-eyed clammer whose house had many areas of old wallpaper that David used to beautiful advantage in a number of his classic photographs. The first thing I noticed about Johnson was that he had a tattoo. (In 1981, not everyone had a tattoo, no "normal" people had tattoos. Now normal people have tattoos on their necks.) Paul's was an apple, underneath which was written in that old-timey tattoo cursive the name Eddie. It was on his wrist. It couldn't have been covered by a sleeve. The other thing was, it had faded and blurred in that way that meant it had been there a long time. Do you understand what I mean by describing this to you?
David lived at that time in New York where, I knew from the legend that preceded him, he was an exhibited photographer and knew all the important punks and New Wavesters. He was tall, kind of disheveled, and not exactly punk or New Wave looking. I remember finding this odd. A New Wave look at that point seemed to me a very important thing to have. I think for David it was a discarded trope. In the same way, odd as it is, he seemed so much older than I, even though he was twenty-seven, and I was twenty-one. This was not just because of his mantle of New York experience. It also had to do with his finely honed knowledge. At that point, I had met and savored old queans who talked about Garbo and Dietrich like they knew them personally. David could talk about the court of Marie Antoinette and the Romanovs like he had been there.
From Artforum, February 1981. Ad for Diego Cortez's "New York/New Wave" at P.S. 1. Photo: David Armstrong.
Later that fall, David came to visit us—Mark Morrisroe, Stephen Tashjian aka Tabboo!, and me—in Boston, where we were living at 85 Park Drive. He brought a box of 16 x 20" black-and-white prints that perhaps he had been storing in Boston someplace, or maybe he was still printing at the Museum School on the sly. In any case, it was the first we'd seen his work other than the full-page picture of Evan and John Lurie that had been used as the advertisement in Artforum magazine for Diego Cortez's "New York/New Wave" exhibition at PS1. There weren't as many opportunities for publishing images then. Everybody and their brother didn't have books of their photographs, and there was no Internet.
The visit lifted the veil on his genius. This was work that stood among the masters. I liked it more than Robert Mapplethorpe and almost as much as Diane Arbus. I had not yet discovered Peter Hujar. I had not yet discovered Bronzino for that matter. David inculcated me in his work, as well as to Guido Reni—the history of portraiture pervades Armstrong's art. It didn't really matter what I thought. I was a kid from the sticks beginning my second year of art school. He seemed charmed by my adoration, though, and I appreciated being taken seriously.
David, I realized almost immediately upon hearing of his death, was the least judgmental person I had ever known and—considering his milieu—the least elitist. One of his best friends and divine models was this wretched girl who was a real "thief and a shitkicker," to borrow a phrase from the movie Female Trouble (which was a common thing for David to do). This girl could have stepped out of a Reynolds painting; she had a face like a porcelain doll and would have taken the gold out of your teeth while you were still breathing. David loved her and loved the people she stole from. It didn't occur to him to alter his opinion based on morals. This is not to say he never said an unkind word. In fact, he was at his most delightful when he did. Which was quite a bit come to think of it, before I paint him as Peg o' My Heart in his absence. I'm quite sure he wouldn't like that. However, he didn't care what any one did or who anyone "was" or, for that matter, if they were beautiful or not.
We took a walk through the Fens to a package store for a bottle of gin. At twenty-two, I still thought in terms of "drinks": a gin and tonic, a gimlet, maybe it came later but a negroni. As we left the shop, having purchased a fifth with pooled funds, he said, "What are you waiting for?" I said, "What do you mean?" He said, "Crack that bottle, I want a swig!" Of warm gin? I thought. No mixer, no ice, no lime?! He handed me the bottle. Ugh. I drank it anyway. Just to be cool.
I could tell you more stories about how he made my life a more interesting place. So could a thousand people who were his friends. Everyone who ever knew him knows they encountered someone really extraordinary. He was a hard worker, although he gave the impression of being constantly in repose. The work really speaks, whistles, sings, mourns, and cries out for itself. I have attempted over the years to copy it and found it can't be done.
When I was young and he was twenty-seven I thought of him as old; I'm now fifty-four, and he's dead and seems even older. Funny how that works. All I can say in closing is: If you never met him, you got screwed.
Jack Pierson is an artist living in New York.
"HI, DOLL," was David's usual greeting when I saw him. "Hi, doll," or "my dear darling," or, if he was feeling inclined toward the black-and-white cinematic, a crooning "fix the kids a drink, George" (this is a line from Who's Afraid of Virginia Woolf?), or just as often, some trademark Davidism such as, "I've just spent Christmas in a deep and probing excursion into the world of emotional extortion and psychic depravity—good times." It occurs to me now that David was the only friend whom I greeted with a kiss on the lips. It wasn't sexual—I wasn't his type. It was a soft peck, an intimate reminder that the family of slightly damaged orphans we had all become was, for an hour or an afternoon around David, complete.
The question of biography is a loaded one when evaluating the work of artists—particularly photographers such as David, who relied as much on formal structures as the intimacies he created with subjects in the temporary safety zones of his camera frame. He made no attempt to hide his personal connections to what he shot—from the friends and lovers he photographed in his hauntingly candid and restlessly raw images from 1970s and '80s downtown New York and Provincetown to his light-fueled portraits of young men taken in the 2000s at his brownstone at 615 Jefferson Avenue in Bed-Stuy, Brooklyn. I've always thought that David's work was about time: how he manages to unfreeze the still image, to let it drift a few seconds forward and backward in his lens, like he was capturing breathing or the charged air around his sitters. It isn't timelessness but time, stretching and bending, that gives his prints their lasting life.
In his black-and-white photograph George in the water, from 1977, it is the direct heavy-lidded stare of the young man with his mouth slightly open that seems to wave and recede in front of the viewer far more than the ocean in which he is submerged. David's biography, like most, was filled with loves and losses—only his hits came earlier and quicker, as a survivor of the raging death toll of the '80s. I remember admiring his photograph of a handsome young man lying on the floor, arms folded around his head and looking up coyly at the camera, in his 2012 book Night and Day, and David saying: "That's Kevin, my first BF in New York, at Palm Beach Towers right after New Years 1978. He was the only boy who ever really loved me. He succumbed to the 'gay cancer' in 1983 shortly before his twenty-fifth birthday." I can't speak to David's biography. I met him long after those nights and days, after he left New York for Boston and Europe and returned a decade later to the city. But I can give a sense of the gorgeous, feral poet whose eye had been trained on those minutes and years.
I met David in 2000, when New York had not yet entirely given in to the nostalgia of the tougher, meaner, and seemingly more authentic eras of downtown bohemianism in which David had a leading part. Even then, he struck me as an endangered animal, not only for enduring drugs and AIDS and the vicious carnival of art-world favoritism (we are, I'm afraid, least kind to photographers), but because he was simply so unlike any other human I'd ever met, vulnerable and resilient and so sure of predilections and curiosities and the itching improvisations of his mind and the constellation of poets, artists, writers, and film scenes that made up his emotive palette. To me, David didn't seem to come from a series of places but time periods: the Whartonian 1900s, Tennessee Williams's 1950s, two dashes of East Village 1980s, the reclusive Emily Dickinsonian 1860s while a war blazed somewhere south. If pushed, he could tell wonderful, deranged stories about his youth in Boston and Manhattan—about Nan Goldin, Cookie Mueller, Joey Gabriel, his lifelong soul mate Lisa, about friends jumping out of windows, OD-ing, or surviving on their humor and wits. Those names and stories of downtown New York seemed so much more alive and potent than ones of Warhol's factory because they were red-blooded, not yet silvering into myth.
I might have been a romanticizer of David's early days, but he wasn't. He never turned his back on the present. Unlike many artists of his generation, he never closed the door to drift in a wilder, cloistered past that no longer existed. It might surprise only those who didn't know David how many young friends he had. We collected around him naturally, and he simply became one of us. His brain was faster, his cultural references more kaleidoscopic and fleet-footed, but he had a dark, boyish humor and the rare inquisitiveness of someone who can be shocked by a bit of good gossip as if he hadn't heard anything like that happening before.
His humor, now that was something to behold. I think maybe that was the glue that held the family we assembled around him together. He enjoyed the decay in the roses. I remember him telling me why he picked his particular bedroom in the country house in Bovina he shared with two friends. When he first toured the house, which had previously been owned by what sounded like an over-breeding Hells Angels' biker gang, he went into an upstairs bedroom and saw that a child had written in crayon on the wall: "I LOVE YOU SO MUCH, MOMMY, I WANT TO DIE." That had to be David's room. He decorated it with a motley of fringed pillows and brocaded fabrics like his own bordello for one.
When I think of David, he is always perched on a sofa—especially in the last year, holed up at his devoted best friend James's house in Manhattan. David walked gracefully. He was tall and agile and surprisingly strong in his thick black glasses. but there was a constant sense he might tip over at any moment into the closest, softest chair. He reminds me of a skinnier, far more benign King Sardanapalus lounging on his ornate divan in the famous painting by Delacroix, except instead of golden elephants and a harem of nude women around him, it would be one-eyed porcelain dolls and scurrying cats. That's how he would meet the flames (likely caused by one of his Newport Menthol Golds). David had the ability to seem like he was always in need of an ambulette (a favorite word of his) but that he would never actually die. I don't think, even when the end came rushing, any of us thought he would.
A lot of those who knew David well have said that he taught us how to live more freely, to be better selves. That might sound like a trite sentiment, something to say about an overzealous guidance counselor and not a man who considered Edith Bouvier Beale a role model. But in David's case, it is absolutely true. Can life be an art? That notion cheapens life, not art. But David did make thinking and loving and an appreciation of failing beauty into a certain art form. Here, as an example, is an email he wrote me in June 2013:
I can think of nothing closer to paradise than lolling on the lawn there with you discussing the decline and fall of Miss Lily Bart between the years of 1905 and 1907, a story as old as NY. Lately I have been thinking she gives it all away with one phrase during her first interview with Selden at his flat in the Benedict: "I fear I've been about too much." I'm afraid she had. Her two other killer lines are again, of course, to Selden, though each further and further down the spiral: "Where does dignity end and rectitude begin?" and (my personal fave) "We resist the great temptations, but finally it's the little ones that bring us down." GODDESS!!!!
He is talking, of course, about The House of Mirth. He is also talking about an aching, unapologetic connection to the art that he loves—the reason, for all of the noise and money, we hold these forms sacred and meaningful in the first place. David taught us that. Today, everyone has curated their lives down to the final, over-styled inch, but David's curated life was one built from the deep, free depositories of literature, poems, film clips, romantic missions, dead sprays of Queen Anne's lace, days watching the blur of the city, the scent of smoke and vetiver, his friends. Now that he has gone beyond the golden door, we are left with his life of photographs and our lives with him. We were so lucky, so fucking lucky, to have done time with him.
Christopher Bollen is a writer and editor in New York. His second novel, Orient, is out by HarperCollins in April 2015.
Arthur Mones, Marjorie Strider, 2001, gelatin silver photograph, 10 1/2 x 13 1/2", Photo: Estate of Arthur Mones.
It took me several viewings (and getting over my aversion to reading wall text) before I realized that it wasn't a cherry in the mouth of Marjorie Strider's 1963 Girl with Radish—that's how indoctrinated I was in the fine visual tradition of Hot Chicks Mouthing Fruit. But when the radish finally broke through my colonized vision, everything about it—from the puny phallus of its root extension to the promised violence of its crunch—disrupted the flat femininity on which so much contemporaneous Pop art had relied. In the work of her male contemporaries such as Andy Warhol, Roy Lichtenstein, and Tom Wesselmann, women's mouths were pretty much vehicles for lipstick and compliance; Strider gave Girl a bit more bite. Like the onion that Bette Davis famously chomped as a means of deflating her enemies in All About Eve, that radish was the perfect kiss off.
When Strider died last August, she left behind a body of work that was varied in form but unified in strategy: With a stealthy sense of humor her art pushed back against visual, material, and political confinement. Her painted reliefs of busty bikini models and ripe vegetables put pressure on the boundary between painting and sculpture, but they also pushed against decorum by brazenly shoving themselves into viewers' spaces. In the process, Strider's sculpted boobs and fruiting bodies called the bluff of scopic privilege; they dared viewers (usually in the presence of other viewers) to touch, to implicate themselves tactilely in bodies that they thought they already dominated through vision.
Marjorie Strider, Girl with Radish, 1963, acrylic on laminated pine on masonite panels, 72 x 60".
Marjorie Strider, Building Work #1, 1970, colored plastic foam. Installation view, White Columns, 112 Greene Street, New York, 1970.
Strider intensified her fascination with salience when she began working with colorful polyurethane foam—a substance that appealed to her because of its monstrous capacity to expand and develop on its own. She whipped up concupiscent mounds of it and made it bubble out of domestic consumables: brooms and bags and boxes of stuff, all gushing with toxic weirdness. She sometimes chose products whose packaging featured images of men wielding tools: a box of Arm & Hammer baking soda, for example, or a bag of Kingsford "hardwood" charcoal briquettes, on whose label a man works a steak with a fork. Such works made clear that muscles and metal prostheses (be they hammers, forks, or, for that matter, sculpture's precious welding irons) would be useless against her Ooze. When Strider led colored foam through the openings of dilapidated buildings in the early 1970s, it was like discharge from a wound. When she foamed up museums' staircases and facades, it seemed more like a demonstration of strategies for political takeover: In dealing with institutions, the Ooze seemed to show that resistance to power need not be explosive; it can be soft, decentered, slow, and implacable—like a slime mold. For an artist who learned the hard way that working with certain kinds of plastic can damage a body (at one point she had to change foam formulas because of the debilitating rashes she was getting), it makes sense that Strider would connect her viscous structures more legibly to ecological catastrophe, as with Flying Boat, 2003, in which dollops of tar-black foam cover a speedboat and entrap sculpted seagulls.
Strider was one of several women artists—like Pauline Boty, Rosalyn Drexler, and Elaine Sturtevant—who first gained prominence in the era of Pop, only to be pushed aside as male artists were given center stage. That she managed, over the last ten years, to press back into art history's eye is cause for celebration. That she passed away so soon after her reemergence is cause for lamentation, not least because her insights and experiences—many of which had yet to be mined by art historians—passed with her. It is thus also a call for action, for us art historians to think much more carefully about the artists and opportunities that we ignore for all the wrong reasons. The longer we wait to recover them, the less time we will have to learn from them.
Sarah K. Rich is an associate professor of art history at the Pennsylvania State University and a regular contributor to Artforum.
Nan Rosenthal. Photo courtesy the Estate of Nan Rosenthal.
I HAD THE PLEASURE of Nan Rosenthal's friendship for about thirty years. Her wit and witticisms remain with me, as fresh as ever. We often consulted on art-world matters of shared interest, over a landline phone or in person. It was hard to keep our attention on the job rather than drift off into a laughing match, following one ironic observation with another. Some of the laughs were silly, others not so silly. The best bits of humor—the not-so-silly laughs—usually came at the expense of illustrious colleagues, and maybe unfairly. We didn't think it was unfair at the time. Perhaps more than anyone I've known, Nan could see into souls. She could pinpoint what was right or wrong about a person, and then reduce the matter to a witty phrase. Officially, Nan will be remembered for her various writings—on Yves Klein, Jackson Pollock, Jasper Johns, Anselm Kiefer, and many others. These have entered the art-historical canon. Her friends will recall her wit, but this was of the moment and thoroughly contextual. It can't be recorded and shouldn't be.
I met Nan in 1984, in connection with a College Art Association session she was planning. She needed to add poststructuralist theory to the mix of presentations she had assembled. She had enlisted a well-respected theorist, who then dropped out. Nan recruited me as a replacement. In that pre-Google era, I can't imagine how she found my publications, which were in a number of obscure journals. Yet, to encourage my participation, she tailored her invitation to my own special interests. This turned out to be a bit of an act. After the conference, she admitted that she had taken a chance without knowing much about me. This first encounter was a demonstration of Nan's professional skills (perhaps elements acquired during her early years as a journalist), which would have served her well in many lines of work. One quickly perceived that she was intelligent, amusing, cajoling, thoroughly charming. But most of all, she was resourceful—so if something needed to be done, she would figure out how, prevaricating as necessary. I think this was all part of Nan's professional smarts, her canniness.
Nan was a perfectionist, not only with respect to the details of scholarly documentation and curatorial practice, but especially concerning any public performance, where directness and clarity were required. If she chose someone to do something, it would have to be done as she would do it—perhaps with some anxiety but in the end perfectly. This fact corresponds with the experience of a number of younger professionals who had the good fortune to serve as Nan's assistants and interns over the years, particularly during her curatorial stints at the National Gallery of Art and the Metropolitan Museum of Art. Nan was totally nurturing, but she also set the highest standard and could be severely critical when things went awry. One way or another—to put it in neutral terms—she would induce people around her to meet her standard. In this regard, she was a great teacher of both art-historical and curatorial matters and also of professional protocols. From Nan, I learned more about how my field was operating than I had learned from the graduate faculty responsible for my degree. Like her humor, much of what Nan taught me shouldn't be repeated.
Nan was a person of enthusiasms, and she would put her faith in people who seemed right to her, then she would create a network of such people, who would profit from knowing each other. I was one of numerous younger colleagues with whom Nan chose to collaborate and, through the collaboration, to instruct. In many respects, Nan was my closest art-historical colleague, even though the arc of her career largely removed her from academic work, bringing her into the museum, where she was involved more with artists and collectors. Through Nan, I first met many of the artists about whom I would come to write, as well as some of my favorite curatorial and art-historical colleagues, and even some of my future students. Nan shared her contacts and friendships extraordinarily generously—in collaboration rather than in competition. Her humor could be wicked, but it was private—a brilliantly modernist form of venting. To the contrary, her professional life was marked by its openness and a generous sharing of responsibilities.
Artists respected Nan for her remarkable care in both curating and writing. In turn, she revered works of art and the artists who made them. During her New York years she became especially close to a number of major figures, including Ellsworth Kelly, Jasper Johns, Chuck Close, and Joel Shapiro. Her husband, Henry Cortesi, a bachelor until age fifty-four, proved an ideal match for Nan's wit. Not only did he share in these many friendships with artists, but his marriage to Nan brought her the highest level of happiness.
Richard Shiff is an art historian and Effie Marie Cain Regents Chair in Art at the University of Texas at Austin.
Bohumila Grögerová with the 2009 Magnesia Litera Prize at the Prague Estates Theater, 2009. Photo by René Volfík.
1967 WAS A YEAR that poetry as a visual art briefly saw recognition in book publishing on a scale that reflected its long influence on writers and artists, with one major anthology of Concrete poetry released in North America and another in Europe. Bohumila Grögerová, the poet responsible for the latter, Czech publication (and with it, European access to the decade in graphic writing), died this August in Prague, leaving behind a body of poems, memoirs, children's stories, radio plays, and nearly two hundred books collaboratively translated with her companion, Josef Hiršal. Though she continued to write and publish until the end of her life, winning the foremost Czech literary prize, Magnesia Litera, in 2009, it is Grögerová and Hiršal's 1960s-spanning experiment with Concrete techniques, Job-Boj (Job-Fight), 1968, that remains her work best remembered by English-speaking audiences. (This, due to its excerpting in An Anthology of Concrete Poetry (1967), edited by Emmett Williams and published by Dick Higgins at Something Else Press, long out of print and crucially reanimated last year by Primary Information.) She is almost completely unavailable in the US, although her visual poetry is often approachable by nonreaders of Czech—a quality that challenges our habit of conceiving ex post facto translation as the sole vehicle of international literary exchange.
Is this the reason that the tradition Grögerová advocated, which mostly originated outside the English language (in Latin America and Europe), has always gotten so much less than its due? Although many insiders know it well, for most it falls in a hole somewhere between the more familiar poetry we think of in terms of sound and meaning (which can thus find its way around the world through sonic and semantic analogues in other languages) and the Conceptual, whose language is abandoned the instant it is created, to be replaced by the language of summary and reputation (a readily portable form that makes translating the work itself inherently pointless). Grögerová's compositions offer a welcome antidote to this dichotomous way of thinking.
Bohumila Grögerová and Josef Hiršal, excerpt from Job-Boj (Job-Fight), 2013, Primary Information.
One untitled interlingual piece from Job-Boj, pictured above, particularly demonstrates the playfulness that Grögerová's stripe of Concrete austerity often conceals. A Czech word, "SVOBODA," appears to translate itself incrementally into its English counterpart, "FREEDOM." But the procedure is somewhat more intricate: With each successive line, "SVOBODA" shifts to the left by a letter, such that the first replaces the last; after the word experiences spelling orders beginning with each of its letters (SVOBODA / VOBODAS / OBODASV . . .), the initial S is replaced by freedom's F, and the rotation repeats until the change to English is complete. Evoking a kind of mechanically formal dance—a "freedom" consisting of generative constraint—the piece could easily lead a reader to miss that the last two lines of the transition are omitted completely. It skips from the point the first four letters have been replaced ("FREEODA") to the end, composing an image of freedom that relies not only on rules but their spontaneous transgression. The omission appears at a juncture in the work at which a reader might expect to have gotten the concept; it is an affirmation of material's sovereignty that speaks to the heart of Concrete poetry in general.
Grögerová was among the artists whose visual work was displayed on building facades in Hünfeld, Germany, in a 1998 iteration of Gerhard Jürgen Blum-Kwiatkowski's Das offene Buch (The Open Book), a project that brought the spatial desires of graphic writing to the literal and conceptual vanishing point as well as honored the expansion of the Concrete to other disciplines that took place throughout the twentieth century. Grögerová's influence as a mover of the graphic word was instrumental for the visibility of a tradition to which the presence of words in contemporary art is profoundly indebted—in the work of Glenn Ligon, Jenny Holzer, Bruce Nauman, and any number of others. Grögerová's passing is an occasion to consider the reasons this debt has been effaced as well as to revisit more seriously the friendliness of the Concrete. Her exemplary oeuvre is open.
Abraham Adams is a poet and artist based in Brooklyn. He is one of the editors of Ugly Duckling Presse.
Walter Keller in a still from a film by Sigmar Polke in 1984. © The Estate of Sigmar Polke.
WALTER KELLER was a publisher, editor, curator of exhibitions on cultural history, inspired bookseller, gallery owner, consultant, catalyst, and loyal friend who, above all, made an international name for himself in the world of photography. Walter was torn away from his manifold activities so abruptly that his death is difficult for us to grasp.
The art world will remember books he published from the late 1980s to the early 2000s with Robert Frank, Nan Goldin, Richard Prince, Boris Mikhailov, Larry Clark, Dayanita Singh, and others, but more on that later.
Without him, there would have been no Parkett, the publication that celebrates its thirtieth anniversary this year, whose cofounder Walter was as well as its publisher for its first nine years, during which we experienced together wonderful times of new departures and first successes. In 1993, he left Parkett to dedicate himself wholly to his photography press, Scalo, as well as the bookstore and gallery of the same name (now known as Christopher Guye Galerie). In the same year, he was once again a founder, this time with George Reinhart and Urs Stahel, of the Fotomuseum Winterthur, which has since become a major point of reference in the world of photography and whose foundation president Walter was for ten years.
He had a striking presence. I made his acquaintance in the 1970s when he was a student, thin, lanky, always in motion, with a head of curly hair and an alert gaze behind the small spectacle lenses. His eyes seemed to squint, as is often the case with the nearsighted. It gave him a somewhat scrutinizing and, from time to time, amused air. Humor was manifest the first time I met him, as his watch caught my eye, the smallest I had ever seen on a man's wrist, the kind of watch that little girls used to wear. At the same time, Walter was a great seducer of women—as well as a defender of them.
His ethnological gaze was penetrating and inspiring. His views were surprising, because they were never ideological—something that seemed especially extraordinary in Europe in the '70s, particularly because he had studied as a Swiss for a couple of semesters in Berlin. "Don't judge, first look," seemed to be his motto, no matter whether it was a question of art or of the everyday. He was hands-on—his founding, building, and producing accompanied intellectual reflection in order to think of things in context and to see them up close at the same time.
As a student, he started with talk shows—they were just becoming fashionable on television. Together with Nikolaus Wyss in a basement theater, he organized talk shows of another kind: Instead of important personalities, he invited completely normal people and probed them in a surprising way. On one evening, he spoke with a hairdresser; on another, with ticket inspectors on a streetcar. The whole thing was subsequently published, inexpensively, as The Everyday (Der Alltag), a magazine with the subtitle The Sensations of the Ordinary. On offer was an only slightly ironic gaze at the grayzones of reality.
It was not camp that always lead him back to low culture as an important point of departure for his ventures in high culture. His comportment was consistent with a genuine desire to look at that which a certain cultural arrogance seeks to dismiss prematurely as redundant.
The founding of Parkett came about in this way: On a hot summer's day, the three of us—Walter, Jacqueline Burckhardt, and I—were sitting in a garden restaurant on a lake. At the time, I was writing art criticism for a daily paper while Jacqueline was doing art restoration for Kunsthaus Zürich, where she was also overseeing a performance program. We were both complaining about the provincial situation, which did not really take into account the great mood of new departures in art at the time. And here Walter went into action: "Why don't you start a magazine? I'll help you; I know how one does such a thing." Then Peter Blum came in, and a little later Dieter Graffenried, our current publisher. The rest is legend, as they say.
The Everyday and Parkett shared offices. New York was important. Karen Marta was there, our first editor, because Parkett was bilingual from the start, and the publication wanted to represent a bridge between the two continents. Walter was an independent curator for Museum für Gestaltung, Zürich, where he was organizing an exhibition on advertising and hobby culture with Martin Heller.
Then the mythic figure Robert Frank showed up. Quite literally, he was suddenly standing in our Zurich offices. George Reinhart, with whom Walter was closely collaborating at the time and subsequently, was in the process of producing Frank's film Candy Mountain with Ruth Waldburger and Philippe Diaz, among others. And so it came to be that in 1989, Walter, with Frank, published the expanded reprint of his 1972 book The lines of my hand. Through it, Frank made peace with the Switzerland he had abandoned, enraged by the narrow-mindedness and smugness of the time, for New York.
Then Scalo Verlag came into being. And with it the impressive number of books—milestones of the 1990s and early 2000s—in close collaboration with the defining personalities in photography that were then attaining new shores and recognition: Nan Goldin, The Other Side (1993); Larry Clark, The Perfect Childhood (1993); Frank's 1993 reprint of The Americans; Gilles Peress, Farewell to Bosnia (1993); Richard Prince, Adult Comedy Action Drama (1995). Further publications followed with Roni Horn, Seydou Keïta, Paul Graham, Balthasar Burkhard, Francesca Woodman, William Eggleston, Annelies Strba, Juergen Teller, Paul Bowles, and others.
Scalo was also a fantastically large bookshop with a gallery in a former hat factory in a back courtyard in Zurich. In New York, Walter was also present at the founding, in 1990, of DAP with Sharon Gallagher, Daniel Power, and Dieter von Graffenried. In 1998, he opened a gallery on Broadway and ran it for a couple of years.
He has also left us a book with the title Here Is New York, which brings together almost one thousand photographic documents of 9/11. The subtitle, A Democracy of Photographs, refers to the changed role of photography. It seems a curious irony that, in 2006, Walter received the Wölfflin Medal of the City of Zurich for services to the arts—just as Scalo had to declare bankruptcy. Recovering from this blow, he changed activities in the years that followed. He curated several important cultural-historical exhibitions at the Schweizerisches Landesmuseum, including "Capital: Merchants in Venice and Amsterdam." Recently, he presented an exhibition there on the image of Switzerland in film as a continuation of his earlier exhibition on "Wit." We will miss his own completely distinct, laconic wit, his acumen, and much more.
Bice Curiger is artistic director of the Fondation Vincent Van Gogh Arles and the cofounder and editor in chief of Parkett.


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Shanti Dynamite: Yet Another Adult Star To Enter Bollywood
It was back in 2012, towards the year's beginning to be more precise, when an adult movie star – Sunny Leone – got a ticket to Bollywood. Sunny's stint in reality show Bigg Boss Season 5 gave the lady her first Bollywood film 'Jism 2' with the Bhatt camp. And very soon Sunny even bagged Ekta Kapoor's Ragini MMS 2 and a couple of brand endorsements.
Well, walking on her footsteps here comes another adult star of India descent – Shanti Dynamite – to make her debut in Bollywood. Shanti, who is partly Indian and partly Greek, hosts adult chat shows in the UK as well as has her own production home which produces Indian adult music videos.
Miss Dynamite is all set to sizzle the dance floor as the lady has bagged an item number for an upcoming Bollywood film Chal Doctor Doctor Khelein. The film has been directed by Saurabh Malik and will have Saurabh and Sonel Singh (of Roadies fame) in the lead roles.
Chal Doctor Doctor Khelein is said to be based on the life of medical students and interestingly the film will even even see a lot of real doctors acting in it.
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So we need to devise a new award category for these "species" now eh :) Best Pathetic-Adult-Star-Who-Craves-For-Attention goes to…bla bla bla!!!
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Sonam Kapoor Becomes A Funky Bride On 'Dolly Ki Doli' Poster


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Spa Properties is a local agency offering superb accommodation in and around Scarborough. They have a range of properties sleeping from 2 to 5 people.
Inn with 5 rooms, £60-£80 prpnb (3.2 miles, 5.1 km)
A traditional family run Inn situated in the village of Burniston just of the A171 on the edge of the North York Moors National Park. 4 miles from Scarborough and 16 miles from Whitby. A Friendly local Inn with a warm welcome.
Guest House with 6 rooms, £23-£100 prpnb (0.6 miles, 0.9 km)
Family run Guest House only 10 mins. from the Town centre. Clean fresh en-suite rooms with TV, courtesy trays and Wi-Fi. Children friendly. Home cooked meals. The ideal place to stay whether enjoying a short break or on business.
Guest Accommodation with 33 rooms, £30-£70 prpn (0.4 miles, 0.6 km)
"Highly Commended'" in the Yorkshire's Moors and Coast Tourism Awards 2008 for 'Outstanding Customer Service'. Based on the lodge principal of budget/travel accommodation we have 33 bedrooms.
Self-catering with 4 units, £465-£795 pupw sleeps 2-5 (0.3 miles, 0.4 km)
The Windmill is 5 minutes from the train station and ideally located for trips in and around Scarborough. We have 2 single storey cottages and 2 apartments in The Windmill and you can stay on a self-catering or bed and breakfast basis.
Guest Accommodation with 8 rooms, £40-£94 prpnb (1 miles, 1.7 km)
Exclusively for adults, this detached friendly hotel offers Gold accommodation and specialises in comfort and quality. Excellent cuisine by resident professional chef. 100% non-smoking. Off road parking, cocktail bar. Special breaks.
Guest House with 8 rooms, £50-£93 prpnb (0.6 miles, 1 km)
All rooms en-suite. Fully refurbished. TV/Videos. Refreshment tray. Car park. Guest Conservatory. Home from home.
Self-catering with 4 units, £240-£595 pupw sleeps 2-6 (0.5 miles, 0.9 km)
Spa Properties is a local agency offering superb accommodation in and around Scarborough. They have a range of properties sleeping from 2 to 5 people.
Bed & Breakfast with 3 rooms, £38-£40 pppnb (4 miles, 6.4 km)
Killerby Cottage Farm is situated in the countryside between Scarborough and Filey. Tastefully decorated, good food, lovely garden.
Guest Accommodation with 9 rooms, £26-£42 pppnb (0.5 miles, 0.7 km)
Family run situated close to North Bay. We offer high quality, spacious accommodation with excellent home cooked food, in a friendly relaxed atmosphere. WiFi in all bedrooms ETC 4 Star Silver rating. Most credit/Debit cards accepted.
Guest House with 8 rooms, £29-£70 pppnb (0.6 miles, 1 km)
Small, family-run guest house, with a 4-Star Rating. Offering excellent home cooking, close to many amenities.
Guest Accommodation with 9 rooms, £25-£95 prpnb (0.4 miles, 0.6 km)
The Ashburton is perfectly located just a few minutes level walk along the beautiful tree lined Valley Road to the South Bay and Spa Conference Centre, and also a similar distance to the Town Centre and the Stephen Joseph Theatre.
Self-catering with 1 unit, £230-£415 pupw sleeps 2 (4 miles, 6.5 km)
A privately owned and meticulously maintained small complex of superb holiday cottages. Situated in open countryside yet only 15 minutes from Scarborough and the beautiful North Bay beaches.
Guest Accommodation with 8 rooms, £33-£34 pppnb (0.6 miles, 1 km)
Friendly family run 100% Non Smoking Guest House with private parking on a quiet street.15 minute stroll to Beach, Spa Complex, Town, Theatres & Railway Station. Come & let us spoil you!
Guest House with 10 rooms, £30-£120 prpnb (0.8 miles, 1.2 km)
Licensed family run hotel, quiet location overlooking Peasholm Park, yet within minutes of North Bay and the Town. 10 en-suite bedrooms to accommodate 1-5 people. Continental, full English or vegetarian breakfast included.
Self-catering with 1 unit, £645-£1325 pupw sleeps 8 (3.9 miles, 6.2 km)
Converted former mill, River Cottage offers outstanding luxury self-catering accommodation. Superbly situated by the River Derwent in East Ayton, with fishing rights from the private garden.
Guest Accommodation with 19 rooms, £50-£166 prpnb (0.7 miles, 1.2 km)
Beautifully restored 5* 'Silver Award' regency property with luxury accommodation, superbly positioned on Scarborough's South Cliff. Opposite the Italian Gardens with unrivalled panoramic sea-views, over-looking the famous Spa Scarborough.
Guest Accommodation with 12 rooms, £33-£40 pppnb (0.5 miles, 0.8 km)
Welcoming, non smoking, licensed guest accommodation with magnificent sea views. Within easy walk of attractions. Great breakfast. All the bedrooms have en suite facilities. Accommodation exclusively for adults.
Guest Accommodation with 9 rooms, £35-£120 prpnb (0.6 miles, 1 km)
Small, detached private hotel, run by the resident proprietors. Centrally heated, private car park. All rooms offer en suite facilities. Evening meal available on request.
Hotel with 34 rooms, £45-£62 pppnb (0.8 miles, 1.3 km)
We make our guests feel welcome and relaxed .We offer an Indoor heated pool, spa, steam room, lift, free private car park, restaurants, lounge bar. Close to all North Bay attractions and Open Air Theatre.
Guest House with 5 rooms, £60-£85 prpn, £70-£80 prpnb (0.5 miles, 0.7 km)
Family run establishment. Cleanliness and customer service are our top priority. Easy distances from town, seaside and short car journeys to the moors.
Guest House with 9 rooms, £35-£84 prpnb (0.6 miles, 1 km)
Stylish modern rooms: pure white Egyptian cotton linen, Freeview, real coffee, bottled water. Fantastic organic breakfast with free range Full English, vegetarian choices and home baked bread. Free parking, free Wi-Fi, homemade cookies.
Guest Accommodation with 7 rooms, £70-£450 prpnb (0.2 miles, 0.4 km)
Two ground floor cottages, 3 Premier Four Poster Rooms and two Suites in The Windmill tower.
Guest Accommodation with 9 rooms, £25-£28 pppnb (0.5 miles, 0.9 km)
Clean, comfortable and friendly atmosphere with superb views overlooking the North Bay. All rooms offer colour TV, tea/coffee-making facilities.
Guest House with 6 rooms, £45-£57 pppnb, £21-£50 prpnb (0.6 miles, 0.9 km)
At Ainsley Court, we offer you luxury home from home accommodation at affordable prices. All our rooms are beautifully furnished, tastefully decorated and cleaned and maintained to the highest standard at all times.
Self-catering with 1 unit, £500-£700 pupw sleeps 4 (3.1 miles, 5 km)
Grade II listed cottage with large private garden.
Guest Accommodation with 64 rooms, £41-£52 pppnb (4.7 miles, 7.5 km)
On the edge of the North York Moors, north of Scarborough, over looking the sea, 64 en-suite bedrooms & relaxing lounges. Guesthouse & conference facilities, high standards of hospitality, superb grounds & excellent recreational facilities.
Guest Accommodation with 25 rooms, £30 pppnb (0.6 miles, 1 km)
Spacious, friendly hotel. Licensed, large free car park, premier seafront location. Short distance from the town and North Bay attractions.
Guest House with 8 rooms, £28-£44 pppnb (3.7 miles, 6 km)
Just a few miles from Scarborough and nestled in the countryside, Harmony Church and Healing Sanctuary is a registered place of worship for the Solemnisation of Marriage and is the principal church of the Int. Church of Saint Paul.
Guest Accommodation with 14 rooms, £32-£34 pppnb (0.9 miles, 1.4 km)
The well established Norlands Hotel holds an outstanding position with panoramic views over the North Bay and Scarborough Castle.
Self-catering with 1 unit, £400-£750 pupw sleeps 5 (0.9 miles, 1.5 km)
A modern apartment situated adjacent to Scarborough's pituresque North Bay 'Blue Flag' beach. Come and stay in this luxurious sea front apartment that comfortably sleeps five. With FREE unlimited WIFI access.
Self-catering with 36 units, £223-£763 pupw sleeps 2-8 (0.6 miles, 0.9 km)
We have a fantastic selection of over 40 properties in and around Scarborough: Bungalows, Cottages, Houses and Apartments
Guest Accommodation with 13 rooms, £32-£36 pppnb (0.8 miles, 1.3 km)
The Manor Heath is a detached licensed hotel situated in a peaceful location overlooking Peasholm Park and the sea. All rooms are en-suite and feature flatscreen televisions and tea/coffee making facilities.
Holiday Park with 30 units, £250-£590 pupw sleeps 6-8 (4.4 miles, 7 km)
Family-owned park with luxury caravans for hire, ideal for families and couples. Full range of facilities including Heated Indoor Swimming Pool. Only 5 miles from the attractions of Scarborough and 2 miles from tranquil Filey.


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My wife just made a raspberry/pear wine yesterday from Vinters. She doesnt remember seeing anything about degassing on the instructions.
Do you have to degass every wine and when do you do it?
Not usually, the gases escape through the air lock. unless you add a lot of chemicals, degassing should not be needed. Follow the instructions and rack as needed; generally 30 days or 1/4 inch or more of sediment in the bottom of the carboy. Be sure to keep the head space to a minimum and top up if needed. Cheers
You MUST degass kit wines as they don't sit long enough for the gas to come out on its own.
4 to 6 weeks total time before bottling isn't enough time, a year would be.


text:
Only One Way?: Reaffirming the Exclusive Truth Claims of Christianity - eBook
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Publication Date: 2007
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Centuries ago Christ made a claim that disconcerts as many today as it did then-he is the way of salvation. Ironically, he spoke these words to comfort his disciples on the night of his arrest. Richard Phillips is just one of six highly respected authors seeking to reaffirm these comforting words and other exclusive claims of Christianity for today's reader.
Each chapter proclaims, defends, and explains the Christian truths that are most directly challenged by postmodern relativism. Our God is the God; Jesus is not merely a savior, but the only Savior; and the truth revealed in the Bible is divine truth. As readers grasp these essential ideas and their implications they will be able to witness powerfully by articulating these claims with clarity, conviction, and love.
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08/19/14 By Jon Muchin
Renowned Composer/Percussionist John Hollenbeck Teaching at New England Conservatory During Fall 2014 Semester
Also leads September 23 Master Class with Claudia Quintet
"John Hollenbeck has the power to induce synesthesia. A precociously gifted… composer, arranger, percussionist, and leader of several musical groups… Hollenbeck makes music that sounds the way the world looks and feels… Hollenbeck is a musician for our time." — David Hadju, The New Republic
New England Conservatory's Jazz Studies Department has hired internationally acclaimed composer, conceptualist, drummer and percussionist John Hollenbeck to join the faculty for the fall 2014 season, filling in for Jazz Studies Department Chair Ken Schaphorst who will be out on sabbatical. While at NEC Hollenbeck will focus his efforts on teaching composition.
"John Hollenbeck is one of the most original and influential young jazz composers working today," said Schaphorst. "His relationship with former NEC faculty member Bob Brookmeyer, both as a player and composer, makes John's hiring particularly appropriate and meaningful. I'm thrilled to have him working with our students next semester."
Hollenbeck and his Claudia Quintet will also host a master class on Tuesday, September 23 from 6:30 – 8 p.m. at NEC's Brown Hall. The event is free and open to the public. The Quintet plays the following night at the Lily Pad in Cambridge.
"NEC has impacted my life as a musician/composer quite significantly over the course of my life," says Hollenbeck. "I had an unforgettable rehearsal with George Russell and his Living Time Orchestra in the basement underneath Jordan Hall when I was 18. Two years later I heard/saw Ken Schaphorst conduct The True Colors Big Band with incredible players that I would later meet and play with professionally. Moving to NYC, I quickly realized that most of the musicians I felt to be kindred spirits had studied at NEC. The faculty at NEC past and present is extraordinary and among them are several of my heroes: my brother Pat Hollenbeck, George Russell, Jimmy Guiffre, Vic Firth, Bob Moses and my musical father, Bob Brookmeyer. It is an absolute honor to have this opportunity to teach for a semester and be surrounded by the NEC legacy."
Genre-crossing composer/percussionist John Hollenbeck, renowned in both the jazz and new-music worlds, has gained widespread recognition as the driving force behind the unclassifiable Claudia Quintet and the ambitious John Hollenbeck Large Ensemble, groups with roots in jazz, world music, and contemporary composition. He integrates his deep interest in contemporary composition and spiritual practice into a musical language that is as accessible and expressive as it is advanced. Hollenbeck received degrees in percussion and jazz composition from the Eastman School of Music before moving to New York City in the early 1990s. He quickly struck up relationships with some of the leading lights of jazz (Bob Brookmeyer, Fred Hersch, Tony Malaby, Kenny Wheeler) and new music (composer/choreographer Meredith Monk, for whose works "Magic Frequencies," "Mercy," and "The Impermanence Project" he composed and performed percussion scores).
Hollenbeck has earned four Grammy nominations: for both of his Large Ensemble albums "A Blessing" and "eternal interlude"; for his composition "Falling Men", from the album "Shut Up and Dance", commissioned by the Orchestre National de Jazz and funded in part by the Chamber Music America French-American Jazz Exchange grant; and for his arrangement of Jimmy Webb's "The Moon's a Harsh Mistress", from the album "Songs I Like a Lot", commissioned by the Frankfurt Radio Big Band. John's most notable awards include a 2007 Guggenheim Fellowship, the 2010 ASCAP Jazz Vanguard Award, and a 2012 Doris Duke Performing Artist Award. His recent works include commissions by Bang on a Can All-Stars, Ethos Percussion Group, Youngstown State University, Gotham Wind Symphony, the University of Rochester, Melbourne Jazz Festival, Edinburgh Jazz Festival, and Ensemble Cairn. Since 2005, he has been a professor of Jazz Drums and Improvisation at the Jazz Institute Berlin.
NEC's Jazz Studies Department was the first fully accredited jazz studies program at a music conservatory. The brainchild of Gunther Schuller, who moved quickly to incorporate jazz into the curriculum when he became President of the Conservatory in 1967, the Jazz Studies faculty has included six MacArthur "genius" grant recipients (three currently teaching) and four NEA Jazz Masters, and alumni that reads like a who's who of jazz. Now in its 44th year, the program has spawned numerous Grammy winning composers and performers. As Mike West writes in JazzTimes: "NEC's jazz studies department is among the most acclaimed and successful in the world; so says the roster of visionary artists that have comprised both its faculty and alumni." The program currently has 98 students; 54 undergraduate and 44 graduate students from 14 countries.
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Jon Muchin
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AVAILABLE NOW - Bassist/Composer OMER AVITAL Delves Into The Culture of His Homeland Through Jazz On His New Recording, NEW SONG, available on Motema Music - November 4, 2014
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Bafana have qualified for AFCON 2015. How will they fare at the tournament? Have your say on our Forum!
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London - Bradford City were given fresh reason to celebrate on Wednesday when they won an appeal against their expulsion from this season's FA Cup for fielding an ineligible player.
The fourth-tier club, who stunned Arsenal in the League Cup quarter-finals on Tuesday, were removed from the FA Cup because they did not receive written permission in time for Newcastle United loanee Curtis Good to play in their second-round tie with Brentford in November.
However, the Football Association decided to allow them back into the competition on Wednesday after reviewing their case, although they did fine the League Two club.
Video highlights: Bradford City v Arsenal
Bradford's match with Brentford ended in a 1-1 draw and the sides will now meet again in a replay at Brentford next Tuesday, with the winners to face Southend United in the third round.
"We can confirm that on appeal the club has now been reinstated back into the FA Cup competition and has been fined for its actions," read a statement from the club.
"We deeply regret our breach of the rules and are currently reviewing our procedures to ensure no repeat of this situation."
Bradford beat English Premier League giants Arsenal 3-2 on penalties after a 1-1 draw at Valley Parade on Tuesday to book their place in the League Cup semi-finals.
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News & Events
April 9, 2012
Ceremony honors employees for long-time service, dedication
April 8, 2012
Social work students host a week of events highlighting problems of violence
April 8, 2012
Choral Society introduces new works, Professor Hoffman piece and more
April 8, 2012
President Mohler-Faria earns statewide award
April 7, 2012
Job Fair brings employment, networking opportunities to campus
April 4, 2012
Campus forum brings together key advocates for battling homelessness
April 4, 2012
Consul General discusses the complexities of the Israeli-Palestinian conflict
April 3, 2012
Month of events addresses themes from healthcare to social policy
April 2, 2012
Afro-American Alumni Association meets for annual dinner
April 1, 2012
Scholar-activist Diana Ramos recognized for community service, leadership
July 3, 2014
Consulate of Cape Verde celebrates those who've made a difference for the island nation
June 26, 2014
It's another busy break for construction crews around campus
June 24, 2014
'Stetson Street' earns top honors at Campus MovieFest
June 18, 2014
Leading in diversity is topic of annual conference
June 17, 2014
Area students showcase research into water quality, conservation and more
June 17, 2014
Many students spend this time of year in class. Find out why.
June 13, 2014
CARS event showcases research of faculty, librarians and others
June 10, 2014
President honors recent retirees during annual appreciation luncheon
June 6, 2014
Annual Invention Convention brings to campus young people and their ideas
May 30, 2014
BSU educators seek to make life easier for brave student from Belize
April 22, 2014
Sustainability is week-long focus across campus
April 18, 2014
Conference brings to campus educators from across the region
April 18, 2014
Regional students visit campus for annual 'Kangaroo'
April 18, 2014
Canadian Studies event puts focus on critical issue
April 15, 2014
Event held to remember the late Seamus Heaney
April 4, 2014
Shea Scholar Tea allows honorees to share research plans
March 31, 2014
Renowned geographer delivers Class of '42 Lecture
March 27, 2014
One Book, One Community event held
March 4, 2014
Peer educators promote safety during time off
February 28, 2014
Former ambassador and Clinton appointee delivers Adams address


text:
Advice Quotes and Sayings - Page 2
Don't try to solve serious matters in the middle of the night.
I shall tell you a great secret my friend. Do not wait for the last judgement, it takes place every day.
– Albert Camus
The only thing to do with good advice is pass it on. It is never any use to oneself.
– Oscar Wilde
Don't waste your life focusing on the bad things and what people tell you that you could never do, look at all the good things and all the paths you could follow to fulfill your dreams.
People ask me for my advice then do the complete opposite? Why ask me in the first place?
Advice is one of those things it is far more blessed to give than to receive.
– Carolyn Wells
Never lie in bed at night asking yourself questions you can't answer.
– Charles M. Schulz
Always do right – this will gratify some and astonish the rest.
– Mark Twain
Don't follow any advice, no matter how good, until you feel as deeply in your spirit as you think in your mind that the counsel is wise.
You can let your mind do the thinking, and let your heart do the loving, but don't let others control you.
It's easier to advise than be advised.
Easiest thing in the world is to give advice and toughest thing is to take it.
There is no human problem which could not be solved if people would simply do as I advise.
– Gore Vidal
The best advice I can give is to ignore advice. Life is too short to be distracted by the opinions of others.
Never reply when you are angry.
Never make a promise when you are happy.
Never make a decision when you are sad.
Giving you advice doesn't mean that I'm smarter than you, I've just been through a lot of sh*t.
It is easy when we are in prosperity to give advice to the afflicted.
– Aeschylus
All the advice in the world will never help you until you help yourself.
— Fred Van Amburgh
Advice is good, but then the wise don't need it and the fools won't take it.
Speak humbly, listen respectfully, smile gently.
– Dr T.P.Chia
Let other people advice but never let them decide for you.
Never trust the advice of a man in difficulties.
– Aesop
The most important thing to do if you find yourself in a hole is to stop digging.
– Warren Buffett
Be courteous to all, but intimate with few, and let those few be well tried before you give them your confidence.
– George Washington
Do not let people look down on you because you are young, but be an example to them in faith and wisdom.


text:
Search Results
16 – 30 of 90 Search Results:
- Sort Results By:
- Date|
- **Category**
Paco De Lucia
7:30 PM on Tuesday, July 5, 2011
w/ Jorge...
Venue: Centennial Concert Hall
Neighbourhood: Centre
Mariachi Ghost
9:00 PM on Saturday, June 23, 2012
w/ Demetra
Venue: Times Change(d) High & Lonesome Club
Neighbourhood: Centre
Mother Groove
8:00 PM on Saturday, June 23, 2012
Venue: JAG'S-Club Regent Casino
Neighbourhood: Centre
Yoslai De la Rosa
8:00 PM on Friday, June 22, 2012
Venue: JAG'S-Club Regent Casino
Neighbourhood: Centre
Steeltown Pro Wrestling
7:00 PM on Sunday, September 23, 2012
Venue: Casa Do Minho Portugese Centre
Neighbourhood: Winnipeg
The Mighty Popo
8:00 PM on Thursday, September 20, 2012
w/ Phoebe
Venue: West End Cultural Centre
Neighbourhood: City Centre
Celtic Way
8:00 PM on Friday, August 5, 2011
Venue: King's Head Pub & Eatery
Neighbourhood: Centre
Farewell & thanks for all the Gypsies: ZRADA EP RELEASE
8:00 PM on Wednesday, July 20, 2011
w/ Daddyparty, The
Venue: Pyramid Cabaret
Neighbourhood: Centre , City Centre , Downtown
Pop the Trunk
Daily at 8:00 PM - From Friday, May 25, 2012 - Saturday, May 26, 2012
Venue: Whiskey Dix
Neighbourhood: Centre
Discovering Brazil
8:00 PM on Sunday, October 21, 2012
w/ Marco Castillo and his
Venue: Park Theatre
Neighbourhood: Winnipeg
Benefit Concert for Ukrainian Canadian Student Alumni Award
2:00 PM on Sunday, April 14, 2013
Viktoria Grynenko, a 21 year-old International University of Manitoba student (from Kyiv, Ukraine) presently in her second year of studies at the Faculty of Music, will be performing two sets of violin concertos - one of international music and the other of Ukrainian music, St. Andrew's College, 29
Venue: University of Manitoba
Neighbourhood: Winnipeg
Singin' in the Summer!
8:00 PM on Friday, August 23, 2013
World Village Gospel Choir, a new and dynamic 40-voice vocal ensemble, presents a concert of southern US-style gospel music, World Music from around the globe, and new arrangements of music by well-loved artists U2 and Peter Gabriel. Led by Co-Directors Neil Weisensel and Rachel Landrecht, this
Venue: Knox United Church
Neighbourhood: Centre
Winnipeg Pops Orchestra concert
7:30 PM on Thursday, May 23, 2013
WINNIPEG POPS ORCHESTRA, directed by Mary Ann Taylor in concert at Grey Street United Church, Thurs. May 23 at 7:30 pm. Enjoy an evening of popular classics and show tunes played by a 40 + member orchestra. $15 adults, $10 students. Call 204-668-2756 for tickets.
Venue: Grey Street United Church
Neighbourhood: Elmwood
Mariachi Ghost
Thursday, August 30, 2012
Venue: Winnipeg Art Gallery
Neighbourhood: City Centre
Yoslai De la Rosa
9:00 PM on Friday, April 20, 2012
Venue: JAG'S-Club Regent Casino
Neighbourhood: Centre
Event Search
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text:
Color run race, Color Me Rad, was held at the Appalachian Fairgrounds Saturday.Comments
So, gentlemen, you think you can cook? Now you have a chance to show off your best dishes.Comments
Celtic Fest Dave Boyd/Johnson City Press Celtic Fest at Sycamore ShoalsComments
Lakeside Concert Dave Boyd/Johnson City Press The Johnson City Symphony Orchestra, celebrating its 44th season, performs Sunday afternoon at Winged Deer Park's Lakefront Festival Plaza.Comments
Looming rain clouds couldn't keep the music from playing Sunday evening.Comments
The 41st annual National Storytelling Festival is set to run Oct. 4-6 in downtown Jonesborough.Comments
Dragonboat Races Dave Boyd/Johnson City Press Dragonboat Races at Winged Deer ParkComments
Forty-two teams entered the Dragon Boat Festival race on Boone Lake at Winged Deer Park. But only one team left as the champion.Comments
Local bands with big-time aspirations could land a recording contract with a Nashville record label next month during a music showcase to be conducted by Big Time Talent Booking Agency in Kingsport.Comments
The Johnson City Symphony Orchestra under the direction of Maestro Robert Seebacher will present their free pops concert Sunday at Winged Deer Park at 6 p.m.Comments


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