Watch The Times of Bill Cunningham 720px megavideo Without Registering

▼▼▼▼▼▼▼▼▼▼▼▼▼

https://stream-flick.com/16675.html?utm_source=arturomarin.blogia WATCH @ DOWNLOAD

⬆⬆⬆⬆⬆⬆⬆⬆⬆⬆⬆⬆⬆

 

Country - USA. . Writer - Mark Bozek. Actor - Bill Cunningham. 1hours 14Minute. Directors - Mark Bozek. Watch English Full Movie Online. The Times of Bill Cunningham' Online The Times of Bill Cunningham movie download in hindi... The Times of Bill Cunningham - Movie Trailers - iTunes. Trump tells Americans he stopped ‘downsizing of Americas destiny in State of the Union By Dave Boyer, Tom Howell Jr. and Gabriella Muñoz - The Washington Times 25 minutes ago President Trump faced down the Democrats who impeached him in his annual State of the Union address Tuesday night, declaring on the eve of his acquittal in the Senate that he cant be deterred from leading a “great American comeback” for the middle class. Related: Ivanka Trump, Jared Kushner greet Rush Limbaugh Interior Secretary David Bernhardt is ‘designated survivor Buttigieg leads initial Iowa tally; Sanders second, Biden fourth By Seth McLaughlin - The Washington Times Iowa chaos undercuts Democrats in New Hampshire 0 minutes ago By S. A. Miller - The Washington Times Cold War-era brinkmanship erupts as Pentagon deploys new nuclear weapon By Ben Wolfgang - The Washington Times Casinos, factories shuttered as coronavirus ripples through Asia By Tom Howell Jr. The Washington Times More Top News Mitch McConnell calls for an end to House Democrats ‘nonsense impeachment Trump says AOC will challenge Schumer and ‘kick his ass in 2022 Chris Matthews questions ‘viability of Dem Party: ‘Cant even get a three-car funeral organized EXCLUSIVE: Pakistan sees Taliban talks as only way to find peace in Afghanistan SPONSORED CONTENT Top Cardiologist: This One Thing Will Flush Out Your Insides Campaign 2020 View all By S. Miller - The Washington Times Bradley Byrne, Tommy Tuberville ramp up efforts against Jeff Sessions in Alabama Senate race By James Varney - The Washington Times Iowa caucusgoer demands vote back after learning Pete Buttigieg is gay Culture ‘Karma caught up: Principal sorry for suggesting Kobe Bryant deserved death By Associated Press Joy Behar blames Dems Iowa disaster on ‘red state culture, ‘white people By Douglas Ernst - The Washington Times Disney fines Calif. elementary school for showing ‘The Lion King at fundraiser By Jessica Chasmar - The Washington Times Brian Wilson asks fans to boycott Beach Boys concert at event featuring Donald Trump Jr. Trump Central 19 minutes ago Trump ignores Pelosis offer of handshake at start of State of Union address 26 minutes ago By Dave Boyer - The Washington Times 47 minutes ago By Gabriella Muñoz - The Washington Times 8 minutes ago By Victor Morton - The Washington Times Politics Some Democrats refuse to attend State of the Union address By Alex Swoyer and Stephen Dinan - The Washington Times Dems to raise impeachment of Trump in State of the Union responses By Stephen Dinan - The Washington Times America just about ready to board the Trump Train By Jennifer Harper - The Washington Times GOP Sen. Susan Collins to acquit Trump in impeachment trial 52 minutes ago By Alex Swoyer - The Washington Times Dive Deeper Lisa Murkowski dashes Democrats hopes: ‘I cannot vote to convict By Alex Swoyer and S. Miller - The Washington Times By Ben Wolfgang - The Washington Times Trump expands travel ban to six new countries By Stephen Dinan - The Washington Times White House told Bolton to scrub classified info from book before publishing National Director of the Bureau of Indian Education touts plans to bolster American Indian education By Christopher Vondracek - The Washington Times Trump tax subpoenas unconstitutional, ‘harassment, DOJ tells Supreme Court By Jeff Mordock - The Washington Times Arizona man accused of threatening to kill Adam Schiff 22 minutes ago Director of U. S. Counterintelligence: ‘We had a horrible year By Ryan Lovelace - The Washington Times Sports No. 9 Maryland overcomes field goal drought, hangs on to beat Rutgers By Adam Zielonka - The Washington Times All eyes will be on Nationals top prospect Kieboom at spring training LOVERRO: NFL journeyman Lee sees XFL as door to his dream By Thom Loverro Redskins have the worst Super Bowl odds in the league By Matthew Paras - The Washington Times Special Reports FROM THE SPECIAL SECTIONS DEPARTMENT Infrastructure 2019: Building up America — Coast to Coast Energy 2019 Iran: The Power of the Alternative Qatar: What Makes America's Great Ally Special.

October 12, 2018 6:50PM PT The celebrated New York Times on-the-street fashion photographer gets a documentary portrait that movingly captures what made him unique. In “ The Times of Bill Cunningham, ” the late New York Times fashion photographer Bill Cunningham appears before us as a blissed-out aging choirboy. He sits in his small apartment, surrounded by file cabinets jammed with his work, a geek in his element, with a shock of gray hair and two jutting front teeth that give him a big rabbity smile so eager its giddy — and the thing is, he means it. That antic grin lights up the room. “The Times of Bill Cunningham” is the second documentary to be made about the Times legendary on-the-street photographer and shutterbug of society, and it contains a revealing story about the first, “Bill Cunningham New York. ” That film was released in 2011, when Cunningham was in his early eighties (he died in 2016) and it was a profile made with his ardent approval and cooperation. So youd assume that he might have wanted to attend the New York premiere of it. But no. He skipped the premiere, and for good measure never bothered to see the movie. Instead, when the early spring evening that should have been his red-carpet moment was happening, Cunningham was out doing what he always did: gliding through the New York streets on his trademark bicycle, looking for ordinary people to photograph — and not-so-ordinary people, though the beauty of Cunninghams work is that he never made the distinction. He didnt see it, so he didnt make it. In one of his typical Sunday photo collages, you might encounter five different images of women on the street, each photographed wearing the same dress, all looking quite different in it, next to a shot of a celebrity strolling along in that same dress. But youd always have to do a double take before you said, “Oh, look, its Claire Danes, ” because Cunningham lent each figure the graceful mystery and radiance of a celebrity. On his weekly page, everybody was a star. Cunningham himself became a star, though only reluctantly, in the most head-ducking and self-effacing way. He thrived on being behind the camera and behind the scenes, as he had since the 1940s, when he arrived in New York from his native Boston to work at Bonwit Teller. Theres now a full-scale genre of fashion-world documentaries, a category that found its commercial niche around a decade ago, with the release of “Valentino: The Last Emperor. ” But something that has struck me over the last year is that theres a special, intoxicating quality to movies that excavate the fashion demimonde prior to the 1960s — in other words, the “Phantom Thread” era or before. It might be Warhol doing his shoe drawings in the 50s, or Cecil Beaton inventing the 30s fairy-tale kingdom according to Vogue, or (in this case) Bill Cunningham, a sharply grinning young man of the most innocent flamboyance, from a conservative working-class Irish Catholic family, coming to New York and deciding to become a milliner, all because he thought that womens hats could be like something out of a dream. “The Times of Bill Cunningham” is built around an extended interview Cunningham gave in 1994 to a reporter named Mark Bozek (whos the director of the film. The interview was supposed to be 10 minutes long, but Cunningham, then 65, just kept talking. He was one of those lucky individuals whod discovered the secret of a happy existence: If you love what you do and do what you love, youll never work a day in your life. The Cunningham we meet took this ethos to a purified Buddhist extreme. He went out to shoot pictures every day, reveling in the discovery of each moment, and he got invited to some very fancy parties, but apart from that he led a spartan existence. In the 50s, he moved into one of the fabled studios above Carnegie Hall and occupied that privileged but monastic space until the day he died. It was like a highbrow version of the Chelsea Hotel, and we hear great stories about how Marlon Brando, who also had a studio there, would hide out in Cunninghams to get away from all the girls who were mobbing him, or how Cunningham rubbed shoulders with figures from Martha Graham to a naked house-guesting Norman Mailer. Cunningham speaks neurotically quickly, still with a trace of his Boston accent, and the quality he communicates is an openness to any inspiration. The secret of his photography, he says, wasnt aesthetic talent; it was closer to having a detectives eye. Thats why, on the sidewalk, he was always able to spot people like Boy George or — in a historic moment — the aging reclusive Greta Garbo, who hadnt been photographed for decades. He was a man of the moment. When Bozek asks Cunningham, late in the film, if he is ever sad about anything, without saying a word he puts his head down and silently begins to weep. Just like that. A little later, he tells us that hes thinking of all the friends he lost to AIDS. Cunningham found a place in the fashion world, working for the designers who dressed Jackie Kennedy, but it wasnt until someone gave him a camera that he found his calling. He had the talent to be a designer, but by temperament he was an observer. He first demonstrated that in his fashion-world commentary for Womens Wear Daily, which read like gossip written by someone without a catty bone in his body; it was dish served by a man who loved life. He preserved that voice in the short passages he wrote alongside the weekly street gallery that became one of the most popular and iconic destinations in the Sunday New York Times. The movie is filled with his images, many never published in the Times, and you can feel the pleasure he took in shooting each one of them. “The Times of Bill Cunningham” is only 74 minutes long, yet its a snapshot of a life that leaves you grateful for having encountered it. Cunningham insists he wasnt an artist, and in a way the movie recognizes that he was right. He was a natural photographer who anticipated the digital era, but his gift wasnt so much for crafting impeccable images. It was a talent for living that he expressed through his lens. He was a reporter who forged his own unique beat: the beauty of other people. Scarlett Johansson and Florence Pugh take center stage in the new “Black Widow” trailer that dropped at the 54th Super Bowl. Details are scarce on the next Marvel movie, directed by Cate Shortland, but new footage shows Black Widows life before she was an Avenger. Diving into the back story of Johanssons character Natasha Romanoff. Tom Cruise has made an enemy in the newest “Top Gun: Maverick” trailer, which premiered during the 54th annual Super Bowl on Sunday. “My Dad believed in you, Im not going to make the same mistake, ” says Miles Teller who is playing Bradley “Rooster” Bradshaw, son of Nick “Goose” Bradshaw, deceased wingman to Cruises character. The Sundance Film Festival is fighting a battle thats been building for several years, and what its fighting for can be summed up in one word: relevance. What makes a Sundance movie relevant? In a sense, the old criteria still hold. Its some combination of box-office performance, awards cachet, and that buzzy, you-know-it-when-you-see-it thing of. When Tim Bell died in London last summer, the media response was largely, somewhat sheepishly, polite: It was hard not to envision the ruthless political spin doctor still massaging his legacy from beyond the grave. “Irrepressible” was the first adjective chosen in the New York Times obituary. “He had far too few scruples about who he. After three weeks in theaters, Sonys “Bad Boys for Life” is officially the highest-grossing installment in the action-comedy series. The Will Smith and Martin Lawrence-led threequel has made 291 million globally to date, pushing it past previous franchise record holder, 2003s “Bad Boys II” and its 271 million haul. The first entry, 1995s “Bad Boys, ”. World War I story “1917” dominated the BAFTA film awards, which were awarded Sunday evening at Londons Royal Albert Hall with Graham Norton hosting. The wins for “1917” included best film, best director for Sam Mendes and outstanding British film. The awards are broadcast on the BBC in the United Kingdom and at 5 p. m. ] “1917, ” Sam Mendes World War I survival thriller, dominated at the 73rd British Academy of Film and Televisions Film Awards with seven wins including best film and best director. “Joker, ” meanwhile, which went into the BAFTAs with the most nominations, 11, won three awards including best actor for Joaquin Phoenix. “Parasite” picked up two awards.

Alexander Hislop – 1853 Then look at Easter. What means the term Easter itself? It is not a Christian name. It bears its Chaldean origin on its very forehead. Easter is nothing else than Astarte, one of the titles of Beltis, the queen of heaven, whose name, as pronounced by the people Nineveh, was evidently identical with that now in common use in this country. That name, as found by Layard on the Assyrian monuments, is Ishtar. The worship of Bel and Astarte was very early introduced into Britain, along with the Druids, “the priests of the groves. ” Some have imagined that the Druidical worship was first introduced by the Phoenicians, who, centuries before the Christian era, traded to the tin-mines of Cornwall. But the unequivocal traces of that worship are found in regions of the British islands where the Phoenicians never penetrated, and it has everywhere left indelible marks of the strong hold which it must have had on the early British mind. From Bel, the 1st of May is still called Beltane in the Almanac; and we have customs still lingering at this day among us, which prove how exactly the worship of Bel or Moloch (for both titles belonged to the same god) had been observed even in the northern parts of this island. “The late Lady Baird, of Fern Tower, in Perthshire, ” says a writer in “Notes and Queries, ” thoroughly versed in British antiquities, “told me, that every year, at Beltane (or the 1st of May) a number of men and women assemble at an ancient Druidical circle of stones on her property near Crieff. They light a fire in the centre, each person puts a bit of oat-cake in a shepherds bonnet; they all sit down, and draw blindfold a piece from the bonnet. One piece has been previously blackened, and whoever gets that piece has to jump through the fire in the centre of the circle, and pay a forfeit. This is, in fact, a part of the ancient worship of Baal, and the person on whom the lot fell was previously burnt as a sacrifice. Now, the passing through the fire represents that, and the payment of the forfeit redeems the victim. ” If Baal was thus worshipped in Britain, it will not be difficult to believe that his consort Astarte was also adored by our ancestors, and that from Astarte, whose name in Nineveh was Ishtar, the religious solemnities of April, as now practised, are called by the name of Easter–that month, among our Pagan ancestors, having been called Easter-monath. The festival, of which we read in Church history, under the name of Easter, in the third or fourth centuries, was quite a different festival from that now observed in the Romish Church, and at that time was not known by any such name as Easter. It was called Pasch, or the Passover, and though not of Apostolic institution. was very early observed by many professing Christians, in commemoration of the death and resurrection of Christ. * Socrates, the ancient ecclesiastical historian, after a lengthened account of the different ways in which Easter was observed in different countries in his time–i. e., the fifth century–sums up in these words: “Thus much already laid down may seem a sufficient treatise to prove that the celebration of the feast of Easter began everywhere more of custom than by any commandment either of Christ or any Apostle. ” (Hist. Ecclesiast. Every one knows that the name “Easter, ” used in our translation of Acts 12:4, refers not to any Christian festival, but to the Jewish Passover. This is one of the few places in our version where the translators show an undue bias. That festival agreed originally with the time of the Jewish Passover, when Christ was crucified, a period which, in the days of Tertullian, at the end of the second century, was believed to have been the 23rd of March. That festival was not idolatrous, and it was preceded by no Lent. “It ought to be known, ” said Cassianus, the monk of Marseilles, writing in the fifth century, and contrasting the primitive Church with the Church in his day, “that the observance of the forty days had no existence, so long as the perfection of that primitive Church remained inviolate. ” Whence, then, came this observance? The forty days abstinence of Lent was directly borrowed from the worshippers of the Babylonian goddess. Such a Lent of forty days, “in the spring of the year, ” is still observed by the Yezidis or Pagan Devil- worshippers of Koordistan, who have inherited it from their early masters, the Babylonians. Such a Lent of forty days was held in spring by the Pagan Mexicans, for thus we read in Humboldt, where he gives account of Mexican observances: “Three days after the vernal equinox…began a solemn fast of forty days in honour of the sun. ” Such a Lent of forty days was observed in Egypt, as may be seen on consulting Wilkinsons Egyptians. This Egyptian Lent of forty days, we are informed by Landseer, in his Sabean Researches, was held expressly in commemoration of Adonis or Osiris, the great mediatorial god. At the same time, the rape of Proserpine seems to have been commemorated, and in a similar manner; for Julius Firmicus informs us that, for “forty nights” the “wailing for Proserpine” continued; and from Arnobius we learn that the fast which the Pagans observed, called “Castus” or the “sacred” fast, was, by the Christians in his time, believed to have been primarily in imitation of the long fast of Ceres, when for many days she determinedly refused to eat on account of her “excess of sorrow, ” that is, on account of the loss of her daughter Proserpine, when carried away by Pluto, the god of hell. As the stories of Bacchus, or Adonis and Proserpine, though originally distinct, were made to join on and fit in to one another, so that Bacchus was called Liber, and his wife Ariadne, Libera (which was one of the names of Proserpine) it is highly probable that the forty days fast of Lent was made in later times to have reference to both. Among the Pagans this Lent seems to have been an indispensable preliminary to the great annual festival in commemoration of the death and resurrection of Tammuz, which was celebrated by alternate weeping and rejoicing, and which, in many countries, was considerably later than the Christian festival, being observed in Palestine and Assyria in June, therefore called the “month of Tammuz”; in Egypt, about the middle of May, and in Britain, some time in April. To conciliate the Pagans to nominal Christianity, Rome, pursuing its usual policy, took measures to get the Christian and Pagan festivals amalgamated, and, by a complicated but skilful adjustment of the calendar, it was found no difficult matter, in general, to get Paganism and Christianity–now far sunk in idolatry–in this as in so many other things, to shake hands. The instrument in accomplishing this amalgamation was the abbot Dionysius the Little, to whom also we owe it, as modern chronologers have demonstrated, that the date of the Christian era, or of the birth of Christ Himself, was moved FOUR YEARS from the true time. Whether this was done through ignorance or design may be matter of question; but there seems to be no doubt of the fact, that the birth of the Lord Jesus was made full four years later than the truth. This change of the calendar in regard to Easter was attended with momentous consequences. It brought into the Church the grossest corruption and the rankest superstition in connection with the abstinence of Lent. Let any one only read the atrocities that were commemorated during the “sacred fast” or Pagan Lent, as described by Arnobius and Clemens Alexandrinus, and surely he must blush for the Christianity of those who, with the full knowledge of all these abominations, “went down to Egypt for help” to stir up the languid devotion of the degenerate Church, and who could find no more excellent way to “revive” it, than by borrowing from so polluted a source; the absurdities and abominations connected with which the early Christian writers had held up to scorn. That Christians should ever think of introducing the Pagan abstinence of Lent was a sign of evil; it showed how low they had sunk, and it was also a cause of evil; it inevitably led to deeper degradation. Originally, even in Rome, Lent, with the preceding revelries of the Carnival, was entirely unknown; and even when fasting before the Christian Pasch was held to be necessary, it was by slow steps that, in this respect, it came to conform with the ritual of Paganism. What may have been the period of fasting in the Roman Church before sitting of the Nicene Council does not very clearly appear, but for a considerable period after that Council, we have distinct evidence that it did not exceed three weeks. * GIESELER, speaking of the Eastern Church in the second century, in regard to Paschal observances, says: “In it [the Paschal festival in commemoration of the death of Christ] they [the Eastern Christians] eat unleavened bread, probably like the Jews, eight days throughout…There is no trace of a yearly festival of a resurrection among them, for this was kept every Sunday” (Catholic Church. In regard to the Western Church, at a somewhat later period–the age of Constantine–fifteen days seems to have been observed to religious exercises in connection with the Christian Paschal feast, as appears from the following extracts from Bingham, kindly furnished to me by a friend, although the period of fasting is not stated. Bingham (Origin) says: “The solemnities of Pasch [are] the week before and the week after Easter Sunday–one week of the Cross, the other of the resurrection. The ancients speak of the Passion and Resurrection Pasch as a fifteen days solemnity. Fifteen days was enforced by law by the Empire, and commanded to the universal Church…Scaliger mentions a law of Constantine, ordering two weeks for Easter, and a vacation of all legal processes. ” The words of Socrates, writing on this very subject, about AD 450, are these: “Those who inhabit the princely city of Rome fast together before Easter three weeks, excepting the Saturday and Lords-day. ” But at last, when the worship of Astarte was rising into the ascendant, steps were taken to get the whole Chaldean Lent of six weeks, or forty days, made imperative on all within the Roman empire of the West. The way was prepared for this by a Council held at Aurelia in the time of Hormisdas, Bishop of Rome, about the year 519, which decreed that Lent should be solemnly kept before Easter. It was with the view, no doubt, of carrying out this decree that the calendar was, a few days after, readjusted by Dionysius. This decree could not be carried out all at once. About the end of the sixth century, the first decisive attempt was made to enforce the observance of the new calendar. It was in Britain that the first attempt was made in this way; and here the attempt met with vigorous resistance. The difference, in point of time, betwixt the Christian Pasch, as observed in Britain by the native Christians, and the Pagan Easter enforced by Rome, at the time of its enforcement, was a whole month. and it was only by violence and bloodshed, at last, that the Festival of the Anglo-Saxon or Chaldean goddess came to supersede that which had been held in honour of Christ. * CUMMIANUS, quoted by Archbishop USSHER, Sylloge Those who have been brought up in the observance of Christmas and Easter, and who yet abhor from their hearts all Papal and Pagan idolatry alike, may perhaps feel as if there were something “untoward” in the revelations given above in regard to the origin of these festivals. But a moments reflection will suffice entirely to banish such a feeling. They will see, that if the account I have given be true, it is of no use to ignore it. A few of the facts stated in these pages are already known to Infidel and Socinian writers of no mean mark, both in this country and on the Continent, and these are using them in such a way as to undermine the faith of the young and uninformed in regard to the very vitals of the Christian faith. Surely, then, it must be of the last consequence, that the truth should be set forth in its own native light, even though it may somewhat run counter to preconceived opinions, especially when that truth, justly considered, tends so much at once to strengthen the rising youth against the seductions of Popery, and to confirm them in the faith once delivered to the Saints. If a heathen could say, “Socrates I love, and Plato I love, but I love truth more, ” surely a truly Christian mind will not display less magnanimity. Is there not much, even in the aspect of the times, that ought to prompt the earnest inquiry, if the occasion has not arisen, when efforts, and strenuous efforts, should be made to purge out of the National Establishment in the south those observances, and everything else that has flowed in upon it from Babylons golden cup? There are men of noble minds in the Church of Cranmer, Latimer, and Ridley, who love our Lord Jesus Christ in sincerity, who have felt the power of His blood, and known the comfort of His Spirit. Let them, in their closets, and on their knees, ask the question, at their God and at their own consciences, if they ought not to bestir themselves in right earnest, and labour with all their might till such a consummation be effected. Then, indeed, would Englands Church be the grand bulwark of the Reformation–then would her sons speak with her enemies in the gate–then would she appear in the face of all Christendom, “clear as the sun, fair as the moon, and terrible as an army with banners. ” If, however, nothing effectual shall be done to stay the plague that is spreading in her, the result must be disastrous, not only to herself, but to the whole empire. Such is the history of Easter. The popular observances that still attend the period of its celebration amply confirm the testimony of history as to its Babylonian character. The hot cross buns of Good Friday, and the dyed eggs of Pasch or Easter Sunday, figured in the Chaldean rites just as they do now. The “buns, ” known too by that identical name, were used in the worship of the queen of heaven, the goddess Easter, as early as the days of Cecrops, the founder of Athens–that is, 1500 years before the Christian era. “One species of sacred bread, ” says Bryant, “which used to be offered to the gods, was of great antiquity, and called Boun. ” Diogenes Laertius, speaking of this offering being made by Empedocles, describes the chief ingredients of which it was composed, saying, “He offered one of the sacred cakes called Boun, which was made of fine flour and honey. ” The prophet Jeremiah takes notice of this kind of offering when he says, “The children gather wood, the fathers kindle the fire, and the women knead their dough, to make cakes to the queen of heaven. ” * Jeremiah 7:18. It is from the very word here used by the prophet that the word “bun” seems to be derived. The Hebrew word, with the points, was pronounced Khavan, which in Greek became sometimes Kapan-os (PHOTIUS, Lexicon Syttoge) and, at other times, Khabon (NEANDER, in KITTOS Biblical Cyclopoedia. The first shows how Khvan, pronounced as one syllable, would pass into the Latin panis, “bread, ” and the second how, in like manner, Khvon would become Bon or Bun. It is not to be overlooked that our common English word Loa has passed through a similar process of formation. In Anglo-Saxon it was Hlaf. The hot cross buns are not now offered, but eaten, on the festival of Astarte; but this leaves no doubt as to whence they have been derived. The origin of the Pasch eggs is just as clear. The ancient Druids bore an egg, as the sacred emblem of their order. In the Dionysiaca, or mysteries of Bacchus, as celebrated in Athens, one part of the nocturnal ceremony consisted in the consecration of an egg. The Hindoo fables celebrate their mundane egg as of a golden colour. The people of Japan make their sacred egg to have been brazen. In China, at this hour, dyed or painted eggs are used on sacred festivals, even as in this country. In ancient times eggs were used in the religious rites of the Egyptians and the Greeks, and were hung up for mystic purposes in their temples. From Egypt these sacred eggs can be distinctly traced to the banks of the Euphrates. The classic poets are full of the fable of the mystic egg of the Babylonians; and thus its tale is told by Hyginus, the Egyptian, the learned keeper of the Palatine library at Rome, in the time of Augustus, who was skilled in all the wisdom of his native country: “An egg of wondrous size is said to have fallen from heaven into the river Euphrates. The fishes rolled it to the bank, where the doves having settled upon it, and hatched it, out came Venus, who afterwards was called the Syrian Goddess”–that is, Astarte. Hence the egg became one of the symbols of Astarte or Easter; and accordingly, in Cyprus, one of the chosen seats of the worship of Venus, or Astarte, the egg of wondrous size was represented on a grand scale. The occult meaning of this mystic egg of Astarte, in one of its aspects (for it had a twofold significance) had reference to the ark during the time of the flood, in which the whole human race were shut up, as the chick is enclosed in the egg before it is hatched. If any be inclined to ask, how could it ever enter the minds of men to employ such an extraordinary symbol for such a purpose, the answer is, first, The sacred egg of Paganism, as already indicated, is well known as the “mundane egg, ” that is, the egg in which the world was shut up. Now the world has two distinct meanings–it means either the material earth, or the inhabitants of the earth. The latter meaning of the term is seen in Genesis 11:1, “The whole earth was of one language and of one speech, ” where the meaning is that the whole people of the world were so. If then the world is seen shut up in an egg, and floating on the waters, it may not be difficult to believe, however the idea of the egg may have come, that the egg thus floating on the wide universal sea might be Noahs family that contained the whole world in its bosom. Then the application of the word egg to the ark comes thus: The Hebrew name for an egg is Baitz, or in the feminine (for there are both genders) Baitza. This, in Chaldee and Phoenician, becomes Baith or Baitha, which in these languages is also the usual way in which the name of a house is pronounced. * The common word “Beth, ” “house, ” in the Bible without the points, is “Baith, ” as may be seen in the name of Bethel, as given in Genesis 35:1, of the Greek Septuagint, where it is “Baith-el. ” The egg floating on the waters that contained the world, was the house floating on the waters of the deluge, with the elements of the new world in its bosom. The coming of the egg from heaven evidently refers to the preparation of the ark by express appointment of God; and the same thing seems clearly implied in the Egyptian story of the mundane egg which was said to have come out of the mouth of the great god. The doves resting on the egg need no explanation. This, then, was the meaning of the mystic egg in one aspect. As, however, everything that was good or beneficial to mankind was represented in the Chaldean mysteries, as in some way connected with the Babylonian goddess, so the greatest blessing to the human race, which the ark contained in its bosom, was held to be Astarte, who was the great civiliser and benefactor of the world. Though the deified queen, whom Astarte represented, had no actual existence till some centuries after the flood, yet through the doctrine of metempsychosis, which was firmly established in Babylon, it was easy for her worshippers to be made to believe that, in a previous incarnation, she had lived in the Antediluvian world, and passed in safety through the waters of the flood. Now the Romish Church adopted this mystic egg of Astarte, and consecrated it as a symbol of Christs resurrection. A form of prayer was even appointed to be used in connection with it, Pope Paul V teaching his superstitious votaries thus to pray at Easter: “Bless, O Lord, we beseech thee, this thy creature of eggs, that it may become a wholesome sustenance unto thy servants, eating it in remembrance of our Lord Jesus Christ, c” (Scottish Guardian, April, 1844. Besides the mystic egg, there was also another emblem of Easter, the goddess queen of Babylon, and that was the Rimmon or “pomegranate. ” With the Rimmon or “pomegranate” in her hand, she is frequently represented in ancient medals, and the house of Rimmon, in which the King of Damascus, the Master of Naaman, the Syrian, worshipped, was in all likelihood a temple of Astarte, where that goddess with the Rimmon was publicly adored. The pomegranate is a fruit that is full of seeds; and on that account it has been supposed that it was employed as an emblem of that vessel in which the germs of the new creation were preserved, wherewith the world was to be sown anew with man and with beast, when the desolation of the deluge had passed away. But upon more searching inquiry, it turns out that the Rimmon or “pomegranate” had reference to an entirely different thing. Astarte, or Cybele, was called also Idaia Mater, and the sacred mount in Phrygia, most famed for the celebration of her mysteries, was named Mount Ida–that is, in Chaldee, the sacred language of these mysteries, the Mount of Knowledge. “Idaia Mater, ” then, signifies “the Mother of Knowledge”–in other words, our Mother Eve, who first coveted the “knowledge of good and evil, ” and actually purchased it at so dire a price to herself and to all her children. Astarte, as can be abundantly shown, was worshipped not only as an incarnation of the Spirit of God, but also of the mother of mankind. (see note below) When, therefore, the mother of the gods, and the mother of knowledge, was represented with the fruit of the pomegranate in her extended hand, inviting those who ascended the sacred mount to initiation in her mysteries, can there be a doubt what that fruit was intended to signify? Evidently, it must accord with her assumed character; it must be the fruit of the “Tree of Knowledge”–the fruit of that very “Tree, whose mortal taste. Brought death into the world, and all our woe. ” The knowledge to which the votaries of the Idaean goddess were admitted, was precisely of the same kind as that which Eve derived from the eating of the forbidden fruit, the practical knowledge of all that was morally evil and base. Yet to Astarte, in this character, men were taught to look at their grand benefactress, as gaining for them knowledge, and blessings connected with that knowledge, which otherwise they might in vain have sought from Him, who is the Father of lights, from whom cometh down every good and perfect gift. Popery inspires the same feeling in regard to the Romish queen of heaven, and leads its devotees to view the sin of Eve in much the same light as that in which Paganism regarded it. In the Canon of the Mass, the most solemn service in the Romish Missal, the following expression occurs, where the sin of our first parent is apostrophised: “Oh blessed fault, which didst procure such a Redeemer! ” The idea contained in these words is purely Pagan. They just amount to this: “Thanks be to Eve, to whose sin we are indebted for the glorious Saviour. ” It is true the idea contained in them is found in the same words in the writings of Augustine; but it is an idea utterly opposed to the spirit of the Gospel, which only makes sin the more exceeding sinful, from the consideration that it needed such a ransom to deliver from its awful curse. Augustine had imbibed many Pagan sentiments, and never got entirely delivered from them. As Rome cherishes the same feelings as Paganism did, so it has adopted also the very same symbols, so far as it has the opportunity. In this country, and most of the countries of Europe, no pomegranates grow; and yet, even here, the superstition of the Rimmon must, as far as possible, be kept up. Instead of the pomegranate, therefore, the orange is employed; and so the Papists of Scotland join oranges with their eggs at Easter; and so also, when Bishop Gillis of Edinburgh went through the vain-glorious ceremony of washing the feet of twelve ragged Irishmen a few years ago at Easter, he concluded by presenting each of them with two eggs and an orange. Now, this use of the orange as the representative of the fruit of Edens “dread probationary tree, ” be it observed, is no modern invention; it goes back to the distant times of classic antiquity. The gardens of the Hesperides in the West, are admitted by all who have studied the subject, just to have been the counterpart of the paradise of Eden in the East. The description of the sacred gardens, as situated in the Isles of the Atlantic, over against the coast of Africa, shows that their legendary site exactly agrees with the Cape Verd or Canary Isles, or some of that group; and, of course, that the “golden fruit” on the sacred tree, so jealously guarded, was none other than the orange. Now, let the reader mark well: According to the classic Pagan story, there was no serpent in that garden of delight in the “islands of the blest, ” to TEMPT mankind to violate their duty to their great benefactor, by eating of the sacred tree which he had reserved as the test of their allegiance. No; on the contrary, it was the Serpent, the symbol of the Devil, the Principle of evil, the Enemy of man, that prohibited them from eating the precious fruit–that strictly watched it–that would not allow it to be touched. Hercules, one form of the Pagan Messiah–not the primitive, but the Grecian Hercules–pitying mans unhappy state, slew or subdued the serpent, the envious being that grudged mankind the use of that which was so necessary to make them at once perfectly happy and wise, and bestowed upon them what otherwise would have been hopelessly beyond their reach. Here, then, God and the devil are exactly made to change places. Jehovah, who prohibited man from eating of the tree of knowledge, is symbolised by the serpent, and held up as an ungenerous and malignant being, while he who emancipated man from Jehovahs yoke, and gave him of the fruit of the forbidden tree–in other words, Satan under the name of Hercules–is celebrated as the good and gracious Deliverer of the human race. What a mystery of iniquity is here! Now all this is wrapped up in the sacred orange of Easter. Note The Meaning of the Name Astarte That Semiramis, under the name of Astarte, was worshipped not only as an incarnation of the Spirit of God, but as the mother of mankind, we have very clear and satisfactory evidence. There is no doubt that “the Syrian goddess” was Astarte (LAYARDS Nineveh and its Remains. Now, the Assyrian goddess, or Astarte, is identified with Semiramis by Athenagoras (Legatio) and by Lucian (De Dea Syria. These testimonies in regard to Astarte, or the Syrian goddess, being, in one aspect, Semiramis, are quite decisive. 1. The name Astarte, as applied to her, has reference to her as being Rhea or Cybele, the tower- bearing goddess, the first as Ovid says (Opera) that “made (towers) in cities”; for we find from Layard that in the Syrian temple of Hierapolis, “she [Dea Syria or Astarte] was represented standing on a lion crowned with towers. ” Now, no name could more exactly picture forth the character of Semiramis, as queen of Babylon, than the name of “Ash-tart, ” for that just means “The woman that made towers. ” It is admitted on all hands that the last syllable “tart” comes from the Hebrew verb “Tr. ” It has been always taken for granted, however, that “Tr” signifies only “to go round. ” But we have evidence that, in nouns derived from it, it also signifies “to be round, ” “to surround, ” or “encompass. ” In the masculine, we find “Tor” used for “a border or row of jewels round the head” (see PARKHURST and also GESENIUS. And in the feminine, as given in Hesychius (Lexicon) we find the meaning much more decisively brought out. Turis is just the Greek form of Turit, the final t, according to the genius of the Greek language, being converted into s. Ash-turit, then, which is obviously the same as the Hebrew “Ashtoreth, ” is just “The woman that made the encompassing wall. ” Considering how commonly the glory of that achievement, as regards Babylon, was given to Semiramis, not only by Ovid, but by Justin, Dionysius, Afer, and others, both the name and mural crown on the head of that goddess were surely very appropriate. In confirmation of this interpretation of the meaning of the name Astarte, I may adduce an epithet applied to the Greek Diana, who at Ephesus bore a turreted crown on her head, and was identified with Semiramis, which is not a little striking. It is contained in the following extract from Livy: “When the news of the battle [near Pydna] reached Amphipolis, the matrons ran together to the temple of Diana, whom they style Tauropolos, to implore her aid. ” Tauropolos, from Tor, “a tower, ” or “surrounding fortification, ” and Pol, “to make, ” plainly means the “tower-maker, ” or “maker of surrounding fortifications”; and P53 to her as the goddess of fortifications, they would naturally apply when they dreaded an attack upon their city. Semiramis, being deified as Astarte, came to be raised to the highest honours; and her change into a dove, as has been already shown, was evidently intended, when the distinction of sex had been blasphemously attributed to the Godhead, to identify her, under the name of the Mother of the gods, with that Divine Spirit, without whose agency no one can be born a child of God, and whose emblem, in the symbolical language of Scripture, was the Dove, as that of the Messiah was the Lamb. Since the Spirit of God is the source of all wisdom, natural as well as spiritual, arts and inventions and skill of every kind being attributed to Him (Exo 31:3; 35:31) so the Mother of the gods, in whom that Spirit was feigned to be incarnate, was celebrated as the originator of some of the useful arts and sciences (DIODORUS SICULUS. Hence, also, the character attributed to the Grecian Minerva, whose name Athena, as we have seen reason to conclude, is only a synonym for Beltis, the well known name of the Assyrian goddess. Athena, the Minerva of Athens, is universally known as the “goddess of wisdom, ” the inventress of arts and sciences. 2. The name Astarte signifies also the “Maker of investigations”; and in this respect was applicable to Cybele or Semiramis, as symbolised by the Dove. That this is one of the meanings of the name Astarte may be seen from comparing it with the cognate names Asterie and Astraea (in Greek Astraia) which are formed by taking the last member of the compound word in the masculine, instead of the feminine, Teri, or Tri (the latter being pronounced Trai or Trae) being the same in sense as Tart. Now, Asterie was the wife of Perseus, the Assyrian (HERODOTUS) and who was the founder of Mysteries (BRYANT. As Asterie was further represented as the daughter of Bel, this implies a position similar to that of Semiramis. Astraea, again, was the goddess of justice, who is identified with the heavenly virgin Themis, the name Themis signifying “the perfect one, ” who gave oracles (OVID, Metam. and who, having lived on earth before the Flood, forsook it just before that catastrophe came on. Themis and Astraea are sometimes distinguished and sometimes identified; but both have the same character as goddesses of justice. The explanation of the discrepancy obviously is, that the Spirit has sometimes been viewed as incarnate and sometimes not. When incarnate, Astraea is daughter of Themis. What name could more exactly agree with the character of a goddess of justice, than Ash-trai-a, “The maker of investigations, ” and what name could more appropriately shadow forth one of the characters of that Divine Spirit, who “searcheth all things, yea, the deep things of God”? As Astraea, or Themis, was “Fatidica Themis, ” “Themis the prophetic, ” this also was another characteristic of the Spirit; for whence can any true oracle, or prophetic inspiration, come, but from the inspiring Spirit of God? Then, lastly, what can more exactly agree with the Divine statement in Genesis in regard to the Spirit of God, than the statement of Ovid, that Astraea was the last of the celestials who remained on earth, and that her forsaking it was the signal for the downpouring of the destroying deluge? The announcement of the coming Flood is in Scripture ushered in with these words (Gen 6:3) “And the Lord said, My Spirit shall not always strive with man, for that he also is flesh: yet his days shall be an hundred and twenty years. ” All these 120 years, the Spirit was striving; when they came to an end, the Spirit strove no longer, forsook the earth, and left the world to its fate. But though the Spirit of God forsook the earth, it did not forsake the family of righteous Noah. It entered with the patriarch into the ark; and when that patriarch came forth from his long imprisonment, it came forth along with him. Thus the Pagans had an historical foundation for their myth of the dove resting on the symbol of the ark in the Babylonian waters, and the Syrian goddess, or Astarte–the same as Astraea–coming forth from it. Semiramis, then, as Astarte, worshipped as the dove, was regarded as the incarnation of the Spirit of God. 3. As Baal, Lord of Heaven, had his visible emblem, the sun, so she, as Beltis, Queen of Heaven, must have hers also–the moon, which in another sense was Asht-tart-e, “The maker of revolutions”; for there is no doubt that Tart very commonly signifies “going round. ” But, 4th, the whole system must be dovetailed together. As the mother of the gods was equally the mother of mankind, Semiramis, or Astarte, must also be identified with Eve; and the name Rhea, which, according to the Paschal Chronicle was given to her, sufficiently proves her identification with Eve. As applied to the common mother of the human race, the name Astarte is singularly appropriate; for, as she was Idaia mater, “The mother of knowledge, ” the question is, “How did she come by that knowledge? ” To this the answer can only be: “by the fatal investigations she made. ” It was a tremendous experiment she made, when, in opposition to the Divine command, and in spite of the threatened penalty, she ventured to “search” into that forbidden knowledge which her Maker in his goodness had kept from her. Thus she took the lead in that unhappy course of which the Scripture speaks–“God made man upright, but they have SOUGHT out many inventions” (Eccl7:29. Now Semiramis, deified as the Dove, was Astarte in the most gracious and benignant form. Lucius Ampelius calls her “the goddess benignant and merciful to me” (bringing them) “to a good and happy life. ” In reference to this benignity of her character, both the titles, Aphrodite and Mylitta, are evidently attributed to her. The first I have elsewhere explained as “The wrath-subduer, ” and the second is in exact accordance with it. Mylitta, or, as it is in Greek, Mulitta, signifies “The Mediatrix. ” The Hebrew Melitz, which in Chaldee becomes Melitt, is evidently used in Job 33:23, in the sense of a Mediator; “the messenger, the interpreter” (Melitz) who is “gracious” to a man, and saith, “Deliver from going down to the pit: I have found a ransom, ” being really “The Messenger, the MEDIATOR. ” Parkhurst takes the word in this sense, and derives it from “Mltz, ” “to be sweet. ” Now, the feminine of Melitz is Melitza, from which comes Melissa, a “bee” (the sweetener, or producer of sweetness) and Melissa, a common name of the priestesses of Cybele, and as we may infer of Cybele, as Astarte, or Queen of Heaven, herself; for, after Porphyry, has stated that “the ancients called the priestesses of Demeter, Melissae, ” he adds, that they also “called the Moon Melissa. ” We have evidence, further, that goes far to identify this title as a title of Semiramis. Melissa or Melitta (APPOLODORUS)–for the name is given in both ways–is said to have been the mother of Phoroneus, the first that reigned, in whose days the dispersion of mankind occurred, divisions having come in among them, whereas before, all had been in harmony and spoke one language (Hyginus. There is no other to whom this can be applied but Nimrod; and as Nimrod came to be worshipped as Nin, the son of his own wife, the identification is exact. Melitta, then, the mother of Phoroneus, is the same as Mylitta, the well known name of the Babylonian Venus; and the name, as being the feminine of Melitz, the Mediator, consequently signifies the Mediatrix. Another name also given to the mother of Phoroneus, “the first that reigned, ” is Archia (LEMPRIERE; SMITH. Now Archia signifies “Spiritual” (from “Rkh, ” Heb. “Spirit, ” which in Egyptian also is “Rkh” [BUNSEN] and in Chaldee, with the prosthetic a prefixed becomes Arkh. From the same root also evidently comes the epithet Architis, as applied to the Venus that wept for Adonis. Venus Architis is the spiritual Venus. * The Hebrew Dem, blood, in Chaldee becomes Adem; and, in like manner, Rkh becomes Arkh. * From OUVAROFF we learn that the mother of the third Bacchus was Aura, and Phaethon is said by Orpheus to have been the son of the “wide extended air” (LACTANTIUS. The connection in the sacred language between the wind, the air, and the spirit, sufficiently accounts for these statements, and shows their real meaning. Thus, then, the mother-wife of the first king that reigned was known as Archia and Melitta, in other words, as the woman in whom the “Spirit of God” was incarnate; and thus appeared as the “Dea Benigna, ” “The Mediatrix” for sinful mortals. The first form of Astarte, as Eve, brought sin into the world; the second form before the Flood, was avenging as the goddess of justice. This form was “Benignant and Merciful. ” Thus, also, Semiramis, or Astarte, as Venus the goddess of love and beauty, became “The HOPE of the whole world, ” and men gladly had recourse to the “mediation” of one so tolerant of sin. Long article. Heres some on Ostara or the Spring Equinox.

Watch the times of bill cunningham online. “He was one of those lucky individuals whod discovered the secret of a happy existence: If you love what you do and do what you love, youll never work a day in your life. ” Back in 1994, fashion industry veteran Mark Bozek interviewed the legendary New York photographer Bill Cunningham in what was intended to be a brief chat. But an effervescent Cunningham ended up talking for hours, with a particular focus on his love of fashion. He refers to himself as, first and foremost, a ‘fashion historian, and recalls witnessing the resurgence of the fashion industry in Paris after the second world war. He discusses collaborating with designers, including creating hats for Balenciaga, before remembering the devastation in the creative community wrought by HIV/AIDS in the early 90s. In 2016, Bozek recovered the videotapes of the remarkable interview from his garage and began weaving this intimate and fascinating documentary. Sarah Jessica Parker narrates. Australian premiere Please join us after the screening on Sat 9 Mar for a very special discussion with director Mark Bozek. All cinema-goers will go into the running to win a copy of ' Fashion Climbing: A New York Life ' by Bill Cunningham, thanks to our friends at Penguin Random House.

Watch the times of bill cunningham actor. We use cookies for a number of reasons, such as keeping FT Sites reliable and secure, personalising content and ads, providing social media features and to analyse how our Sites are used. Manage cookies Accept & continue. The times of bill cunningham watch online. Watch the times of bill cunningham obituary. Bill Cunningham, covered in coiled wires, straps and other camera equipment, seated in the fashion show which had no runway so I took a picture of him with the audience. One of the ladies is taking notes. Paris, France, 1971. Harold Chapman / Topfoto / The Image Works On Saturday, Feb. 1 at 3:00 p. m., the Cinema Arts Centre will screen the new documentary film about the legendary New York Times photographer Bill Cunningham. The screening of the film, The Times of Bill Cunningham, will be followed by an in-person discussion with director Mark Bozek, artist Ruben Toledo, and Amy Fine Collins, former writer for Vanity Fair and frequent Bill Cunningham model. Narrated by Sarah Jessica Parker, “ The Times of Bill Cunningham” features incredible photographs chosen from over 3 million previously unpublicized images and documents from iconic street photographer and fashion historian Bill Cunningham. Told in Cunninghams own words from a recently unearthed 1994 interview, the photographer chronicles, in his customarily cheerful and plainspoken manner, moonlighting as a milliner in France during the Korean War, his unique relationship with First Lady Jackie Kennedy, his four decades at The New York Times and his democratic view of fashion and society. Program Event Fees: 12 Cinema Arts Centre Members, 17 Public.

To commemorate THE TIMES OF BILL CUNNINGHAM, a documentary profiling the iconic fashion photographer, were proud to present a line of apparel with designs by Ruben Toledo. For every purchase, 1 will be donated to Gods Love We Deliver which provides meals for people living with severe illness in the New York metro area. Gods Love We Deliver is the New York metro areas leading provider of life-sustaining meals and nutrition counseling for people living with severe illness. They employ a team of registered dietitians who individually tailor meals to each client's specific medical requirements. All of the agencys services are provided free to clients and full of love. Since 1985, Gods Love has cooked and home-delivered over 21 million meals, and has never had a waiting list.

Watch the times of bill cunningham wife. Watch the times of bill cunningham books. Watch the times of bill cunningham death.

Watch Online Yourvideohost

The of Bill &Cunningha~m full Full Movie. Watch the times of bill cunningham 2017. Watch the times of bill cunningham band. Watch the times of bill cunningham live. Preamble to the Bill of Rights *Congress of the United States begun and held at the City of New-York, on Wednesday the fourth of March, one thousand seven hundred and eighty nine. THE  Conventions of a number of the States, having at the time of their adopting the Constitution, expressed a desire, in order to prevent misconstruction or abuse of its powers, that further declaratory and restrictive clauses should be added: And as extending the ground of public confidence in the Government, will best ensure the beneficent ends of its institution. RESOLVED  by the Senate and House of Representatives of the United States of America, in Congress assembled, two thirds of both Houses concurring, that the following Articles be proposed to the Legislatures of the several States, as amendments to the Constitution of the United States, all, or any of which Articles, when ratified by three fourths of the said Legislatures, to be valid to all intents and purposes, as part of the said Constitution; viz. ARTICLES  in addition to, and Amendment of the Constitution of the United States of America, proposed by Congress, and ratified by the Legislatures of the several States, pursuant to the fifth Article of the original Constitution. Frederick Augustus Muhlenberg Speaker of the House of Representatives John Adams, Vice-President of the United States and President of the Senate. Attest, John Beckley, Clerk of the House of Representatives. Sam. A. Otis Secretary of the Senate. *On September 25, 1789, Congress transmitted to the state legislatures twelve proposed amendments, two of which, having to do with Congressional representation and Congressional pay, were not adopted.  The remaining ten amendments became the Bill of Rights. Amendment 1 - Freedom of Religion, Speech, and the Press Congress shall make no law respecting an establishment of religion or prohibiting the free exercise thereof, or abridging the freedom of speech or of the press, or the right of the people peaceably to assemble and to petition the government for a redress of grievances. Amendment 2 - The Right to Bear Arms A well-regulated M ilitia  being necessary to the security of a free State, the right of the people to keep and bear A rms  shall not be infringed. Amendment 3 - The Housing of Soldiers No soldier shall, in time of peace, be quartered in any house without the consent of the owner, nor in time of war but in a manner to be prescribed by law. Amendment 4 - Protection from Unreasonable Searches and Seizures The right of the people to be secure in their persons, houses, papers, and effects against unreasonable searches and seizures shall not be violated, and no warrants shall issue but upon probable cause, supported by oath or affirmation, and particularly describing the place to be searched and the persons or things to be seized. Amendment 5 - Protection of Rights to Life, Liberty, and Property No person shall be held to answer for a capital or otherwise infamous crime unless on a presentment or indictment of a grand jury, except in cases arising in the land or naval forces, or in the militia, when in actual service in time of war or public danger; nor shall any person be subject for the same offense to be twice put in jeopardy of life or limb; nor shall be compelled in any criminal case to be a witness against himself, nor be deprived of life, liberty, or property without due process of law; nor shall private property be taken for public use without just compensation. Amendment 6 - Rights of Accused Persons in Criminal Cases In all criminal prosecutions, the accused shall enjoy the right to a speedy and public trial by an impartial jury of the state and district wherein the crime shall have been committed, which district shall have been previously ascertained by law, and to be informed of the nature and cause of the accusation; to be confronted with the witnesses against him; to have compulsory process for obtaining witnesses in his favor; and to have the assistance of counsel for his defense. Amendment 7 - Rights in Civil Cases In suits at common law, where the value in controversy shall exceed twenty dollars, the right of trial by jury shall be preserved, and no fact tried by a jury shall be otherwise reexamined in any court of the United States than according to the rules of the common law. Amendment 8 - Excessive Bail, Fines, and Punishments Forbidden Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted. Amendment 9 - Other Rights Kept by the People The enumeration in the Constitution of certain rights shall not be construed to deny or disparage others retained by the people. Amendment 10 - Undelegated Powers Kept by the States and the People The powers not delegated to the United States by the Constitution, nor prohibited by it to the states, are reserved to the states respectively, or to the people. ← Previous Post Next Post →.

 

The beloved fashion photographer, a longtime fixture of both street life and society events in New York, gets a second documentary tribute in Mark Bozeks feature, narrated by Sarah Jessica Parker. The death of Bill Cunningham in 2016 marked the end of an era with the disappearance of his candid snapshots from the "On the Street" and "Evening Hours" Sunday columns in The New York Times. The self-effacing fashion historian's monastic dedication to his work, along with the unbridled joy he drew from it, were celebrated in Richard Press' gorgeous 2011 documentary Bill Cunningham New York. First-time director Mark Bozek now takes an expansive view of the subject in The Times of Bill Cunningham, a captivating portrait built around a previously unseen interview he shot with the photographer in 1994. Does this new film shine much fresh light on a life already so affectionately examined in the earlier close-up? Aside from the gratuitous dissing of the Press doc — when Sarah Jessica Parker reads Bozek's scripted narration, making the unverifiable claim that the 2011 film's success and the public recognition it brought Cunningham made him uncomfortable — perhaps not. But if you have a subject as delightful and forthcoming as the self-invented shutterbug, not to mention decades' worth of fabulous footage and photographic records of high and low fashion, you really can't have too much of a good thing. Bozek, whose background is in fashion marketing, television production and 20-plus years as a QVC exec (he was the basis of the Bradley Cooper character in David O. Russell's Joy) began work on the film the day Cunningham died, aged 87. He dug out the long-lost video interview, which had been planned as a quick 10-minute chat but ended up a life-spanning reflection that continued until the tape ran out. During production on the doc, Bozek scored access to Cunningham's vast photo archives covering six decades, including a wealth of previously unpublished material from the pre- New York Times years. For someone inherently shy and unfailingly modest about his achievements, Cunningham is a brilliant interview subject. His words are buoyed by the infectious enthusiasm, the sense of gratitude even, that he shares about having been able to carve out a significant career doing something he loves. "A luxury. he calls it, bringing an exciting sense of discovery to each new day on the job. And he was always on the job. Parked on his favorite corner of 57th Street and Fifth Avenue, or whizzing about New York in his customary uniform of a blue French sanitation workers' jacket on a series of 25 bicycles in as many years — "The cheaper the better. They're only gonna steal it. — he was never without his camera. With prompts from Cunningham at every step, Bozek guides us through the subject's life from his conservative Boston Irish-Catholic upbringing to his arrival at 19 in New York, where he worked in advertising at the chic department store Bonwit Teller. Having fooled around making hats since he was 10, Cunningham began sidelining as a milliner, fashioning fantasy headgear that was much in demand during the explosion of postwar fetes and costume balls. But Bonwits fired him when they learned that his attention-getting creations weren't being sold in their stores. It's the chronicle of this period in particular that makes Cunningham's career such a wonderfully New York-centric story — of a creative artist propelled by drive, resourcefulness and fortuitous connections, though seemingly not by the usual fundamental quality of guile. He secured himself a small apartment to use as a studio, rent free in exchange for janitorial duties, earning a modest income delivering lunches on Madison Avenue and working nights at a Howard Johnson's. He was drafted during the Korean War and stationed in France, where he attended the Paris fashion shows for the first time while also selling his hats to major designers like Schiaparelli. Back in New York, he started working for the influential couture salon Chez Ninon, where his association with future first lady Jacqueline Bouvier began. Perhaps prefiguring by several decades the colonization of Hollywood by the personal stylist, Cunningham makes amusing comments about how the movie sirens of the time, Ginger Rogers, Joan Crawford and Elizabeth Taylor among them, had little style of their own and were not Chez Ninon's ideal customers. The store's preferred clients instead were sophisticated socialites like Babe Paley and Slim Keith. By contrast, Cunningham admits he never cared about his own wardrobe, relying on thrift stores and castoffs, often from widows offloading their late husbands' clothes. He may be the only person who ever went to lunch with the Duke and Duchess of Windsor wearing hand-me-downs. Around this time in the mid-1950s, Cunningham moved into a small apartment in the legendary Carnegie Studios above the concert hall that would become his home and personal archive for the next half-century. The astonishing cast of famous-name artists and eccentrics who lived in these cramped residential apartments over the decades has been widely documented, but it's nonetheless a treat to hear Cunningham talk of his more memorable neighbors. John Fairchild, the editor who transformed Women's Wear Daily into a fashion force, pulled Cunningham into journalism, though the latter is characteristically humble about his efforts as a writer. (Bozek omits any mention of Cunningham's posthumously discovered memoir Fashion Climbing, published this year. Only in the '60s when a friend gave him his first camera and told him to use it like a notebook did he find his métier. But although the self-taught photographer began shooting runway shows, he really found his calling capturing idiosyncratic New York street style. While much of the world was becoming increasingly fixated on the cult of celebrity and the dream factory of Hollywood, Cunningham was more interested in "how women dressed in their own lives. Paradoxically, however, it was a lucky 1978 shot of that most elusive symbol of iconic silver-screen glamour, Greta Garbo, wearing a nutria coat, that opened the doors to his long association with The New York Times. There's a dizzying array of fashion visuals here, both shots by Cunningham and extensive material documenting the decades during which he lived and worked. The image quality varies wildly, but the sheer volume alone almost dictates a second viewing to take it all in. Bozek and editor Amina Megalli could perhaps have streamlined a more elegant narrative out of all this, and Parker's linking commentary is often flowery and overwritten. But the film is never less than charming, imbued with genuine fondness for its subject. What it captures most essentially is the distinctly egalitarian philosophy with which Cunningham approached his chosen field — pegged far more to dressing with flair and imagination than to high-end designer access. He also was perceptive on the ways in which fashion reflects what's happening in terms of the politics and social movements of any particular time. And it's especially refreshing, in this age of spotlight-seeking protagonism, to spend time with an artist whose modus operandi was to remain invisible. "We're not the story. he says at one point. Even more so than the earlier documentary, this one keeps a discreet distance from questions about Cunningham's sexuality and private relationships; though much can be inferred from his exhaustive photo-documentation of Pride parades and other LGBTQ events, starting long before they received general media coverage. In one of the most moving moments in the film, he tears up remembering the devastating losses of the AIDS crisis, his voice breaking as he recalls departed friends, like the fashion illustrator Antonio Lopez, the subject of a recent doc by James Crump. The real strength of Bozek's film is how much of Cunningham's own voice it gives us. Just listening to him on the milestone 1973 Versailles show that grouped together the work of five leading American fashion designers with that of five French counterparts is a rare pleasure. Describing the then-revolutionary innovation of having beautiful African-American models take empowering command of the runway, he calls the moment, pure raw talent pressing on the raw nerve of the time. " The Times of Bill Cunningham  above all reveals a man who found his vocation looking for beauty without ever placing a rigid definition on it, happy to remain in the background while never losing his appreciation for the expressive signature of individual style. Production company: Live Rocket Director-writer: Mark Bozek Producers: Mark Bozek, Russell Nuce Executive producers: Dan Braun, Brendan & Kathleen FitzGerald, Stephane Marsil, Michael Phillips, Susan Rockefeller Music: Ezinma Editor: Amina Megalli Narrator: Sarah Jessica Parker Venue: New York Film Festival (Spotlight on Documentary) Sales: Submarine 74 minutes.

The times of bill cunningham watch.

 

pukuzumida.therestaurant.jp/posts/7715578

https://stackoverflow.com/story/download-free-the-times-of-bill-cunningham-solarmovie-tamil-yesmovies-part-1-solar-movies

https://boyimp-all.blogia.com/2020/020602-the-times-of-bill-cunningham-watch-movie-with-cast-bill-cunningham-torrents-eng-.php

https://amp.amebaownd.com/posts/7717865

https://seesaawiki.jp/keharabi/d/The%20Times%20of%20Bill%20Cunningham%20Watch%20Part%201%20Hd-720p%20HD%201080p%20with%20Bill%20Cunningham

yarehaho/d/The%20Times%20of%20Bill%20Cunningham%20Free%20Movie%20gostream%20Free%20HD%201080p%20Online%20Free