SARTORIAL SERIES ENTRY #2 - “THE VISIONARY”. -A little about yourself. My name is Cedric Quick. I’ve been called an extremist because of my passion to be number 1 and give all I have to whatever my interest is at the time. The problem is those interests change and I’ve become a jack of all trade. I’m still searching for the one thing that I will master and never shy away from.I’m a loving father and husband that enjoys the journeys and lessons of life.  I believe everyday is an opportunity to get better and make my family proud.  FOE

-What pushed you to start growing and maintaining your beard?  First off, my father rocked the beard.  I’ve always wanted to let it grow and see where it goes, but I was concerned about how I would be perceived.  Then I said f**k it… -Who inspires you to be great? Again, my family and friends inspire me to be and do more than anyone ever imagined. 

-What advice can you give anyone who’s trying to grow or keep their beard healthy?  Have favorable genetics, stop putting blades to it, and “Mane The F*** UP”

-What’s one quote that you live by daily?  “Be yourself  #nuffsaid”

Another personal favorite quote:  “Aint no fun when the rabbit got the gun”

PHOTOGRAPHY IG: @RAAT_FASHION  |   visuals-by-raat



For Woolf, getting lost was not a matter of geography so much as identity, a passionate desire, even an urgent need, to become no one and anyone, to shake off the shackles that remind you who you are, who others think you are. This dissolution of identity is familiar to travelers in foreign places and remote fastnesses, but Woolf, with her acute perception of the nuances of consciousness, could find it in a stroll down the street, a moment’s solitude in an armchair. Woolf was not a romantic, not a celebrant of that getting lost that is erotic love, in which the beloved becomes an invitation to become who you secretly, dormantly, like a locust underground waiting for the seventeen-year call, already are in hiding, that love for the other that is also a desire to reside in your own mystery in the mystery of others. Her getting lost was solitary, like Thoreau’s.
—  Rebecca Solnit, from “Open Door,” A Field Guide to Getting Lost

Snakes on a Plane:

Look closely at each register of this wood panel from Mexico’s Oaxaca/Guerrero region (AD 1200-1400), and you’ll see a figure that’s part human, part serpent. The pairs “are animated with human arms and hands, each of which holds a sinuous serpent, while another serpent emerges from the ‘knot’ of each intertwined pair,” curator Virginia Fields explains explains on the museum’s blog. The door, a new acquisition, was made in the  International Style (a term that means something else entirely in Modernism), which dominated Mesoamerica during the Late Postclassic period. 

The style, a focus of next spring’s show Children of the Plumed Serpent: The Legacy of Quetzalcoatl in Ancient Mexico, is seen in many art forms, as the well as system of pictorial communication that “allowed peoples speaking diverse languages to communicate with each other and to participate in a widely shared set of religious practices and beliefs,” Fields writes (kind of like Modernism…).

With an array of spectacular objects including frescoes, codices, ceramics, featherwork, gold, turquoise, shell, and textiles, the exhibition presents new findings about “a confederacy of city-states in southern Mexico, largely dominated by Nahua, Mixtec, and Zapotec nobility” who “successfully resisted both Aztec and Spanish subjugation,” the museum says in a tantalizing preview. The door will feature prominently.

Courtesy Los Angeles County Museum of Art, gift of the 2011 Collectors Committee.



‘Both were beautiful. Both were inanimate. The oval tea-table invariably separated them, and the plate of biscuits was all he ever gave her. He bowed; she inclined her head. They danced. He danced divinely. They sat in the alcove; never a word was said. Her pillow was wet with tears. Kind Mr. Bowley and dear Rose Shaw marvelled and deplored. Bowley had rooms in the Albany. Rose was re-born every evening precisely as the clock struck eight. All four were civilization’s triumphs, and if you persist that a command of the English language is part of our inheritance, one can only reply that beauty is almost always dumb. Male beauty in association with female beauty breeds in the onlooker a sense of fear. Often have I seen them—Helen and Jimmy—and likened them to ships adrift, and feared for my own little craft. Or again, have you ever watched fine collie dogs couchant at twenty yards’ distance? As she passed him his cup there was that quiver in her flanks. Bowley saw what was up-asked Jimmy to breakfast. Helen must have confided in Rose. For my own part, I find it exceedingly difficult to interpret songs without words. And now Jimmy feeds crows in Flanders and Helen visits hospitals. Oh, life is damnable, life is wicked, as Rose Shaw said.

Jacob’s Room by Virginia Woolf (1922)

Photos from Armistice Day and the end of the First World War, available through the Imperial War Museums . See their in-depth page on Remembrance in the collections here.

  1. UNVEILING OF THE CENOTAPH AND FUNERAL OF THE UNKNOWN WARRIOR, ARMISTICE DAY 1920’ – 'Men of the Royal Navy passing the Cenotaph before the unveiling.’ (1920; #Q14960)
  2. THE ARMISTICE CELEBRATIONS, NOVEMBER 1918’ – ’Crowds watching procession around the base of Nelson’s Column, Trafalgar Square, the Lord Mayor’s Show, London.'  (11 Nov. 1918; #Q69032)
  3. The Unknown Warrior at Westminster Abbey(7 Nov. 1920; #Q31514)
  4. 'The Cenotaph’ (1920; #Q31488
  5. A poppy’ – ’The American legion first used the poppy as a sign of remembrance in 1919, but the first poppy appeal in Britain was held in 1921.’ (#EPH 2313)
  6. Carrying wounded across the battlefield. (Defensive Battle in Flanders, July - September 1917).’ – 'WOERNER EUGENE (HERR) COLLECTION’ (1917; #Q45487)

[All images © Imperial War Museums 2014]


TODAY IN THEATRE HISTORY: In 2005, after being talked up for weeks by talk show host Oprah Winfrey, who is one of the producers, the musical adaptation of Alice Walker’s novel The Color Purple debuts on Broadway. LaChanze, who plays Celie, will go on to win the 2006 Tony Award as Best Actress in a Musical.

For more on The Color Purple, including a look inside the show’s opening night Playbill, visit