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Tag: Drug trafficking
April 24, 2020 April 24, 2020 University Press of Florida Latin American & Caribbean Studies, Publication Announcement
Pablo Escobar and Colombian Narcoculture
"Pablo Escobar is the quintessential Latin American drug lord. In this timely study, Pobutsky deciphers the broad impact of Escobar, not only on Colombia and the United States but on popular culture and the consumer marketplace worldwide."—Howard Campbell, author of Drug War Zone: Frontline Dispatches from the Streets of El Paso and Juárez "Pobutsky's innovative research … Continue reading Pablo Escobar and Colombian Narcoculture
June 2, 2016 June 2, 2016 University Press of Florida Review Roundup
June 2016 Review Roundup
This month we are jumping into summer with more great reviews for UPF books! An Ecotourist's Guide to the Everglades and the Florida Keys By Robert Silk "Offers travel tips as well as insight into 'Old Florida' and the region's Native American roots."—Publishers Weekly "This handy guide explores the Everglades and the Florida Keys, … Continue reading June 2016 Review Roundup
June 29, 2015 June 29, 2015 University Press of Florida History, Publication Announcement
Drug Trafficking, Organized Crime, and Violence in the Americas Today
"A first-rate update on the state of the long-fought hemispheric 'war on drugs.' It is particularly timely, as the perception that the war is lost and needs to be changed has never been stronger in Latin and North America."—Paul Gootenberg, author of Andean Cocaine: The Making of a Global Drug "A must-read volume for policy … Continue reading Drug Trafficking, Organized Crime, and Violence in the Americas Today
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redpajama_set_name: RedPajamaCommonCrawl


text:
'This is Frustrating': Prince Charles, Recovered from Covid-19, Says it is Distressing Time for UK
1 April 2020, 11:49 pm ·2-min read
London: Britain's Prince Charles, who has recovered after testing positive for coronavirus, praised the selfless devotion of healthcare workers on Wednesday and said it was a strange and distressing time for the nation.
Heir-to-the-throne Charles, 71, came out of self-isolation on Monday after suffering what he said were "luckily ... relatively mild symptoms" and his office said he was now in good health.
Britain is in a state of virtual lockdown, with the public told they must stay at home other than for essential trips, such as to buy food.
In a video address, the prince said although he had recovered, he was still in a state of social distance and general isolation. His wife Camilla, 72, who had tested negative, is remaining in self-isolation until the end of the week in case she develops symptoms.
"As we are all learning, this is a strange, frustrating and often distressing experience when the presence of family and friends is no longer possible and the normal structures of life are suddenly removed," he said.
The number of coronavirus deaths in Britain rose by 27% to 1,789 people, official figures on Tuesday showed, with one of the victims a 13-year-old boy with no apparent underlying health conditions.
"At such an unprecedented and anxious time in all our lives, my wife and I are thinking particularly of all those who have lost their loved ones in such very difficult and abnormal circumstances, and of those having to endure sickness, isolation and loneliness," Charles said from his home in Scotland.
The prince's mother, 93-year-old Queen Elizabeth, is currently with her husband Prince Philip, 98, at her Windsor Castle home, west of London. Buckingham Palace has said she too is in good health.
Charles also paid tribute to doctors, nurses and other staff on the front line in the National Health Service, whom he said were under enormous strain and risk, adding their "utter, selfless devotion to duty" made the nation proud.
It was essential, he added, that these key workers were treated with special consideration when trying to do their shopping, and also singled out store staff for praise for keeping shelves stocked.
"As a nation, we are faced by a profoundly challenging situation, which we are only too aware threatens the livelihoods, businesses and welfare of millions of our fellow citizens," he said. "None of us can say when this will end, but end it will."


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text:
require_relative '../client'
require_relative './response'
require_relative '../client'
require_relative './response'
require_relative './token_refresh_middleware'

require_relative '../stats_middleware'

module Spaceship
  class ConnectAPI
    class APIClient < Spaceship::Client
      attr_accessor :token

      #####################################################
      # @!group Client Init
      #####################################################

      # Instantiates a client with cookie session or a JWT token.
      def initialize(cookie: nil, current_team_id: nil, token: nil, another_client: nil)
        params_count = [cookie, token, another_client].compact.size
        if params_count != 1
          raise "Must initialize with one of :cookie, :token, or :another_client"
        end

        if token.nil?
          if another_client.nil?
            super(cookie: cookie, current_team_id: current_team_id, timeout: 1200)
            return
          end
          super(cookie: another_client.instance_variable_get(:@cookie), current_team_id: another_client.team_id)
        else
          options = {
            request: {
              timeout:       (ENV["SPACESHIP_TIMEOUT"] || 300).to_i,
              open_timeout:  (ENV["SPACESHIP_TIMEOUT"] || 300).to_i
            }
          }
          @token = token
          @current_team_id = current_team_id

          @client = Faraday.new(hostname, options) do |c|
            c.response(:json, content_type: /\bjson$/)
            c.response(:plist, content_type: /\bplist$/)
            c.use(FaradayMiddleware::RelsMiddleware)
            c.use(Spaceship::StatsMiddleware)
            c.use(Spaceship::TokenRefreshMiddleware, token)
            c.adapter(Faraday.default_adapter)

            if ENV['SPACESHIP_DEBUG']
              # for debugging only
              # This enables tracking of networking requests using Charles Web Proxy
              c.proxy = "https://127.0.0.1:8888"
              c.ssl[:verify_mode] = OpenSSL::SSL::VERIFY_NONE
            elsif ENV["SPACESHIP_PROXY"]
              c.proxy = ENV["SPACESHIP_PROXY"]
              c.ssl[:verify_mode] = OpenSSL::SSL::VERIFY_NONE if ENV["SPACESHIP_PROXY_SSL_VERIFY_NONE"]
            end

            if ENV["DEBUG"]
              puts("To run spaceship through a local proxy, use SPACESHIP_DEBUG")
            end
          end
        end
      end

      # Instance level hostname only used when creating
      # App Store Connect API Farady client.
      # Forwarding to class level if using web session.
      def hostname
        if @token
          return "https://api.appstoreconnect.apple.com/v1/"
        end
        return self.class.hostname
      end

      def self.hostname
        # Implemented in subclass
        not_implemented(__method__)
      end

      #
      # Helpers
      #

      def web_session?
        return @token.nil?
      end

      def build_params(filter: nil, includes: nil, limit: nil, sort: nil, cursor: nil)
        params = {}

        filter = filter.delete_if { |k, v| v.nil? } if filter

        params[:filter] = filter if filter && !filter.empty?
        params[:include] = includes if includes
        params[:limit] = limit if limit
        params[:sort] = sort if sort
        params[:cursor] = cursor if cursor

        return params
      end

      def get(url_or_path, params = nil)
        response = with_asc_retry do
          request(:get) do |req|
            req.url(url_or_path)
            req.options.params_encoder = Faraday::NestedParamsEncoder
            req.params = params if params
            req.headers['Content-Type'] = 'application/json'
          end
        end
        handle_response(response)
      end

      def post(url_or_path, body, tries: 5)
        response = with_asc_retry(tries) do
          request(:post) do |req|
            req.url(url_or_path)
            req.body = body.to_json
            req.headers['Content-Type'] = 'application/json'
          end
        end
        handle_response(response)
      end

      def patch(url_or_path, body)
        response = with_asc_retry do
          request(:patch) do |req|
            req.url(url_or_path)
            req.body = body.to_json
            req.headers['Content-Type'] = 'application/json'
          end
        end
        handle_response(response)
      end

      def delete(url_or_path, params = nil, body = nil)
        response = with_asc_retry do
          request(:delete) do |req|
            req.url(url_or_path)
            req.options.params_encoder = Faraday::NestedParamsEncoder if params
            req.params = params if params
            req.body = body.to_json if body
            req.headers['Content-Type'] = 'application/json' if body
          end
        end
        handle_response(response)
      end

      protected

      def with_asc_retry(tries = 5, &_block)
        tries = 1 if Object.const_defined?("SpecHelper")
        response = yield

        status = response.status if response

        if [500, 504].include?(status)
          msg = "Timeout received! Retrying after 3 seconds (remaining: #{tries})..."
          raise msg
        end

        return response
      rescue => error
        tries -= 1
        puts(error) if Spaceship::Globals.verbose?
        if tries.zero?
          return response
        else
          retry
        end
      end

      def handle_response(response)
        if (200...300).cover?(response.status) && (response.body.nil? || response.body.empty?)
          return
        end

        raise InternalServerError, "Server error got #{response.status}" if (500...600).cover?(response.status)

        unless response.body.kind_of?(Hash)
          raise UnexpectedResponse, response.body
        end

        raise UnexpectedResponse, response.body['error'] if response.body['error']

        raise UnexpectedResponse, handle_errors(response) if response.body['errors']

        raise UnexpectedResponse, "Temporary App Store Connect error: #{response.body}" if response.body['statusCode'] == 'ERROR'

        store_csrf_tokens(response)

        return Spaceship::ConnectAPI::Response.new(body: response.body, status: response.status, client: self)
      end

      def handle_errors(response)
        # Example error format
        # {
        # "errors":[
        #     {
        #       "id":"cbfd8674-4802-4857-bfe8-444e1ea36e32",
        #       "status":"409",
        #       "code":"STATE_ERROR",
        #       "title":"The request cannot be fulfilled because of the state of another resource.",
        #       "detail":"Submit for review errors found.",
        #       "meta":{
        #           "associatedErrors":{
        #             "/v1/appScreenshots/":[
        #                 {
        #                   "id":"23d1734f-b81f-411a-98e4-6d3e763d54ed",
        #                   "status":"409",
        #                   "code":"STATE_ERROR.SCREENSHOT_REQUIRED.APP_WATCH_SERIES_4",
        #                   "title":"App screenshot missing (APP_WATCH_SERIES_4)."
        #                 },
        #                 {
        #                   "id":"db993030-0a93-48e9-9fd7-7e5676633431",
        #                   "status":"409",
        #                   "code":"STATE_ERROR.SCREENSHOT_REQUIRED.APP_WATCH_SERIES_4",
        #                   "title":"App screenshot missing (APP_WATCH_SERIES_4)."
        #                 }
        #             ],
        #             "/v1/builds/d710b6fa-5235-4fe4-b791-2b80d6818db0":[
        #                 {
        #                   "id":"e421fe6f-0e3b-464b-89dc-ba437e7bb77d",
        #                   "status":"409",
        #                   "code":"ENTITY_ERROR.ATTRIBUTE.REQUIRED",
        #                   "title":"The provided entity is missing a required attribute",
        #                   "detail":"You must provide a value for the attribute 'usesNonExemptEncryption' with this request",
        #                   "source":{
        #                       "pointer":"/data/attributes/usesNonExemptEncryption"
        #                   }
        #                 }
        #             ]
        #           }
        #       }
        #     }
        # ]
        # }

        return response.body['errors'].map do |error|
          messages = [[error['title'], error['detail']].compact.join(" - ")]

          meta = error["meta"] || {}
          associated_errors = meta["associatedErrors"] || {}

          messages + associated_errors.values.flatten.map do |associated_error|
            [[associated_error["title"], associated_error["detail"]].compact.join(" - ")]
          end
        end.flatten.join("\n")
      end

      private

      def local_variable_get(binding, name)
        if binding.respond_to?(:local_variable_get)
          binding.local_variable_get(name)
        else
          binding.eval(name.to_s)
        end
      end

      def provider_id
        return team_id if self.provider.nil?
        self.provider.provider_id
      end
    end
  end
  # rubocop:enable Metrics/ClassLength
end

redpajama_set_name: RedPajamaGithub


My book, Salvage, is set in a future where humans have all but used up the Earth's fossil fuel supplies. Rather than embracing new and cleaner technologies, the citizens of today allowed themselves to succumb to the fear-mongering of energy and mining companies and the short term expense of change. In doing so, they have created a future Earth polluted to the point where it has become too toxic for them to live. The temperature changes have added to this chaos, creating higher seas, extreme environmental instability and deadly weather patterns. While Salvage is a fictional action-adventure story set in this future projected world, this blog post takes a more serious look at the topic, one that I am extremely passionate about.
The climate change debate has been raging for some time now. Doubt has been cast on the science behind it, and we are constantly fed conflicting messages. Both sides of the argument have used fear to try and win support and either scare us into action or cripple us into inaction. So let's put the question of climate change, and the fear it evokes, aside for a moment and look at this debate from a new angle. Energy production is at the very core of this argument; with the burning of fossil fuels being cited as the major driver of climate change. Energy is a precious commodity for humanity, something that underpins virtually every aspect of life in modern era. There is no question that we need to continue to produce energy. Which means the debate really becomes about the way by which we product energy; the long established methods of extracting and burning fossil fuels versus the new emerging methods of harnessing clean energies. By comparing the two competing technologies of energy production, we can sidestep the fear and confusion around climate change and get to the heart of the matter.
Let's examine the efficiency of the two technologies. In the modern world, efficiency is key to the running of any successful business. Fossil fuel technology requires multiple steps on the road to energy production. First, surveying is required to source fuel deposits. Once identified, they need to be extracted and this requires considerable investment in the building and operation of the tools to do so; huge machinery for digging, deep-ocean drilling, the safety equipment required for the careful extraction of unstable and toxic materials like uranium, the engines needed for the pumping of water under immense pressures for gas extraction. Once extracted, refining and transportation needs to be considered; cleaning the product ready for use, and moving it from the mines to the energy plants. The energy production itself is dangerous and costly; dealing with the combustion of highly flammable materials, or the containment of radioactive matter. And finally there is the disposal of waste by product.
By comparison, clean energy offers much more efficient method of energy production, cutting out many of the processes required by for fossil fuels. The technology is based on capturing or harnessing existing, natural energies; like the natural radiation from the sun, or the kinetic energy in the wind and the waves. The manufacture and maintenance of panels and turbines is required, and land for the energy farms. In many cases, the land needed can continue to be used for multiple purposes; such as installing solar panels on the rooves of existing buildings, or continuing to farm stock on land that also hosts wind turbines. There is no physical transportation costs, no refinement required, no danger involved in the production of the energy, no waste product to dispose of afterwards. On the question of efficiency, clean energy wins hands down.
The second measure is environmental impact. Continuing to set aside the specific question of Climate Change for the moment, let's look at the other environmental impacts from each technology. The production of energy through fossil fuels has a high impact on the environment. It tears great holes in the ground for the extraction of coal and uranium. It requires deep sea drilling with high risk of oil leaks and the damage this does to our oceans and marine life. It results in water pollution through the fraking process in coal seam mining. It creates air pollution in the burning of fuels, from coal, to gas, to petrol and oil. It creates noise pollution through the operation of immense machinery, the running of power plants, the petrol engines in cars and trucks.
Clean energy cuts out many of these impacts completely and minimises others. The manufacture of panels and turbines has an environmental impact, though this would remain far less than that generated in the building of the mammoth mining equipment and power stations required by fossil fuel production methods. Noise pollution is minimised; electric engines are far quieter than petrol, the generation of solar power is completely silent, and the sounds made by wind turbines are minimal. The main complaint is of an aesthetic nature, particularly against wind farms spoiling the view. Again, this is no greater impact than the scars left from mines, or the power plants dominating a landscape and spewing clouds of smoke into the sky. There is little doubt the environmental impact of clean energies is far lower than of fossil fuels.
Now, let's consider health impacts for a moment. Consider the first breath of country or sea-side air when you take a holiday and get away from major metro centres. There is a euphoric feeling about it, something pure and cleansing. Now consider the opposite; when you are passed by a bus or truck whilst running down a highway and you inhale a lungful of petrol fumes. The experience leaves you gasping for breath and sickened from the toxins that have entered your system instead of oxygen. While not always in such extreme doses, we are breathing in these same toxins every day, and it is likely adding up over days, weeks and years. There is serious question marks on the health impacts of fossil fuels on humans, particularly in densely populated regions. We know that in developed countries, asthma, allergies and respiratory problems are on the rise. Tobacco has taught us that breathing toxins into our body can cause cancer, even just through second-hand breathing. There are no negative by-products for clean energy. No gases leaked into the air, chemicals escaped into water systems, no fumes to be inhaled. There is no evidence or even a suggestion that clean energies bring about any health concerns. The same cannot be said for fossil fuel energy.
Now let's consider the sustainability of energy production for the two methods. Pipeline is crucial to the running of any successful business, and energy is no different. Fossil fuels are a limited resource. There is a finite amount of coal, gas and oil on earth. There is no production pipeline for fossil fuels, as we are rapidly burning through a resource that formed over billions of years. The more that is used, the harder it will become to source, which in turn will put immense pressure on price. Renewable sources like ethanol may prolong the life cycle of some of these resources, but are not viable options to replace them completely. Clean energy has no issue of sustainability. While the sun continues to shine, the wind continues to blow and the moon continues to generate the tides, our source of clean energy remains secure. The main challenge to overcome for clean energies is in consistency of output. Solar energy is not viable at night-time and wind energy can be sporadic, depending on the weather. The development of tidal energy generators is a big step forward in this space, as the waves have far more consistency and regularity. And with a diversity of products, it should not be difficult to overcome this challenge and create a reliable source that can meet society's needs.
The final measure to consider is profitability. This is the ultimate barrier to clean energies, and the factor that is currently over-shadowing all the others. However, it is only a barrier because those invested in fossil fuels make it so. The energy production industry is hugely profitable. Many of the world's richest people have made their money off the back of mining. It is in their interest for this industry to remain strong, and they are fighting to keep it so. But ultimately, it is not coal, gas, or oil that is valuable, but the energy that it produces, regardless of its source. There is no economic barrier to clean energy being just as profitable as fossil fuels. It has the potential to be far more so, for all of the efficiency factors discussed above. Remember, at its core this debate is one of a new technology vs an old technology. Human history is full of such examples; the car replaced the horse and cart, the telephone replaced the telegram, email has largely replaced traditional mail, print and other traditional media are in the process of being replaced by digital media. In all of these cases it took time for the new technology to become more profitable than the old. In all of these cases, there was an economic impact for the old technology. But in none of these cases did the new technology cause economies to grind to a halt, as is sometimes suggested by those resisting change. History has shown that these events actually have the opposite effect; they aid economies and societies to take big steps forward, through greater efficiencies and the re-investment of resources into new areas.
The reality of the climate change debate is that is doesn't need to be about fear. It is really about the opportunity to upgrade technologies; to dramatically scale back on the use of fossil fuels in the production of energy, and replace it with clean energy options that are healthier, safer, more efficient, sustainable and have far lesser impact on the environment we all rely on. We don't hesitate to upgrade our mobiles every year or two, for the new and better features we get as new models are released. It's time for a major upgrade in our energy sector.


text:
90-DAY LODGING LIMIT IN EFFECT
By Seth Freedland
WILLIAMSBURG — For years, the city of Williamsburg's 30-day limit on hotel and motel stays went generally unenforced.
Now that the City Council has lengthened that cap to 90 days, officials hope to give the law some teeth.
A new four-point enforcement policy is being adopted as an administrative procedure, but officials acknowledge it will need to be fleshed out in the future. And a month before the City Council votes on a related issue -- ensuring hotel guest registrations are up to code -- some wonder about the amount of force the city can use given time and staff constraints.
Planning Director Reed Nester's policy instructs the city to remind all city hotel and motel owners in 2008 that they need to keep thorough visitor records. Officials will then visit all 50 or so lodging establishments to make sure guest registrations are being well maintained. Those assessments will be coordinated to occur along with the city's yearly property maintenance code inspections.
If officials detect a probable violation of city code -- including someone staying for 91 days -- or receive a complaint, they could investigate further.
After 2008, it's unclear how often those inspections would be, Nester said. "We're just getting into this. We're going to do the first round to make sure everyone is complying and we'll take it from there."
There's no way staff could directly check all the city's lodging for 90-day violations without a massive commitment of time and personnel, officials say. Still, residents have told council members that a somewhat passive approach could lead some to bend the law or find loopholes in it, such as leaving after 89 days and coming back the next week.
But there's just no other option, said Doug Pons, chairman of the city Planning Commission and president of the Williamsburg Area Hotel & Motel Association. "It would be immensely cumbersome to check every hotel to make sure they're not violating it," Pons said. "There are more important issues in the city than making sure no one's renting for 91 days."
There is no reasonable way to guarantee everyone who checks in gives factual information, another concern of some residents, Pons said. He added that he doesn't expect any 90-day limit violations to be found. "From an industry perspective, what we want is to have our hotels full of tourists," Pons said. "Our focus is not how do we let someone stay longer than 90 days."
Many motels and hotels in Williamsburg have allowed visitors to stay for extended periods, especially foreign-born exchange workers during tourism season, construction crews and displaced families. *
NEW POLICY
* Thirty-day limit on hotel stays extends to 90 days.
* Hotels will be required to keep thorough visitor records.
* Officials wil then visit 50 establishments to check guest registrations.
COVID-19 test request website soft-launched by White House


Basically, there's nothing to really read up on. A bike with a mid to low trail will hold weight low and in front better than it will off the rear. A rear-loaded bike becomes unusable out of the saddle (sways 20+ lbs side to side) and when descending, it can become even more unstable. Low and front loaded bikes (when they're designed for it) will still ride like normal. You can get out of the saddle, sprint, climb and do just as you could without the weight. They'll descend with the same feeling and will be inherently more predictable. I put a rear rack on my touring bike for camping trips, with only a tent on it… No bags.
I back in the 1980's I cycle toured around the U.K. with just front Panniers and Loved it.
Why for me was because the weight was the some on the front wheel to the rear wheel, plus as above.
Well it's been a while since I have written a post.
I have been training for the up coming two laps of Lake Taupo (320km's) and have not liked the close driving of New Zealand Car driver to Cyclist in NZ!
So I ordered a new Specialized AWOL Adventure bike.
Why? Because I can do my road riding on Back roads and joint the Back Roads up with so of the 200 + Km's of Mountain Biking Tracks in and around Taupo.
In NZ we get the base Awol so it comes with no fenders or carriers, But i'm changing things around to suit me.
More pic's to come . . . . . .
Labels: C . Z .


Hola! Hoy os traigo el tutorial que muchas me habéis pedido: cómo usar foam en el bralette Hanna. Para empezar quiero contaros un poco más sobre cuando se puede y cuando no se puede usar foam en los sujetadores.
Si me preguntan si se puede usar foam en este patrón la respuesta en principio sería que no. Por qué? Porque el patrón está diseñado para telas de punto y encajes elásticos y el foam no es elástico en general. Usar un material no elástico en las copas afecta a como queda la prenda. Ahora sí, se puede experimentar, y por eso va aquí el tutorial. Ya sabéis que este modelo ya que está hecho para tejidos elásticos se da de sí y adapta bastante bien. Dicho eso si tú no tienes mucho pecho puedes aprovechar y usar el foam porque lo más probable es que te quede bien. Pero hay riesgo que al no ser tan elástico como el encaje solo pues se te aplasta el pecho.
Yo he usado el foam que compré en Tailor Made Shop y éste es el que más me ha gustado porque sí que tiene un poco de elasticidad a lo ancho así que te deja un poco de margen ya que no es tan rígido. En el pasado también he usado el foam de Make Bra pero éste sí que no tiene nada de elasticidad. Ahora mismo no vendo foam en mi tienda de Etsy porque ha sido imposible de encontrarlo en Europa.
En mi caso hice la misma talla M que uso normalmente en el patrón Hanna y usé foam y me queda bien. También es porque soy copa A y tengo poco pecho. Igual tú eres copa C pero igualmente has usado la talla M porque se da de sí y si intentas usar el foam notas que te aprieta, eso es porque no tienes tanto margen para "jugar". Una solución sería probar usar una talla más en las copas dejando la banda en la misma talla que usas normalmente. De verdad, es cuestión de experimentar y no te puedo garantizar que va a quedar bien, aún así te recomiendo probar porque a mí personalmente me gusta mucho el resultado. De todas maneras te recomiendo antes que nada hacer este patrón tal como está sin foam para ver cómo te sienta. Si después quieres probar el foam pues adelante. Así ya sabes qué esperar y además ya sabes cómo coserlo y las siguientes modificaciones que te voy a contar no te resultan tan difíciles de entender.
Hey! Today I'm sharing a tutorial that many of you have been asking for: how to use foam for the Hanna bralette pattern. I'd like to start with telling you abit about when you can and when you can't use foam on bras.
If you ask me if you can use foam with this pattern the short answer would be no. Why? Because this pattern is designed for knit fabrics and stretch laces and foam in general has no stretch. Using a non stretch material in the cups does affect how the garment fits. But you can experiement and that's why here's the tutorial. You already know that this pattern is made for stretchy fabrics that have give and it fits quite well for different sizes. Saying that means that if you don't have a large bust you can try out foam and it probably will fit well. But there is the risk that as the foam does not stretch that much as the lace it can flatten your breast.
I have used a cut and sew foam that I buy from Tailor Made Shop and that's the one I like the most because it has a bit of give in one direction so it gives you a bit wiggle room as it's not so rigid. I have also used other type of foam from Make Bra in the past but this one does not have any give in it. I don't currently sell foam in my Etsy shop because it has been impossible to find here in Europe.
In my case I made the same size M as I usually use for the Hanna pattern and used foam which turned out great. This is mainly because I'm an A cup and I have a very little bust. Maybe you are a C cup and you also used the M size in this pattern and it fit well but when using the same size with foam you'll see that it's too small because you won't have that much room "to play with". One solution might be using a bigger size in the cups and maintain the same size in the band. It really is about experimenting and I can't guarantee that it will fit well. I still recommend you to try it out as I really like using foam in this bralette. Anyhow I recommend you to first try out this pattern without foam as in the original version and see how it fits. If you then want to try foam you can absolutely do it. Then you'll already know what to expect and also you'll know how to sew the bralette so the modifications I'll explain in this tutorial won't be so confusing.
Dicho todo eso vamos a hablar de los materiales extra que necesitas. Necesitas foam y un poco de cinta de recubrearos. El foam como te dije puede variar y a veces he encontrado en las tiendas materiales que se le parecen y me han dado buenos resultados aunque no están pensados específicamente para esto. Una vez usé un neopreno gordito y estaba muy bien, es cuestión de probar.
El recubrearos que normalmente se usa en los sujetadores con aros lo vamos a usar aquí en la parte de la unión de la banda con copa. Ya que este patrón es un poco ancho en esa parte y el foam da más forma puede pasar que luego se forma como una "curva" en esa parte, es difícil de explicar. Si cosemos allí el trozo de recubrearos, lo va a estabilizar y le da más rigidez y así el problema se suele quitar. Igual lo habéis visto también en otros sujetadores en las tiendas, a veces llevan de hecho dentro una parte metálica o de plástico similar a los corsets. En mi caso no ha hecho falta poner nada dentro pero eso también es una opción si el problema persigue.
After the introduction I'd like to tell you a bit about the materials you need. These would be the foam and some underwire channeling. As I told you the foam can vary and sometimes I've found similar materials in normal fabric shops that have given me good results altough they are not specially made for this purpose. Once I found a thick scuba fabric that worked out well, you'll need to try them out of course.
The underwire channeling is a tape used in underwired bras and we'll use it here on the seam that joins the cup with the band. As this pattern is wider in that part and foam gives more body to the garment you might see that a "curve" appears once you finish your bralette, it's a bit difficult to explain. If you sew a piece of channeling there it will stabilize the area and make it more rigid usually avoiding this issue. Maybe you've also seen it in the rtw bras, sometimes it also has a metal or plastic boning inside, similar to the corsets. In my case I didn't put the boning inside but it is an option if the problem persists.
El método que te voy a enseñar es específico a este patrón ya que es un poco distinto a otros sujetadores con foam, principalmente porque el forro de la copa no cubre la parte interior del todo y vamos a hacerlo un poco distinto. Anteriormente he hecho otro tutorial sobre cómo poner foam al sujetador Watson y allí lo hice de otra manera por si le quieres echar un vistazo.
Para las piezas de foam hay que modificar las piezas de patrón de la copa que normalmente usamos para el forro (B y D). Hay que modificar por dos partes: por un lado donde el foam se une entre sí y por otra parte donde se cose el elástico. Las piezas de foam se unen entre sí con un zig-zag y no necesitan margen de costura de 6 mm que lleva el patrón así que se lo vamos a quitar en los bordes que se unen entre sí. Serían en B el lado derecho y en el D tanto el lado derecho como el izquierdo (la costura central). Luego hay que quitar el margen de costura para coser el elástico. Eso lo hacemos porque el foam no se dobla encima de sí mismo porque se abulta demasiado. Luego te explico más pero lo que se hace es que la primera pasada de zig-zag se hace sólo en el encaje y la segunda pasada de zig-zag de poner el elástico ahora sí se dobla encima del foam y se cose allí. Como ese patrón tiene margenes de 10 mm para los elásticos se lo vamos a quitar tanto en la parte de arriba como abajo en las piezas B y D. Donde no se va a tocar el patrón es en el lado izquierdo de la pieza B porque ese margen lo necesitamos para unirlo con la banda y en la curva en el lado derecho de la pieza D porque este no tiene margen.
Así que copia las dos piezas en un papel separado y quita estos margenes, luego marca los patrones para que sepas que son de foam para no mezclarlos con los de encaje.
The method I'm showing in this tutorial is specific for this pattern as the style lines are a bit different than other foam cup bras, basically because the inner cup lining does not cover the whole cup piece and we'll sew it differently. I've made another tutorial about how to add foam to the Watson bra in the past if you'd like to check out the other method too.
For the foam pieces you need to modify the pattern pieces we normally use for the lining (B and D). You need to alter two parts of the pattern: first where the foam pieces are sewn together with each other and second where the elastics will be sewn in. The foam pieces will be sewn together using a wide zig-zag and you don't need the 6mm seam allowance included in the pattern there. Take away the seam allowance on the right side of the piece B and both the right and left side of the piece D (in the center seam). Then you need to take away the elastic seam allowance. We do it because foam does not fold on itself as it would generate too much bulk. I'll give you a detailed explination when we get there but basically the first row of zig-zag will be sewn only on the lace layer and the second row of zig-zag stitching will be then sewn on both layers. As this pattern has 10 mm seam allowance for elastics you need to take this amount away on the both pieces on the upper and lower edges. You don't modify the pattern on the left side of the picece B because you need that seam allowance to be able to sew the cup together with the band and you also leave the right side curve of the piece D as it is as this piece does not have seam allowance.
Copy the cup pieces onto a separate paper and take away the indicated seam allowances, then mark them as foam pieces in order to not get confused and use them for the lace.
Corta dos piezas tanto del B como del D.
Cut two pieces from both B and D.
Ahora vamos a unir las copas. Me encanta este paso porque como foam tiene más forma que la tela es muy fácil ver cómo una pieza en 2D se convierte en 3D una vez que se unen las curvas. Usando un zig-zag ancho y corto (yo use 5 de ancho y 1.5 de largo) y juntando bien las piezas de foam uno justo al lado del otro cose de la manera que zig-zag va a pillar las dos piezas. Con las manos junta las piezas mientras coses uniendo el comienzo, los piquetes y el final.
Now let's sew the cup pieces together. I love this step as foam has more body and you can see how something in 2D converts into a 3D format once you join the curves. Using a wide and short zig-zag stitch (I used 5 width and 1.5 length) sew both pieces together putting them side by side so that the zig-zag will join both of them. Use your hands to maintain the pieces together while you join the beginning, the notches and the end.
Así es como queda una vez unido con el zig-zag. Para el siguiente paso yo voy a cubrir esta costura con una tira de tul elástico pero si no quieres hacerlo puedes obviar el paso, a mí sí que me gusta el resultado porque me parece más limpio.
This is how the zig-zag stitch looks like. For the next step I'll cover this seam with some stretch mesh tape but if you don't want to do it you can skip this step. I like doing it because it will give a neater result.
He usado tul elástico porque luego también voy a cubrir la parte de la curva de la pieza D en modo similar a bies y así como el tul es elástico corto la tira en cualquier dirección y listo. También puedes usar el forro de lencería (sheer lining) cortandolo en bies. Si quieres un efecto de más contraste incluso puedes usar alguna tela fina de colores, he visto ejemplos muy guays con eso también. Yo suleo cortar la tira con el ancho de unos 3.5 cm pero si crees que te costará coser algo fino lo puedes hacer más ancho. El largo pues aproximadamente lo que necesitas para las dos copas, el centro y los bordes de curva en la pieza D.
I used stretch mesh because I'll use the same tape to cover also the curve on the piece D in a way like using a bias tape. As the mesh is stretchy I can cut it on any direction and use it for all the seams. You can also use sheer lining cut on bias for that purpose. If you want a more contrasting effect you can actually use any lightweight fabric for this purpose, I've seen many cool versions out there. I usually cut a strip of mesh with aprox 3.5 cm width but if you feel that a narrow tape will be harder for you to work with you can cut it wider. The length would be aprox what you need for both of the cup seams, the center and the curves on both pieces D.
Dobla la tira de tul en tres partes, así no se va a ver el borde de la tira sin rematar y colocalo justo encima del zig-zag que acabas de hacer en la copa. Cose con una puntada recta encima de los dos bordes.
Fold the tape in three parts so once you sew it the raw edge won't be visible. Put it exactly on top of the zig-zag stitching you made and sew with a straight stitch over both of the edges.
Así queda una vez terminado.
Otro paso que me gusta hacer es también rematar el borde de la pieza D que no tiene luego elástico con bies de tul. De nuevo, ese paso no es obligatorio porque el foam no se deshilacha. Sino también se puede remallar por dejalo más limpio y ya está. Yo prefiero hacer lo de bies porque luego veis que dejo ese borde de foam libre sin juntarlo con la copa de encaje y de esa manera aunque se mueve un poco se ve igualmente bonito en los dos lados. Coloca la tira de tul en el revés de la copa de foam y cose a 0.5 cm del borde con puntada recta.
The other step I like to do here is to cover the curved edge of the piece D as it doesn't have any elastic on later. Again you can skip this part as foam does not fray. You can also just overlock this edge. I prefer this bias tape method as you can see later on that I won't join the foam piece together with the lace layer so using bias makes it pretty on both sides in case the foam moves a bit and you can see the reverse side of the piece. Put the mesh tape on the wrong side of the cup piece and on the curved edge sew the tape with a straight stitch 5 mm from the border.
Así queda la primera pasada.
Después gira el bies al lado derecho y cose doblando el margen hacia abajo para que no se vea nada. Queda como un bies normal.
Then fold the bias tape on the right side and sew it on folding the raw edge under. Looks like a regular bias tape finish.
Una vez que has hecho lo mismo en la otra copa junta el centro y coselo con el zig-zag ancho y corto igual como hicimos en las copas.
Once you've done the same things with the other cup, join the center seam with zig-zag as we did on the cup pieces.
De nuevo cose encima la tira de tul doblandolo en tres partes. Yo suelo dejar arriba un margen y luego doblo un poco hacia el revés y doy unos pespuntes para que se quede allí firme, luego corto la tira que me sobra.
Again put the mesh tape on top of the zig-zag and sew on both edges while folding it in three parts. I usually leave a small part of the tape on the upper part of this seam and then fold it back on the wrong side and stitch it in place to make everything neat.
Así queda la pieza de foam terminada. Ahora vamos a juntarlo con el encaje.
This is how the foam piece looks like. Now we'll join it with the lace layer.
El resto de las piezas se cortan con el patrón original: A, B y C de encaje y el C de forro también. Prepara las copas igual que normalmente usando elástico transparente. Esta vez solo juntas las piezas A y B derecho con derecho porque no tienes forro, para eso hicimos ya el foam. Haz el pespunte en las copas y une el centro igual que en la versión original.
The rest of the pattern pieces are cut as in the original version: A, B and C form lace and another C from lining. Prepare the cups as usually using the clear elastic on the neckline. This time as there is no lining (we'll use foam for that) you only need to join A and B with right sides together. Sew a row of topstitching on the cup seams and join the center seam as always.
Coloca la capa de encaje con el derecho hacia abajo y la capa de foam encima de ella con el derecho hacia arriba. Ves que el foam es más pequeño en la parte de abajo y arriba pero tiene el ancho igual que el encaje, eso es como tiene que ser.
Put the lace layer with the right side facing down and the foam layer with the right side facing up. You'll see that the foam layer is smaller both on the upper and lower part but the general width is the same. This ishow it should be at that point.
La banda se junta de la misma manera que en la versión original, sólo que la pieza B que antes era de forro ahora es de foam. Fijate que el foam es más corto por 10 mm tanto abajo y arriba pero el resto de las piezas cuadran. Remalla o cose con una puntada recta a 6 mm (ya que el foam es estable no hace falta usar zig-zag aquí) uniendo todas las piezas.
The band pieces will be sewn together with the cup in the same way as in the original version, just that the cup lining piece is now made from foam. You'll see that the foam piece is 10 mm shorter both on the upper and lower part but the rest of the pieces will match up. Overlock or sew a straight stitch (as it's with foam you don't need to use a zig-zag stitch here) to join all the pieces.
Así queda la banda ya unida a la copa.
This is how the band piece looks once joined with the cup.
Es el paso de añadir la cinta recubrearos. Yo prefiero hacerlo ahora porque me gusta luego doblar el elástico encima de él para que no se vea ningún borde suelto por allí pero hay otros patrones que te indican que cosas el recubrearos en esta parte lo último. Será para reducir el bulto y si prefieres también puedes hacerlo al final de todo (una vez que el bralette está terminado) especialmente si tu máquina resiste en coser cosas gordas. Yo te cuento cómo coserlo ahora porque me gusta más como queda. Corta la pieza igual de largo que el foam en la parte de la copa donde se una con la banda (ya que de nuevo doblamos luego el elástico encima y para que no abulte).
It's time to add the channeling tape. I prefer to do it now as then later on I'll fold the elastic on top of it and there won't be any visible raw edges on the inside of the bralette. There are other patterns that indicate you to add the channeling in the end after you've finished sewing your bralette probably because you'll have less bulk in this area. This is helpful if your machine also doesn't like to go on top of bulky seams. I'll show you how to do it in a way that it goes under the elastic as I find it prettier on the inside. Cut a piece of channeling with the length of the foam piece that is inside the seam where the cup and band meet (as we'll fold the elastic on top of the cahennling you don't want it to be too long in a similar way as we cut down the foam).
Colocando el recubrearos justo encima de la costura de unión cose con la puntada reta en los dos lados de él para sujetarlo.
Put the channeling exactly on top of the band and cup joining seam and sew it in place with a straight stitch on both of the edges.
Repite en el otro lado y ya tenemos listo el bralette para coser los elásticos.
Repeat on the other side and the bralette is ready for the elastics to be sewn in.
Como ya dije antes, la idea de hacer las piezas de foam más pequeñas era porque ahora vamos a hacer la primera puntada de zig-zag solo en la capa exterior de encaje. Empiezas con coser el elástico de bajo y al principio empezando en la banda sí que tienes todo normal como en la versión original porque allí no hay foam pero una vez que llegas a las copas tienes que apartar un poco el foam para no pillarlo. Cómo el margen de costura de 10 mm lo quitamos antes deberías justo tener tu espacio para poder coser con facilidad.
As I told you before we took the elastic seam allowances away from the foam pieces so we can now sew the first pass of zig-zag on only the lace layer of the bralette. Start with sewing the band elastic in place as you normally do, starting in one end of the bralette where everything will be as usual. Once you arrive to the cup part you need to push the foam away a bit in order not to sew on top of it. That's why we took away the 10 mm and you should have exactly the room to do so.
Una vez hecho la primera pasada ves que el encaje tira más que el foam. Eso pasa porque a la hora de coser el elástico había que tirarlo ligeramente y ahora se nota la diefrenecia. No pasa nada de eso, para tener todo en su sitio sujeta con alfileres las costuras de copa en encaje y en el foam entre sí, haz lo mismo con los centros. Así sabes que ahora en la segunda pasada se coloca todo en su sitio.
Once you finish the first zig-zag you'll see that the lace part is smaller than the foam as it's shirred a bit when using the elastic. This is normal as we need to pull the elastic when we sew it, you'll now adapt it to the foam. Put some pins in to match all the parts: pin the cup seams on both lace and foam pieces and the center front too. This way you'll know how much to pull once we sew on the second pass of the zig-zag.
Engancha también los tirantes como siempre y empieza coser la segunda puntada de zig-zag en el revés. El comienzo es igual porque no tienes foam y caundo llegues a la copa sujeta el elástico justo encima de foam. Ya que tienes los alfileres puestos sabes cuánto tienes que tirar de elástico para que todo quede bien plano y las dos capas estén en su sitio.
Put the straps in place and start sewing on the second pass on the wrong side as you always do. The beginning is the same, once you arrive to the foam part just fold the elastic directly on top of the foam. You have the pins in place so you'll know how much you need to pull the elastic in order to match both layers.
Así queda el elástico de bajo puesto. Ahora vuelve a hacer lo mismo en la sisa y ya está, a seguir con los pasos como en la versión original.
This is how the band elastic looks like once sewn in. Now sew the elastic in the same way in the underarm area and finish the bralette in the same way as in the original version.
Eso sería casi todo. Igual te parece raro que el foam no vaya unido en la parte de arriba con la copa de encaje porque en la versión original sí que unimos el forro de la pieza D con un zig-zag. Después de coser este bralette con foam decidí no juntar las capas porque de nuevo, los materiales son distintos, uno se da de sí y otro casi no. Así que vi que si dejo el foam en la parte de arriba libre, se ajusta mejor al cuerpo porque el foam no obstaculiza la copa de encaje. Desde luego si tú quieres unir las copas puedes probar y hacerlo. Lo que sí hago es para que no esté del todo libre, luego hago unas puntadas a mano en la parte del centro donde se acaba el foam para unirlo con encaje. De esa manera cuando lo lavas etc no se abre tanto. Luego estaba pensando que se podría también dar unas puntadas en el centro de la costura de la copa para unir las capas entre sí pero voy a darle un par de vueltas para ver.
This would be almost it. Maybe you find strange that the foam part is not joined with the lace on the upper part of the inner cup (like we do with the lining piece D, using a zig-zag). After sewing the bralette with foam I decided not to sew the layers together as the materials are different, one has give and the other one doesn't. I saw that when I leave the curved edge of the piece D free it fits better with the body and leaves the lace layer in its place and allows it to stretch. Of course you can join the layers together if you want and try it out. To finish the bralette off I do make some handstitches on the upper part of the center front seam where the foam ends to join both the foam and the lace layers. That way it's not so open and when you wash the bralette etc the foam layer stays n place. I was thinking about some stitching also on the cup seam in the center for example to join the layers but I'll check it out when wearing the bralette to see if that's necesary.
Pues eso, ya está terminado...vaya tutorial más largo me ha salido, jaja. Espero que te ha sido útil y que incluso usando otros patrones puedes aprovechar los trucos de aquí. Esta es una versión de hacerlo y seguramente existen muchas más posibilidades, experimenta y ve cómo te gusta más hacerlo. Vuelvo a repetir que este patrón realmente no está pensado para foam pero con algunos trucos puedes probar a hacerlo. Los patrones que están realmente pensados para foam son los que tienen las copas patronadas para materiales no elásticas como por ejemplo el sujetador Boylston que yo también he hecho (puedes ver el post aquí).
Espero ver vuestras versiones en breve y si tenéis cualquier pregunta dejadlo aquí en los comentarios! En esta versión de bralette Hanna usé este kit de la tienda.
We'll that's it, it's finished...what a long tutorial it was, hehe. I hope it was useful for you and you can use these tricks for making other patterns as well. This is only one version how to do it, I'm sure there are many more so you can experiment and find your favourite way. I want to repeat again that this pattern is not directly designed for foam but you can give it a try with some modifications. The patterns that are designed for foam are the ones with rigid materials in the cups, for example the Boylston bra that I have also made (you can see a post here).
I hope to see your versions and if you have any questions just leave them on the comments! Iused this kit from my shop for that version of the Hanna bralette.


text:
Vicente Muñoz and Dolores Gomez, Kings of the Third Age 2008 (20/05/2008)
Set in the activities of the Senior Citizens Week, Sunday night the election was held 18 Kings of the Third Age 2008, that went to Vicente Sanchez, and Dolores Gómez Muñoz Melgarejo.
Due to inclement weather, the act provided for in the Municipal Auditorium, had to be held at the Senior Center that same night also welcomed the holding of a festival and exhibition of shawls that wore many ladies as they danced .
Also following the commemorative activities for the week, on Monday inaugurated the exhibition of handicrafts and works of handicraft workshops and sewing in the TV room Municipal Senior Center.
Trip to Vera
The first activity Memorial Senior Week was held on Saturday 17 with a trip to Mojacar, Vera and Cuevas de Almanzora.
Two older buses with about 110 people do not want to miss the fun excursion which visited some of the highlights of Almeria.
On Tuesday 20, at 18.00, will be held late petanque competitions, Brisco, subastao and dominated the Senior Center.
On Wednesday 21, at 20.30, will be the recital of poetry for the elderly.
At the end, the contest will award prizes for poetry of The Elders.
Will be in the domed hall of Archaeological Center Los Baños.
The activities will continue on Thursday 22 May at 17:00 at the Senior Center with a talk titled "Feeding the people."
On Friday 23 May at 21.00, the theater group "The Palmetto" will stage "The Park.
It will be at the Cultural and admission is free.
Finally, on Saturday 24 May, at 20.00, will be the Festival of Music and Folklore of older people in the acting groups "Guitar Workshop Senior Center, Friends of the Night" and "The Age Gold. "
In the middle of the festival will present awards to competitive bocce, dominoes, and brisca subastao.
It is in the municipal auditorium.


She knew she living the greatest life on earth.
Where do you need a miracle today?
Put Your Whole Foot In!
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The 5 R's: REALIZE, REFLECT, RECONCILE, REST and RE-ENGAGE! This is a 5 step process of living the elijah project.


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text:
package storage

import (
	"fmt"
	"github.com/aws/aws-sdk-go/aws"
	"github.com/aws/aws-sdk-go/service/s3"
	"github.com/aws/aws-sdk-go/service/s3/s3iface"
	"github.com/aws/aws-sdk-go/service/s3/s3manager"
	"github.com/aws/aws-sdk-go/service/s3/s3manager/s3manageriface"
	"os"
	"path/filepath"
	logf "sigs.k8s.io/controller-runtime/pkg/log"
	"strings"
)

type S3Provider struct {
	Client     s3iface.S3API
	Downloader s3manageriface.DownloadWithIterator
}

var log = logf.Log.WithName("modelAgent")

var _ Provider = (*S3Provider)(nil)

type S3ObjectDownloader struct {
	StorageUri string
	ModelDir   string
	ModelName  string
	Bucket     string
	Prefix     string
	downloader s3manageriface.DownloadWithIterator
}

func (m *S3Provider) DownloadModel(modelDir string, modelName string, storageUri string) error {
	log.Info("Download model ", "modelName", modelName, "storageUri", storageUri, "modelDir", modelDir)
	s3Uri := strings.TrimPrefix(storageUri, string(S3))
	tokens := strings.SplitN(s3Uri, "/", 2)
	prefix := ""
	if len(tokens) == 2 {
		prefix = tokens[1]
	}
	s3ObjectDownloader := &S3ObjectDownloader{
		StorageUri: storageUri,
		ModelDir:   modelDir,
		ModelName:  modelName,
		Bucket:     tokens[0],
		Prefix:     prefix,
		downloader: m.Downloader,
	}
	objects, err := s3ObjectDownloader.GetAllObjects(m.Client)
	if err != nil {
		return fmt.Errorf("unable to get batch objects %v", err)
	}
	if err := s3ObjectDownloader.Download(objects); err != nil {
		return err
	}
	return nil
}

func (s *S3ObjectDownloader) GetAllObjects(s3Svc s3iface.S3API) ([]s3manager.BatchDownloadObject, error) {
	resp, err := s3Svc.ListObjects(&s3.ListObjectsInput{
		Bucket: aws.String(s.Bucket),
		Prefix: aws.String(s.Prefix),
	})
	if err != nil {
		return nil, err
	}
	results := make([]s3manager.BatchDownloadObject, 0)

	if len(resp.Contents) == 0 {
		return nil, fmt.Errorf("%s has no objects or does not exist", s.StorageUri)
	}

	var foundObject = false

	for _, object := range resp.Contents {
		if strings.HasSuffix(*object.Key, "/") {
			continue
		}
		subObjectKey := strings.TrimPrefix(*object.Key, s.Prefix)
		fileName := filepath.Join(s.ModelDir, s.ModelName, subObjectKey)

		if FileExists(fileName) {
			// File got corrupted or is mid-download :(
			// TODO: Figure out if we can maybe continue?
			if err := os.Remove(fileName); err != nil {
				return nil, fmt.Errorf("file is unable to be deleted: %v", err)
			}
		}
		file, err := Create(fileName)
		if err != nil {
			return nil, fmt.Errorf("file is already created: %v", err)
		}
		object := s3manager.BatchDownloadObject{
			Object: &s3.GetObjectInput{
				Key:    aws.String(*object.Key),
				Bucket: aws.String(s.Bucket),
			},
			Writer: file,
			After: func() error {
				defer file.Close()
				return nil
			},
		}
		foundObject = true
		results = append(results, object)
	}

	if !foundObject {
		return nil, fmt.Errorf("%s has no objects or does not exist", s.StorageUri)
	}

	return results, nil
}

func (s *S3ObjectDownloader) Download(objects []s3manager.BatchDownloadObject) error {
	iter := &s3manager.DownloadObjectsIterator{Objects: objects}
	if err := s.downloader.DownloadWithIterator(aws.BackgroundContext(), iter); err != nil {
		return err
	}
	return nil
}


text:
Q: Macro that select tables from document and deleting specific rows I try build macro that check every table in document and, if table contain cells with specific text, whole rows with this cells is deleting. I created sth like this below, but it works only for first table (it deletes rows which should be - this is ok) and throws Runtime error 5825 "Object has been deleted". What I should to macro work for every table in document, not only first one.
Sub test2()

    Dim t As Table

    For Each t In ActiveDocument.Tables

    'ActiveDocument.Tables().Select
    Dim oRow As Row
    For Each oRow In t.Rows
            If oRow.Cells(1).Range.Text = "Wersja naprawy:" & vbCr & Chr(7) Then oRow.Delete
            If oRow.Cells(1).Range.Text = "Odnośne wersje:" & vbCr & Chr(7) Then oRow.Delete
        Next oRow
Next

End Sub

A: If your code finds "Wersja naprawy:" it deletes the row, but then it tries to check that same row for "Odnośne wersje:". There is no row any more to check...
Try something like this:
Sub test2()

    Dim tbl As Table, txt, oRow As Row, arr

    arr = Array("Wersja naprawy:", "Odnośne wersje:")

    For Each tbl In ActiveDocument.Tables
        For Each oRow In tbl.Rows
            For Each txt in arr
                If oRow.Cells(1).Range.Text = txt & vbCr & Chr(7) Then
                    oRow.Delete
                    Exit For
                End If
             Next txt
        Next oRow
   Next tbl

End Sub

redpajama_set_name: RedPajamaStackExchange


The Harry and Meghan movie has been cast - and the actress looks EXACTLY like Meghan!
The leads have been cast for the latest royal romance movie – and we can't get over how much this actress looks like Meghan Markle!
Prince Harry and Meghan Markle's Lifetime movie has been announced, and we cannot get over how much the actress looks like Meghan herself!
The cast of Harry and Meghan: A Royal Romance have been revealed, and dashing British Actor Murray Fraser will play Prince Harry, while Parisa Fitz-Henley will be Meghan.
Parisa, 40, is known for her small roles in Jessica Jones and Luke Cage, and will be taking on the role of actress turned soon-to-be-duchess Meghan.
In an interesting twist, Meghan has played the love interest in two TV movies we can't help but think look pretty similar to Harry and Meghan: A Royal Romance (minus the royal element). In When Sparks Fly (2014), she played a big city journalist who returns home and falls in love with the man she left behind. In Dater's Handbook (2016), she plays a successful woman who tries to find love using The Dater's Handbook.
Given the Hollywood feel of Harry and Meghan's jet-set romance, with its top-secret dates, trips to exotic countries and public displays of affection, it was only a matter of time before this film was announced!
And fans were quick to point out that they also see the similarities between her and Meghan!
Harry and Meghan: A Royal Romance is due to debut this spring, probably around the same time as the May 19th wedding.
Production will begin this week, with filming taking place between Los Angeles and Vancouver.


Derek (William Thorne) wakes up to hear a knocking at the door, opening it, he finds a wrapped present. His father takes the present away from him and sends him to bed. When Derek's father opens the gift he is killed by the toy contained within. Derek hasn't spoke in the year following his father's death, and his mother (Jane Higginson) looks to brighten up his Xmas by purchasing a toy from the shop of one, Joe Petto (Mickey Rooney) and his assistant Pino (Brian Bremer). Unfortunately for Derek, the toys Joe likes to sell children, are anything but playful.
In an unusual turn of events, it's a late direct-to-video sequel that finally fulfills the promise of a horror film franchise. Silent Night, Deadly Night 5 manages to coat itself in a thick layer of holiday trappings, integrate them into the story, and still create something that works as a horror movie. Like any good exploitation film, the cover of the tape doesn't exactly tell the truth, so if you go in expecting a horde monstrous toys attacking the unwary, you're in for disappointment. However, there a few fun twists in the plot and an enjoyably evil turn by Mickey Rooney.
The story itself plays out a little like a Puppet Master (1989) clone, however created with more care and concern about craftsmanship than any Charles Band production. The killer toys only make brief appearances, and while they lack the personality of anything Puppet Master produced, they are enjoyable in their own odd way. There are killer rocket skates, a strangling Santa ball, and even a call back to Silent Night, Deadly Night 4: The Initiation with 'Larry the Larva.' If the names Joe Petto and Pino aren't dead giveaways to a third act twist, I don't know what is. Even though the twist is obvious, it's played out in a way that is both funny and disturbing.
This is the fourth sequel to a very low budget series, and it looks the part. The lighting and set design are functional but never memorable, the music is of the cheapest synthesizer variety. Previous entries manged to make the low-res grunge into part of the aesthetic, but Silent Night, Deadly Night 5 has (slightly) higher aspirations, and the inherent cheapness works against it.
This is easily the best acted film in the franchise, Mickey Rooney makes a great villain, his actions at odds with his cherubic appearance. It's also a coup getting him, since he openly condemned the original Silent Night, Deadly Night (1984). At first, Brian Bremmer's performance as Pino seemed a little one note, but as the film progressed his slow turn to creepy side character and then into something evil as well as pitiable is quite good.
Silent Night, Deadly Night 5 is a completely stand-alone entry in the Silent Night, Deadly Night series, and if slasher movies, or gross-out cult movies aren't your thing, this is an enjoyable and surprisingly fun entry point for some seasonal horror.


Apple is making its iWork productivity apps — Pages, Numbers and Keynote — and iLife creativity apps — iPhoto, iMovie and GarageBand — free with all new Mac and iOS devices.
An all new iWork for Mac and iOS makes creating, editing and sharing documents easier than ever, he adds. iWork introduces a new, unified file format, delivering perfect document fidelity across Mac, iOS and iCloud, and the iWork for iCloud beta now includes support for real-time collaboration. Now you can create your document on iPad, edit it on your Mac and collaborate with friends in iWork for iCloud, even if they're on a PC. A new user interface makes iWork even simpler to use, says Cue.
iPhoto for iOS sports a new design that's purportedly simpler and more beautiful than ever. New tools and effects let you create more dramatic images in both color and black and white. Now you can also share your favorite images as custom slideshows that you can pause, rewind and fast forward using gestures, or order them as professional-quality prints, including panoramas, and as hard cover books that you create using Multi-Touch.
iMovie for Mac and iOS have been redesigned to make it easier than ever to browse your video library and instantly share your favorite moments. iMovie for Mac includes simplified editing tools that let you improve the look of your movie, add fun effects, and speed up or slow down your video.
iMovie for iOS brings desktop-class moviemaking to your iPhone and iPad, so you can create split screen and picture-in-picture effects or advanced audio edits in just a few taps, says Cue.. And with iMovie Theater, you can watch your shared clips, movies, and trailers on all your Apple devices, even your Apple TV. iMovie Theater requires iCloud to keep your shared content up to date across all your devices.
GarageBand for Mac has received its biggest update ever with a new look, a new Sound Library, and new features like Drummer and Smart Controls. GarageBand for iOS has been updated to match the look and feel of iOS 7 and taps the power of 64-bit to bring musicians a full recording studio with up to 32 tracks.
With iOS 7 Inter-App Audio you can record third-party music apps right into GarageBand, and AirDrop allows you to wirelessly share your song projects with other iOS users so you can work on songs together. iCloud helps keep your song projects up to date across your devices, and users can start a song on iOS and pick up where they left off using GarageBand for Mac.
Existing users running Mavericks can update their apps for free from the Mac App Store. iWork and iLife for iOS are available for free from the Apple App Store for any new device running iOS 7, and are also available as free updates for existing users. GarageBand for Mac and iOS are free for all OS X Mavericks and iOS 7 users. Additional GarageBand instruments and sounds are available for a one-time in-app purchase of US$4.99 for each platform.


But Hicks, coauthor of two cookbooks based on her recipes from the inn, couldn't stay behind the scenes. Her Middletown house has become Sissy's Kitchen, a takeout operation running all day, six days a week. "It's working. The shop seems to be doing well," she says, mentioning that folks from Middletown have been "very supportive," and old fans from Dorset stop in on a regular basis.
In the a.m., patrons find everything from breakfast sandwiches to brioche with smoked trout and scrambled eggs. At dinner, the menu goes global, with fare such as curried lamb, pot roast Provençal and Misty Knoll chicken Parmigiana. "I like a lot of variety," Hicks attests. "But I try to gear it toward things people can just pick up and go without me fussing too much." Although she switches things up regularly, Hicks makes sure her best sellers are in the freezer case: "I always keep chicken pot pie and shepherd's pie because they sell a bunch," she says.


text:
Tamar Arimborgo Guerra (Lima, 30 de noviembre de 1975) es una abogada, educadora y política peruana.

Biografía
Nació en Lima. Hija de los pastores evangélicos José Arimborgo y Carmen Guerra, quienes se mudaron a Iquitos cuando ella era aún niña. Allí cursó sus estudios escolares en colegios adventistas de Maynas. De joven, quiso ser misionera y llevó un curso en la escuela de misiones Asiel de Iquitos.  Pero luego optó por ingresar a la universidad y estudió dos carreras, Derecho (en la Universidad Científica del Perú) y Educación (en la Universidad Nacional de la Amazonía Peruana).

Una vez graduada, trabajó como directora académica en el Colegio San Marcos, de la Iglesia Camino de Vida. En 2014 fundó, junto a un socio, la empresa de liderazgo empresarial Megalíder Coaching Training.

En cuanto a su carrera política, llegó a Fuerza Popular por intermedio de Miguel Torres. En las elecciones generales de 2016 postuló para Congresista de la República, como representante de Loreto. Ganó la curul obteniendo 10 499 votos preferenciales. El 22 de julio de 2016, en la ceremonia de juramentación de su cargo de parlamentaria, dijo: «Por Dios, por el indulto humanitario a Alberto Fujimori y por la reconciliación, sí prometo», lo que generó aplausos de su bancada, y las pifias del resto de parlamentarios.

Ha sido una de las más entusiastas portavoces del colectivo Con mis hijos no te metas. La prensa y las redes sociales suelen resaltar algunos comentarios suyos con respecto a la llamada «ideología de género», generalmente sacadas de contexto. Por ejemplo, durante una sesión de la Comisión de Justicia, donde se discutía el endurecimiento de las penas contra los que atenten contra el colectivo LGTB, dijo: «Si hay crímenes de odio, tal vez hay crímenes de amor también»; lo que se convirtió en tendencia en las redes sociales.

En enero de 2019 presentó un controvertido proyecto de ley titulado «Ley que excluye la ideología de género de las políticas públicas dirigidas a niños y adolescentes». Lo controvertido fue la aseveración de que la «imposición de la ideología de género» causaba graves daños en la niñez y la juventud, entre ellos altas tasa de suicidio, enfermedades de transmisión sexual y otros efectos negativos como el cáncer y el sida. Como era de esperarse, la congresista fue duramente criticada y su misma bancada decidió retirar el proyecto.

El 9 de mayo de 2019, durante la interpelación a la ministra de Educación Flor Pablo en el pleno del Congreso, Tamar Arimborgo fustigó duramente contra la política educativa del gobierno y el llamado «enfoque de género». La prensa resaltó algunas frases suyas, una de ellas que califica al ministerio de Educación como «Sodoma y Gomorra».

Al iniciarse el período anual de sesiones 2019-2020 del Congreso, fue nombrada presidenta de la Comisión de Educación.

Tras la disolución del Congreso decretado por el presidente Vizcarra su cargo llegó a su fin el 30 de septiembre de 2019.

Véase también
 Elecciones parlamentarias de Perú de 2016
 Fuerza Popular
 Gobierno de Pedro Pablo Kuczynski
 Gobierno de Martín Vizcarra

Referencias

Enlaces externos
 Despacho congresal

Nacidos en Lima
Abogadas de Perú
Congresistas de Perú 2016-2019
Educadores de Perú
Miembros de Fuerza Popular
Políticas de Perú
Congresistas por Loreto
Alumnado de la Universidad Nacional de la Amazonía Peruana

redpajama_set_name: RedPajamaWikipedia


in partnership with Gallaudet University, promote the expansion of a Congressional Deaf Internship program.
Contact your member of the U.S. House of Representatives and ask him or her to join the Congressional Deaf Caucus. (As of March 13, 2014, there is no similar group in the Senate.) Take the easy steps that appear on the submenu "How can I support this effort?"


text:
083 - Hounds Of Love
It's in the trees! It's coming! It's the EIGHTY-THIRD episode of Popular Music: The Podcast, and your hosts delve into the 1985 Kate Bush classic, "Hounds of Love." Things you'll hear about: Kate Bush composing in a barn as a child (are you really surprised?), how she took two years of her retainer to learn...
082 - Semi-Charmed Life
DOO DOO DOO DOO DOO DOO DOO DOO! Popettes! Can you believe we have already reached the very end of this year's #SummerofNostalgia? And what better swan song to do than Third Eye Blind's first single, "Semi-Charmed Life." It's the happiest song about crystal meth you've ever heard in your damn life.
081 - Stacy's Mom
HER NAME ISN'T STACY'S MOM, WAYNE. SHE IS A HARD-WORKING WOMAN. All this and more in this EIGHTY-FIRST episode of Popular Music: The Podcast - as your hosts Steven and Analise talk about the greatest tribute to 80's rock 'n' roll ever written, "Stacy's Mom." No seriously guys, this song has aged REALLY...
080 - Freedom '90 (feat. Melissa Thomas)
YEAH YEAHHHHHHH! In this very special EIGHTIETH episode of Popular Music: The Podcast, Steven and Analise break down the fist bumping anthem that is George Michael's "Freedom '90" as specially chosen by Analise's mom, Melissa, who joins them on this episode to talk about how this song defined her late...


text:
Published: Saturday, 09 April 2016 09:33
I felt I had been heard
Celina Ruiz Cuenca no longer lived in San Sebastian de Garabandal when the apparitions began. She had gotten married three years earlier and had moved to Corrales de Buelna, a little town in Cantabria, now about an hour away from Garabandal. However since the roads in the 60's, and the means of communication, were not what they are now, Celina could not easily visit the village. Despite this, she tried to spend as much time as she could with her mother in Garabandal—and she used her visits to follow the apparitions more closely.
In Corrales de Buelna she had a neighbor, Toña, who was very ill—at the brink of death. Celina tried to visit her and care for her. This woman held a great resentment in her heart against another neighbor. Every time that Celina went to visit her, Toña began her remarks: "Be careful, be careful with Yeta! She stole sausages in the co-op, she did such-and-such, and she's a this-and-that…" It saddened Celina that the only thing Toña did while sick was criticize and curse others, especially this certain neighbor. With her sweet and friendly ways she would say "Oh, Toña, don't pay any attention to that." But what made her worry more was that neither Toña nor her family went to church.
Celina was getting ready to spend a few days in San Sebastian de Garabandal, and she worried that when she returned she might find Toña had died because her condition worsened day by day. Before she left she said to herself: "I'm going to see Toña, this might be the last time I see her." But seeing her only worried her more because she began to talk badly about her neighbor again. Celina cut her off saying: "But with everything that you have to worry about, honey…you could be using a lot better all that you are suffering…" But there was nothing to be done. It seemed impossible to uproot the resentment that poisoned her heart.
Celina arrived in Garabandal. As she usually did, she left the children with their grandmother so as to be able to follow the girls in ecstasy through the town. That night, Conchita was in ecstasy near the parish church. There were many people in the village that day, the plaza was overflowing with people who were trying to follow the apparition. Celina stayed in the back. It was impossible to get closer. She began to pray to Our Lady: "Oh please help Toña! If you can hear me, I pray to you for her. Help her to repent. Help her to offer up this sickness and this cross that she is living." Celina prayed intensely, placing all her trust in our heavenly Mother. She didn't ask for a sign, but all of a sudden she realized something was happening. Before, still quite a distance from her, the crowd was parting to let Conchita pass through. As always when the girls were in ecstasy, Conchita looked neither where she was walking nor towards where. With her head raised, looking up, she followed Our Lady. Celina saw the crowd move aside to let Conchita pass and was prepared to do the same when she saw where the girl wanted to go. But to her surprise Conchita, or better said, Our Lady, was looking for her. Celina remembers: "And then I saw the crowd open up, step aside and that Conchita was coming towards me. She didn't look at me. And you've seen pictures of it, her head was like this. She came up to me, she made the sign of the cross over me with the crucifix and she gave it to me to kiss. I kissed it and she left." Celina's excitement was overwhelming: "I felt that she had heard me. I felt that I had been heard."
After two weeks in San Sebastian de Garabandal, Celina returned home to Corrales de Buelna. After settling everyone in at home, she ran over to Toña's house. She didn't even know if she would find her alive. When she arrived, one of Toña's neices, a good and religious girl, came out to greet her. They hugged each other as the niece said: "I couldn't wait for you to come back!" Celina asked: "what happened? What happened?" The niece responded: "Toña confessed and received Communion. And it so great to see her now. She is at peace, she doesn't complain or talk poorly of others."
A few days later Toña died. But she died after having forgiven and asking for forgivness. Celina never doubted that her prayer had been heard. Our heavenly Mother, who tradition rightfully calls the omnipotent intercessor, heard her cry and gave her a sign that she had been heard. With or without signs, she always hears us. But it is true that in Garabandal Our Blessed Mother gave us many signs that she hears our prayer, so that in our day to day we never doubt that she is our Mother, that she loves us and intercedes for us.


text:
Will Ferrell Net Worth (3 Lessons from his Path to Wealth)
May 11, 2021 By Kevin | Just Start Investing
Will Ferrell Net Worth 2021: $160 million.
Will Ferrell is one of the biggest movie stars in the United States, but there is a lot we can learn from him regarding personal finance as well.
Source of Wealth: Actor, Producer, Writer, Businessman
Nationality: United States of America
Will Ferrell progressed seamlessly throughout his career from being a cast member on Saturday Night Live, to a movie star, and eventually a businessman.
As of 2021, his net worth is estimated to be $160 million. Below is his journey of how he got there and three lessons we can learn from it to improve our own financial situation.
Measure Your Net Worth: You can create your own financial plan for free in just 5 minutes with Savology and start tracking your net worth.
Early Life and Personal Life
John William Ferrell, who we all know as Will Ferrell, was born in 1967 in Irvine California. His parents were Betty Kay and Roy Lee Ferrell Jr., an elementary school teacher and musician in the Richestous Brothers, respectively.
Will grew up in Irvine and eventually attended University High School. He was reportedly known to have his comedic moments early on, but was also involved in sports.
He balanced his time kicking for the High School football team and performing short comedy skits on the school's morning announcements.
After high school, Will would go on to attend the University of Southern California where he studied sports broadcasting and got a Sports Information degree. Lucky for us and millions of comedy fans, he ultimately pursued a different career.
Today, Will Ferrell is married to Viveca Paulin, a Swedish actress. Together they have three children.
Will Ferrell Career and Journey to Wealth
Ferrell's career had a pretty natural, if not predictable, progression for a comedian and actor.
He got his comedy start through an improv and sketch comedy troupe called The Groundlings. The Groundlings is known for producing more than a few comedic talents, including Chris Kattan, Maya Rudolph, Melissa McCarthy, and many others.
Ferrell honed his skills throughout the early 90s with The Groundlings until Lorne Michaels and Saturday Night Live (SNL) came knocking.
Saturday Night Live (SNL)
Ferrell joined the NBC show SNL in 1995.
In the early '90s, the show was coming off a few years of bad ratings and was in need of a refresh. In 1995, producer Lorne Michaels cleaned house and brought in a new cast, including Will Ferrell, in the hopes of turning around the show and the ratings.
Will Ferrell helped carry the show for 7 years, widely regarded as one of the funniest cast members of all time. He gave 100% in every skit he did and was well known for his impressions of Chicago Cubs announcer Harry Carrey, George W Bush, and others.
In the final season of his 7 year career on SNL Ferrell was making over $350,000 per season.
Ferrell's success quickly translated onto the big screen as well. He landed his first big film in 1997, while still on SNL, with a role in Austin Powers: International Man of Mystery.
Soon after, in 1998, he and SNL co-star Chris Kattan starred in A Night at the Roxbury – a film based on a long-standing skit the two had.
Ferrell went on to star, act, and do voices in countless hilarious comedies for over a decade. Here are some of his best movies:
Zoolander (2001)
Old School (2003)
Elf (2003)
Kicking and Screaming (2005)
Talladega Nights: The Ballad of Ricky Bobby (2006)
Semi-Pro (2008)
Step Brothers (2008)
The Lego Movie (2014)
Will Ferrell also was a well-known cameo actor, with famous cameos in the movie Wedding Crashers and sitcom The Office (working alongside John Krasinski).
Ferrell eventually left SNL in 2002 to focus solely on movies. His salary increased dramatically at that time as well.
He went from making $350,000 for a season of SNL, to reportedly making $7 million in 2004 for his work on Anchorman. That salary quickly jumped up to $20 million per movie the following year on Kicking and Screaming.
Ferrell continued to command about $20 million per movie throughout most of the 2000s, as he starred in some of the highest grossing movies of the decade. He also got the awards and nominations to go with it, including a few Golden Globe nominations, a Teen Choice award, and an Emmy award.
Other Ventures
Producer: Around 2006, Will Ferrell and comedy partner Adam McKay started Gary Sanchez Productions. Their production company was a part of many movie and TV hits, including:
Get Hard (2015)
Eastbound & Down (2009-2013)
Succession (2018-present)
Note: As of 2019, Gary Sanchez Productions is reportedly finishing all projects and ceasing operations.
Businessman: In 2007 Ferrell launched Funny or Die, a comedy website, also alongside Adam McKay. The site took off, hit some roadblocks later it's life, and is now poised to live on in the streaming era as a streaming video website.
Reportedly, back in 2016, the duo sold a stake in the site (minority ownership) to AMC with a valuation between $100-$300 million. It's unknown how much exactly AMC bought, and how much of the site Ferrell still owns.
Writer: Will Ferrell is not only a hilarious actor, but has been a screenwriter for many movies, including Talladega Nights: The Ballad of Ricky Bobby, Step Brothers, and a number of Funny or Die skits, to name a few.
Investor: Most recently, Ferrell became a part-owner of the Los Angeles Football Club. Again, it's unclear exactly how much the team Ferrell owns, but Forbes recently valued the team at a whopping $475 million in 2019.
Will Ferrell Net Worth of $160 million
Will Ferrell's net worth of $160 million accumulated mainly from his film earnings. Here's an estimate of how it stacked up over the years:
Saturday Night Live:
Ferrell was on SNL for 7 years, and made $350,000 in his final year. We know he didn't earn this salary all 7 years, but I'd say its safe to assume he made at least $1 million during his time there.
Earnings Estimate: $1 million.
It's rumored that Ferrell starting making $20 million per movie in 2005. Prior to that, it's estimated that he made about $7 million for Anchorman in 2004. Before 2004, I couldn't track down any data on what he made per movie.
Between Zoolander, Old School, Austin Powers, and a few others, we know Will did about seven movies prior to 2004. On the low end, he likely made $1 to $2 million between all of those movies combined.
Then you have the $7 million for Anchorman, and he made a pair of movies in 2005 at his new $20 million rate.
Ferrell then did six more movies through 2008, when it's rumored that his $20 million movie salary may have been decreased after the box office flop Land of the Lost.
Regardless, Ferrell likely made at least $100 million throughout his film career before the rumored 2008 salary drop. I'd assume he's made at least another $50 million on the 10 or so movies he's done since 2008.
Earnings Estimate: $150+ million.
Is $160 Million a Low Estimate?
Based on the sheer number of movies Ferrell has made, I'm guessing the $160 million Will Ferrell net worth estimate is on the low side (similar to Steve Carell and Jimmy Fallon). I'm not certain, but it seems that way.
Unless he went on a mad spending spree blowing through that earned income, I'd be surprised if only $160 million was left in net worth.
Based on what we do know, it seems like Ferrell has made some smart investments:
Owns real estate in LA
Started a successful online company that is valued north of $100 million
Invested in a popular LA soccer team (Los Angeles FC)
Not to mention any classic investments we don't know about like stocks or bonds that have likely appreciated in value throughout his career.
At the end of the day, I wouldn't be surprised if Ferrell's net worth was closer to $200 million, if not more.
3 Investment Lessons from Will Ferrell's Net Worth
Learning about how Ferrell made his money and the interesting side hustles and investments that he took on is fun. Though, there are some valuable lessons we can all learn from his path to wealth.
Even if we aren't famous comedians and actors…
1. Persistence
Like many entrepreneurs, Ferrell was not an overnight success story. Building his career and wealth took time.
Ferrell was an SNL cast member for a couple of years before landing his first movie deal, and it took another few years before he started raking in a huge amount of cash for his blockbuster films.
Similarly, we cannot expect to grow our fortune overnight.
Investing takes time. It's usually a couple of years after starting that you really start to see your money grow.
Fun Fact: Ferrell has also participated in a few marathons, including in New York City and Boston, further showcasing his persistence and drive.
2. Invest in What You Know
Will Ferrell's three most-known investments, whether in time or money, are:
Gary Sanchez Productions
The LA Football Club
Ferrell put his time and money into things he knew – like comedy and soccer.
For the rest of us, investing in a fancy bio-tech stock or options trading might seem exciting, but we likely don't know much about either.
It's why I like to stick with index investing, which I know fairly well, but also inherently spreads my risk across a number of different investments. Since I'm not an expert in any specific investment field, I have the ability to invest in all fields rather than trying to pick just one.
3. Have Fun Along the Way
This one is a little obvious and cheesy, but as a comedian, I have no doubt that Will Ferrell enjoyed his road to fame and wealth.
It's something that can be occasionally overlooked by those seeking FIRE or anyone aggressively saving in order to invest. Its not just about finding a lucrative side hustle and stowing away money, you need to enjoy the journey to the destination.
Just like it can be easy to overspend and wind up in debt, it can be easy to over save and forget that the point of money is to help us purchase things we value.
Money should be a tool to help us enjoy life, and we should balance spending in the present and investing for the future.
Favorite Will Ferrell Quotes
Last but not least, ending on a fun note, here are some of my favorite Will Ferrell quotes from movies and sketches he's done over the years.
Hopefully, they give you a good laugh or inspire you to dust off your favorite Will Ferrell movie:
"If Bruce Dickinson wants more cowbell, we should probably give him more cowbell!" – Will Ferrell, SNL
"You're my boy, Blue!" – Will Ferrell, Old School
"I feel like I'm taking crazy pills!" – Will Ferrell, Zoolander
"Stay Classy San Diego" – Will Ferrell, Anchorman
"You sit on a throne of lies!" – Will Ferrell, Elf
That last one is what you should yell if anyone ever tries to sell you a mutual fund with over a 1% expense ratio…
Summary: Will Ferrell Net Worth and What We Can Learn
Will Ferrell Net Worth: $160 Million
Will Ferrell has a huge net worth, and I hope you enjoyed learning how he was able to build his wealth.
More importantly, I hope you found the lessons we can learn from Ferrell helpful:
Invest in what you know (or in everything)
Have fun along the way
These lessons can make all of our personal financial situations stronger, and help us smartly build our own net worth and wealth.
Filed Under: General Personal Finance
Budget Life List says
Like a well-balanced beverage, Will Ferrell seems to be a well-balanced in wealth.
I like his persistence, I'm sure there were plenty of hurdles but they didn't seem to slow down his momentum! 🙌


hello my name is Alessia and I am a fashion designer, I have graduated from the Istituto Marangoni in Milan, in fashion design, I am especially Iskilled in fashion llustrations, I am currently working in a small fashion house as technical designer making sketches of clothing, I am very passionate about this work, I have a lot of creativity and I like to invent new things .... I work a lot with photoshop and illustrator. I also like to work by creating and/or drawing with my hands ... I like to design, create and think: clothing, collections, and fashion accessories.
Inspirations from small things, very often may seem the insignificant and strange, but in the end they give great results when developed in different sections .. . I like to stop and look at what catches my attention, and afterwards I think of what I could create from it.


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