Get sperm by hook or crook Thus, most of them see no reason to get married; from the word go, they plan to be single mothers! All they want is sperm, and sperm they get — by hook or by crook! They swindle men of their sperm and seeing as they are independent, they never come back asking for child support. A certain Yvonne is a year-old single mother with one kid. She is a manager at a top public relations firm and on the side she has a wedding planning company, and an MBA which she bagged at the age of She drives a black Toyota Mark X, owns two pieces of land in Kitusuri, and lives in an apartment in Kileleshwa where she has been paying mortgage for the last two years.
She believes being a wife is too costly and demanding as it requires a woman to sacrifice too much. I saw how my father treated my mother, it did not matter that she was the best wife and sacrificed everything even herself. She even refused a number of promotions because she did not want to earn more than her jealous husband and look like she was competing with him.
Now she is 38 and trying to re-build herself again. I do not want a husband or a live-in boyfriend. She is in great company, for she has many partners in crime! These days there is no reason for a woman to put up with a useless man ouch! Most women have realised that marriage is a prison where wives go to die slowly. We have good jobs and can buy anything our hearts desire. If you want sex you can find it, and even when you want a baby you can have one without being married.
The list of women in these kinds of arrangements is quite long. Miriam Bosire, a business woman in her 40s, is also unmarried but claims to be very happy. Despite not being married Miriam is currently pregnant and is expecting her second child. I will give birth next year in March. The father of my first child and the man responsible for my current pregnancy are lazy men. When I turned 37 I felt it was time to finally have a baby and so far, so good. This is a story that Chesoni, a civil servant in his late thirties, is all too familiar with.
She asked me to help her have a child. I was so shocked. I would have considered it but I love my wife so much that I would never do such. Months later, I bumped into her with a pregnancy. I guess she found a man who was willing to give her a baby. Subcribe to Eve Digital Newsletter The views and opinions expressed here are those of the author and do not necessarily reflect the official policy or position of Evewoman. Home Readers Lounge.
Readers Lounge Strange tale of women who steal sperms from unsuspecting men. By Anne muiruri 29th Jul Subcribe to Eve Digital Newsletter. Sperm theft. When they arrive eleven minutes later, the police are already on the scene. It had taken the officers just five minutes to get to the Kunsthal. It is constructed so that some of the works are visible from the outside, like a kind of showroom.
When they arrived, the policemen walked around the outside of the eccentric building. They were primarily looking for signs that would point to a break-in. The officers ask whether they need to stay. No, if there are no signs of a break-in, they can go, the guards tell them. When they take a look in the room, the alarm on the rear emergency exit is blaring out. The guards turn on the lights. They see the empty spots on the wall, the hooks and wires where artworks should hang. Karadurdu suspects that paintings belong there — next to the empty places are cards with information about the works, but the guards do not draw the conclusion that the paintings have been stolen.
The alarm on the emergency exit is ringing, but it is still locked and there are no signs of a break-in. The control room call the emergency contact number they have for the Kunsthal. Building supervisor Gert-Jan Knoll picks up. Should some of the paintings be missing? He, in turn, hurries to the Westzeedijk, as he tries and fails to get hold of director Emily Ansenk. As soon as Moerer realizes that there really has been a break-in, he asks the two security guards to call the police. Moerer is the first person to realize the extent of the robbery which will soon become world news.
The plan to steal art was engineered a few weeks previously by Radu, who at 28, is the oldest of a small Romanian criminal gang active in Rotterdam. From the moment they moved to the Netherlands in the summer, the young men have been breaking into homes. Now it is time to up their game, Radu thinks.
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Radu grew up in Carcaliu, a small village in poverty-stricken south-east Romania. No one is surprised he has ended up on the criminal circuit. His family are known in the village as thieves. Radu dropped out of school and caused a lot of trouble, just like his father who, for the past couple of years, has been serving a prison sentence for assault on another villager.
Nonetheless, the muscular Radu still managed to win over the prettiest girl in the village, the nineteen year-old Natasha. Life there is not much better. The inhabitants have never got used to the sudden transition from communism to capitalism. Houses are falling down, unused bus stops rust away and the roads are terrible. The land is still farmed using horses and carts.
The Danube has been emptied of its fish stocks.
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Europe seems far away. Half of the 1, houses in Carcaliu are empty. One thousand of the 1, inhabitants are pensioners. She receives them at home in an upstairs flat above a shopping street in the Oude Noorden part of Rotterdam so that Alexandru can offer her protection. Over the months that follow, Radu and Eugen and their girlfriends relocate to the Netherlands too. At , a reporter from RTV Rijmond is the first to announce news of the burglary on the radio. After that things move fast. Within an hour, the robbery is major national news.
Over the course of the day, the international media follow. In the hours following the theft very little new information is released. The police spokesperson repeats the same thing all morning: some works of art are missing and in the interests of the case no further information can be released at present. The photo of an empty space on the wall appears on every news site. The information card on the picture reveals to everyone what is missing. On Saturday 6th October, ten days before the Kunsthal robbery, Radu and Eugen set off in search of possible targets.
Stuffed birds, fossils and seashells are not going to be an easy sell. Then posters draw their attention to another nearby museum, the Kunsthal. Their hands in their pockets, Eugen and Radu stroll indifferently around the sixteen monumental bronze statues by Frenchman Aristide Maillol, also on show at the time. The sculptures weigh hundreds of kilos. If they are going to steal art it has to be portable.
That evening, Adrian, the youngest of the gang at just twenty years old, is brought up to speed on the plans. The plot will involve just three people: Radu, Eugen and Adrian. Alexandru will not be involved. The next afternoon they return. Eugen takes his girlfriend Andreea with him so as not to draw attention to himself. Radu and Adrian go to the exhibition too, but they pay more attention to the security than the twentieth century avant-garde artworks.
The fire exit is the weak link, Radu tells Eugen after the visit. He thinks that the door can be opened at any time with very little effort. Even from the outside. Just like burgling a house. There are only artworks in the exhibition space, no cameras. The Kunsthal bottom left from above. Radu goes jogging around the Museum Park a few times to reconnoiter the area. They drive to the Kunsthal after dark to see how busy it is. They discover that there are no guards in the building at night. Some practical issues are arranged too.
In a Chinese shop they buy large bags made of black raffia to carry the canvases. The clothing of choice falls on black hoodies. On Thursday 11th October, six days before the break-in, Radu pays a last visit to the museum, this time alone. He spends two hours there going over the plan, step by step. He and Adrian will commit the burglary together. After that, over to the other corner where Meijer de Haan, Gauguin and Picasso are hanging next to each other, and opposite them, a Lucian Freud. The choice has been made of seven moderately-sized paintings. Including their frames, none of the works are larger than 70cm x 70cm.
The date is set for the night of Friday 12th October. And there are too many people about on a Friday night. The next night, the same story. Eugen is a burly young man. Like his friends, he has a shaven head, but his white-blond hair and pale, chubby face make him look less tough. Eugen, 24, is the only one of the group who already has children.
He and Andreea have a three year-old daughter, Emma. Eugen desperately needs cash, it is important that the burglary be a success. His family home is at risk of being repossessed, the bank wants 30, euros. The plan is that Radu and Adrian will commit the burglary. Eugen will take care of transport, he knows of a suitable car. He suggests grabbing a bite at Kapadokya, a kebab shop on the Witte de Withstraat which always stays open until half past five in the morning. They often go there. He promises to give him a thousand euros the next day for it. He knows nothing of their plan to rob the Kunsthal.
Eugen will park the car on the Westersingel, walking distance from the museum. He will leave the boot unlocked so that Radu and Adrian can put the loot in it after the burglary. In the small, cheerless kebab shop with its aluminium tables, Eugen and Alexandru order themselves pizzas. When the bar on the inside of the door is pressed down for a few seconds, the electronic lock is deactivated. The push bar then opens the mechanical lock. The important thing is for this only to be possible when there are people in the building.
At night the electronic lock must stay activated, certainly if someone tries to enter from the outside. What exactly went wrong in the Kunsthal is still not clear but Radu and Adrian were not hindered by the electronic lock. The police think it possible that the two young Romanians knew how to activate the panic system by banging hard against the door from the outside. This could have deactivated the electronic lock. After that the only thing stopping them was the mechanical lock.
And Radu has enough experience of mechanical locks. This is how he carries out most of his home burglaries. Radu and Adrian enter the museum at The artworks are not alarmed. Two minutes and 48 seconds later they are back outside on the wet grass. They have closed the door behind them. The loot is heavier than expected and the three packages are difficult for the two men to carry.
Radu calls Eugen and asks him to bring the car a little closer to the Kunsthal. Eugen runs outside, leaving Alexandru alone in the kebab shop. They agree to meet at the crossroads of the Westerzeedijk and the Westersingel, about metres further along. Radu and Adrian load the paintings into the boot and get in. He parks the red Peugeot on the Coolsingel, the main artery to the Rotterdam city centre. The alarm goes off at a quarter to seven local time.
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Her days have been filled with visits to exhibitions, excursions, readings and dinners. She looks at her telephone which is on mute — seven missed calls, all from members of staff. She calls back immediately, realizing that something must be seriously wrong. The next call, still in her pyjamas, is to the Cordia family to tell them that seven valuable works from the Triton Collection have been stolen. Willem Cordia, who died in at the age of seventy, earned his money from the port of Rotterdam.
Business magazine Quote estimated his net worth at million euros. He and his wife Marijke began collecting art in the s.
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As they bought, they developed both their taste and their collection. After a heart attack in , Willem decided to take things easier. This marked an important moment in his development as a collector. The Cordias decided to collect at least one painting by each of the great masters of modern art. Together they collected around works by more than artists - an almost encyclopedic compendium of the twentieth century. The Cordias decided to share their art collection with the public, not by founding their own museum but by lending out the collection indefinitely. Rather than waiting to be asked for works, they combed exhibition calendars to see where they might be able to contribute something.
The Avant-garde exhibition was the first time the works had been presented as a single collection. The Kunstal robbery leaves a gaping hole in the Triton Collection which the Cordias have been so generously lending. It is a small drawing and therefore not worth the millions of his larger paintings.
The drawing was made in when the painter was ninety years old. From to , Picasso entered a very creative period and painted hundreds of pieces almost non-stop in a free, expressionistic and colourful style. It is an at once comic, at once desperate portrait of a wrinkled man, perhaps even a self-portrait of the mad genius who felt that the end of his life was approaching. Gauguin started his career as a businessman and began painting full-time later in life.
This work was produced in when he was forty years old. It was the year in which he spent nine weeks with Vincent van Gogh in Arles and also the year which marked his breakthrough as a new talent on the Parisian avant-garde scene with his painting The Vision after the Sermon. Later he would travel to Tahiti and paint his world-famous tropical beauties, but this farm girl is still painted in an impressionistic style and therefore somewhat atypical, not immediately recognizable as a Gauguin.
However, this painting with its vibrant palette and cheerful, flowing brushstrokes was a gem. There are around a hundred drawings by Claude Monet and the two pastels from the Triton Collection are amongst the prettiest. Monet produced them in when he was staying at the Savoy Hotel in London on his third trip to the British capital. He had been planning to paint Waterloo Bridge and Charing Cross Bridge but customs had confiscated his painting equipment forcing him to work with pastels.
With minimal use of colour, Monet was able to evoke the atmosphere of the bridges in the mist, creating a romantic image of something dirty, namely the thick smog over the Thames. Dimensions Waterloo Bridge: 30,5 x 48 cm. Dimensions Charing Cross Bridge: 31 x 48,5 cm. She is on the phone even as director Ansenk packs her bags. At a quarter to two Dutch time, her flight from Istanbul lands at Schiphol.
The Kunsthal has stayed closed that day. The staff were sent home and visitors were met with a closed door. Kunsthal director Emily Ansenk and chairman of the board Willem van Hassel during the press conference in Rotterdam. Apart from the Matisse, the public do not yet know which paintings have been stolen. At , three hours after landing at Schiphol, Ansenk makes a statement to the journalists gathered. These are unique works which have been shown all over the world.
They are well-documented and were shown together here for the first time. We have taken the joint decision to open the exhibition again tomorrow and everyone involved would like the public to continue to enjoy this kind of exceptional art collection, a private collection. I would also like to say that this act has hit the entire art world and the museum world like a bomb. OAnsenk refuses to say anything about the value of the artworks. Board chairman, Willem van Hassel, at her side, she limits it to her statement. Around six in the morning, less than three hours after the robbery, Radu and Eugen returned to the Coolsingel to pick up the car.
At the time, the police investigation was in full swing two kilometres away. Just before sunrise, they took the paintings from the car boot and carried them upstairs and hidden them in the hall cupboard. But what now? Stolen art is registered in an international database, the Art Loss Register, making it pretty much unsellable. The idea that rich art lovers commission art thefts is a myth. Art thieves rarely know what they are going to do with their loot. Sometimes it turns out to be a vulgar hostage situation — artnapping.
Asking the insurer for ransom money is the only way the thieves can cash in on their loot. This is an attractive offer to the insurer who stands to lose the insured sum otherwise. This is an option the three Romanian thieves are not aware of. Art is worth money. You should be able to capitalize on that, surely. Radu decides they need to go to Belgium. The paintings remain in the hall cupboard. They fill up with petrol somewhere near the Dutch-Belgian border.
When they spot cameras at the petrol pumps they decide that it might not be that sensible to return to Rotterdam in the same car. They tell him they have some stolen art and show him an exhibition flyer depicting Lucian Freuds Woman with Eyes Closed, one of the paintings they stole that night. Might George know of a buyer? He takes the Peugeot and drives it to a small inland harbour on the Charleroi-Brussels canal.
There the car is destroyed by the recycling company A. The Kunsthal is open again. And not just in the Netherlands. Eugen gets a shock. He discusses the impact of the robbery with Radu. Eugen wants to leave the country as quickly as possible and return to Romania. That evening, on Wednesday 17th October, they take the paintings from the hall cupboard and remove them from their frames. Only the two pastel drawings by Monet are a little larger, about the size of a tabloid newspaper. He finally showed up the next evening but then went straight to bed.
Now he wants to drop everything and rush back to Romania. Andreea is going with him. As they leave Rotterdam behind, Andreea is amazed that Eugen is in such a hurry. He drives without stopping, almost two whole days, around 2, kilometres. Over the border at Venlo, past Frankfurt, Vienna and Budapest. They sleep in a cheap hotel, just over the Hungarian Romanian border.
Then on to the other side of the country, to the area they left a year ago, where the Danube flows into the Black Sea. Radu flies out a few days later on Sunday 21st October, leaving from Brussels Zaventem airport. He knows someone in Carcaliu who might be able to help them find a buyer. The large-scale research team searching for clues around the fire exit. The evening after the theft, the public prosecutor decides to set up a large-scale investigative team, a TGO [Team Grootschalig Onderzoek] in Dutch.
These teams are used to working big cases, they are well attuned to each other and have all the necessary research tools. The investigation is named TGO Art. Twenty-five officers are assigned to the case. The crime scene is combed for any trace of the intruders. Small signs of forced entry on the emergency exit and finger and footprints in the hall.
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A single camera with very poor image quality has recorded the break-in. A door-to-door search is conducted, art experts are consulted and all the most obvious scenarios are laid out. Flyers and electronic boards call for witnesses. The Friday after the theft, security footage is released and broadcast on Opsporing Verzocht, a Dutch crime watch show. More than a hundred helpful tips come in. People supply names, leads and art gangs.
It makes for a lot of work because everything has to be followed up and ruled out. Due to the lack of information, there is a lot of media speculation about the value of the paintings. In Britain the value yoyos between 60 million Daily Telegraph and million euros Independent. The actual value is somewhat lower. The morning after the robbery, Willem van Hassel, chairman of the Kunsthal board, arrives at a quarter to ten at the Rotterdam police headquarters to report the theft. The police have other worries. They pin hope on the security images taken in the weeks preceding the art theft.
The perpetrators must have looked around beforehand. For weeks on end, the detectives analyze the hours of security footage from the Kunsthal in search of suspicious behaviour, patterns or other indications. A return fare on the ferry costs around ten euros, too much for most of the inhabitants. Beautiful neo-classical theatres, institutes and villas bear witness to better times when the city was a prominent inland port.
Now they are empty and crumbling, the promenades are abandoned. Over the last decade, a third of the population has left. It is a tiny settlement, originally founded by Lipovans, Russians fleeing from Peter the Great. There is just one tarmacked road. The houses are a mishmash bunch: some are so dilapidated you could call them hovels, others have been neatly done up. They are known as interlopi, Romanian for criminals. They all have extensive criminal records for vandalism, violence, threats, arms possession and theft. There is only one person in the entire area of that generation whom everybody is proud of — everyone knows that Petre C.
Canoeing on the Danube, this was how Petre managed to get out of the village according to its inhabitants. Already at a young age, he spent much of his time taking part in canoeing competitions in the regional capital of Tulcea. He won several youth championships and took gold in the world championship canoe sprint in , in Gainsville, Georgia - metres in a four-man canoe.