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What to Do on Oahu That is Non-Touristy
Karen Sprinkles, Leaf Group Updated February 05, 2018
Honolulu presents an array of historic attractions, including Iolani Palace and the Bishop Museum. (Photo: View of Honolulu image by Katja Sucker from Fotolia.com )
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From the back streets of Chinatown to the historic buildings of Honolulu, the island of Oahu features a lot more for visitors to experience than what is available in the tourist hub of Waikiki. Visitors who immerse themselves in the heritage and traditions of the "Gathering Isle" will appreciate the wealth of sights and adventures that many tourists may bypass.
Local Hawaiian Foods
Although the typical resort luau will introduce visitors to authentic Hawaiian-style food, those who want a truly kamaaina (local) experience should venture to places like Ono Hawaiian Foods on Kapahulu Avenue, or to the many open-air markets islandwide where farmers and growers sell a variety of local products and ethnic foods. Among the local "grinds" to be found include laulua, which is shredded pork or chicken wrapped and steamed in layers of taro and ti leaf. Local-style restaurants like Helena's Hawaiian Food on North School Street in Honolulu serve such favorites as bento plate lunches, loco moco breakfast, Portuguese sausage, kalua pig, macaroni salad, lomi salmon and poi.
Live Entertainment on Oahu
Oahu presents several world-class venues for live music, highlighted by the Neal Blaisdell Center in Honolulu, where Broadway productions like Phantom of the Opera and The Lion King have been featured, as well as national acts like jazz singer Diana Krall and Mariah Carey. Founded in 1836, the Royal Hawaiian Band still plays weekly in front of Iolani Palace in Honolulu. The city's top-rated Saturday morning radio show, the legendary Perry & Price Show broadcasts live from Jimmy Buffet's at the Beachcomber, located in the Ohana Waikiki Beachcomber Hotel. Local celebrities are known to drop by, including the mayor, governor or a variety of artists, such as ukulele star Jake Shimabukuro or musician Willie K.
Oahu Accommodations
While Waikiki attracts tourists with its plethora of high-rise hotels, visitors wishing to get out of the city can find vacation rental properties decidedly off the beaten path. Many of them are located on the oceanfront throughout the island, whether in Kailua and Lanikai or the Hawaiian community of Waimanalo. The North Shore also features plentiful vacation rentals on or near the beach, while high-end estate homes can be rented in the Diamond Head area, as well as in Hawaii Kai and Kahala.
Historical Tours and Attractions on Oahu
Just outside of Waikiki, the city of Honolulu presents an abundance of historical attractions to explore. Built in 1882, Iolani Palace offers guided and audio tours of its premises, including the bedroom where Queen Lili'uokalani was imprisoned for eight months after the overthrow of the monarchy by the American government in 1895. Showcasing an extensive collection of Hawaiian and Polynesian artifacts, Bishop Museum occupies a building built in the late 1800s by Hawaiian Princess Bernice Pauahi Bishop. A former home of Hawaii's governors, Washington Place on Beretania Street has recently been converted into a museum that is open to the public.
Oahu Special Events and Festivals
Visitors can experience local Hawaiian culture by attending any number of annual festivals held on Oahu throughout the year, from the Hawaii Dragon Boat Festival and Duke's Oceanfest in August, to the King Kamehameha Parade in June or the Prince Lot Hula Competition in July. An array of multicultural events highlight Hawaii's multiethnic heritage, including the Annual Filipino Fiesta and Parade in May, Chinese New Year in February or the Korean Festival held each July. Local authors are featured each year at the Hawaii Book & Music Festival, while the Haleiwa Arts Festival showcases the work of Oahu artists. In October, the Aloha Festivals presents a month-long celebration of local culture, highlighted by the annual floral parade featuring the regal pa'u riders on horseback.
Helena's Hawaiian Food
Blaisdell Center: Concert Hall
Perry & Price Show
Hawaii.gov: Washington Place
Oahu Visitors: Regions
Karen Sprinkles has been a freelance writer since 1988. She's currently the managing editor of a luxury home magazine and has written for regional newspapers and magazines. Sprinkles received the Award of Excellence from the Hawaii Book Publishers Association for "The Hawaii Home Book," which reached No. 1 on the Hawaii bestsellers list. She earned a bachelor's degree in English from the University of California.
View of Honolulu image by Katja Sucker from Fotolia.com
Attribution: Please click on the links above to see the authorship and license; License: Creative Commons Attribution-Share Alike 3.0 Unported license
Sprinkles, Karen. "What to Do on Oahu That is Non-Touristy." Travel Tips - USA Today, https://traveltips.usatoday.com/oahu-non-touristy-12809.html. 05 February 2018.
Sprinkles, Karen. (2018, February 05). What to Do on Oahu That is Non-Touristy. Travel Tips - USA Today. Retrieved from https://traveltips.usatoday.com/oahu-non-touristy-12809.html
Sprinkles, Karen. "What to Do on Oahu That is Non-Touristy" last modified February 05, 2018. https://traveltips.usatoday.com/oahu-non-touristy-12809.html
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Q: Issues while placing UIProgressView in UITableViewCell I have placed a UIProgressView in UITableViewCell. There are two issues I am facing :
1. UITableView scroll is getting hindered.
2. UIProgressView setProgress is called each time (obviously) which sets its progress each time it appears.
It is understandable that issue 1 occurs because of issue 2. To test this, I commented the UIProgressView in UITableViewCell. The scroll is so fast then.
This is the code for UIProgressView :
- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
        static NSString *CellIdentifier = @"Cell";

        SWTableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:CellIdentifier];

        if (cell == nil)
        {
            cell = [[SWTableViewCell alloc] initWithStyle:UITableViewCellStyleDefault reuseIdentifier:CellIdentifier];
            cell.backgroundColor =  [UIColor clearColor];

            cell.selectionStyle = UITableViewCellSelectionStyleNone;
            cell.accessoryType = UITableViewCellAccessoryNone;
            if ([cell respondsToSelector:@selector(layoutMargins)]) {
                cell.layoutMargins = UIEdgeInsetsZero;
                cell.preservesSuperviewLayoutMargins = false;
            }
        }
        else
        {
            NSArray *arr = [cell.contentView subviews];
            for(int i=0; i<[arr count]; i++)
            {
                UIView *view = [arr objectAtIndex:i];
                [view removeFromSuperview];
            }
        }

CustomerArticleDetail *customerArticleDetails = [arrDetails objectAtIndex:indexPath.row];
...
...
UIProgressView *progressView = [[UIProgressView alloc] initWithProgressViewStyle:UIProgressViewStyleDefault];
            [progressView setProgressTintColor:[UIColor colorWithRed:31.0/255 green:177.0/255 blue:137.0/255 alpha:1.0]];
            [[progressView layer]setCornerRadius:5.0f];
            [[progressView layer]setBorderWidth:2.0f];
            [[progressView layer]setMasksToBounds:TRUE];
            progressView.clipsToBounds = YES;
            [[progressView layer]setFrame:CGRectMake(50, 93, self.view.frame.size.width - 55, 8)];[[progressView layer]setBorderColor:[UIColor whiteColor].CGColor];

            progressView.trackTintColor = [UIColor colorWithRed:233.0/255.0 green:233.0/255.0 blue:233.0/255.0 alpha:1.0];

            [progressView setProgress: ([customerArticleDetails.Logged_Hours floatValue]/[customerArticleDetails.Planned_Hours floatValue]) animated:YES];
            [cell.contentView addSubview:progressView];
...
...
return cell;
    }

A: It is always ban and wrong to add UIViews in cell each time they need to be rendered.
In this way you delete purpose of reusable cell, and scrolling is terrible.
It is even costly to go through all subview each time and delete all subviews.
The way it should be done is that you create progress view once and then just refresh its progress if needed.
This is done in two ways.

*

*If you have your own costume cell :

Create UIProgress view in cell and just call set progress :
- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
    static NSString *CellIdentifier = @"Cell";

    SWTableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:CellIdentifier];

    if (cell == nil)
    {
        cell = [[SWTableViewCell alloc] initWithStyle:UITableViewCellStyleDefault reuseIdentifier:CellIdentifier];
        cell.backgroundColor =  [UIColor clearColor];

        cell.selectionStyle = UITableViewCellSelectionStyleNone;
        cell.accessoryType = UITableViewCellAccessoryNone;
        if ([cell respondsToSelector:@selector(layoutMargins)]) {
            cell.layoutMargins = UIEdgeInsetsZero;
            cell.preservesSuperviewLayoutMargins = false;
        }
    }

    // Animated YES is maybe a fine idea to be more nice, but it could be better if you use NO.
    [cell.progressView setProgress: ([customerArticleDetails.Logged_Hours floatValue]/[customerArticleDetails.Planned_Hours floatValue]) animated:YES];
}

*If you don't own the cell and you need to create view in this method.

Something like this :
- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
    static NSString *CellIdentifier = @"Cell";

    SWTableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:CellIdentifier];

    if (cell == nil)
    {
        cell = [[SWTableViewCell alloc] initWithStyle:UITableViewCellStyleDefault reuseIdentifier:CellIdentifier];
        cell.backgroundColor =  [UIColor clearColor];

        cell.selectionStyle = UITableViewCellSelectionStyleNone;
        cell.accessoryType = UITableViewCellAccessoryNone;
        if ([cell respondsToSelector:@selector(layoutMargins)]) {
            cell.layoutMargins = UIEdgeInsetsZero;
            cell.preservesSuperviewLayoutMargins = false;
        }

        UIProgressView *progressView = [[UIProgressView alloc] initWithProgressViewStyle:UIProgressViewStyleDefault];
        [progressView setProgressTintColor:[UIColor colorWithRed:31.0/255 green:177.0/255 blue:137.0/255 alpha:1.0]];
        [[progressView layer]setCornerRadius:5.0f];
        [[progressView layer]setBorderWidth:2.0f];
        [[progressView layer]setMasksToBounds:TRUE];
        progressView.clipsToBounds = YES;
        [[progressView layer]setFrame:CGRectMake(50, 93, self.view.frame.size.width - 55, 8)];[[progressView layer]setBorderColor:[UIColor whiteColor].CGColor];

        progressView.trackTintColor = [UIColor colorWithRed:233.0/255.0 green:233.0/255.0 blue:233.0/255.0 alpha:1.0];
        [progressView setTeg:10];
        [cell.contentView addSubview:progressView];
    }

    UIProgressView *progressView = [cell.contentView viewWithTag:0]

    // Animated YES is maybe a fine idea to be more nice, but it could be better if you use NO.
    [progressView setProgress: ([customerArticleDetails.Logged_Hours floatValue]/[customerArticleDetails.Planned_Hours floatValue]) animated:YES];
}

This way you create UIProgressview once (so no scrolling problem) and just setting progress on each cell separately.

redpajama_set_name: RedPajamaStackExchange


On the eve of the playoffs, I take a look at the most improbable game of the 2014-15 NBA regular season.
Earlier this year, I rolled out an improved version of my NBA win probability model. The new model resulted in better predictive accuracy in out of sample testing. It also reduced the number of "impossible" comebacks. Prior to the upgrade, there were several games in which a team with a win probability of zero ultimately came back to win the game. This would indicate an overconfident model.
After the new model was rolled out, most of those "impossible" comebacks were downgraded to merely "improbable". Except for one.
On November 13, the Memphis Grizzlies trailed the Sacramento Kings by one point, with six seconds left in regulation. With two seconds left, the Grizzlies' Zach Randolph missed a 7 foot shot that would have given Memphis the lead. The Kings' Ben McLemore pulled down the rebound with 0.9 seconds left in the game.
At this point, the Kings have the lead, possession, and just nine tenths of second left on the clock. My win probability model pronounced the Grizzlies dead. Odds of winning: 0%.
McLemore is immediately fouled, but not before 0.3 more seconds tick off the clock. But McLemore misses both free throws and Randolph gets the rebound off the second miss. An additional 0.3 seconds bleed off the clock, but the Grizzlies have a pulse: they have the ball, and 0.3 seconds of game time to do something with it. Their win probability rises, zombie-like, to 5%.
This game was stupid-ridiculous. The Grizzlies trailed by 26 points early in the second quarter (win probability 6.9%). The deficit was 20 points late in the third (win probability: 1.9%). And with 7:37 left in the fourth quarter, the Grizzlies were behind by 18. Their win probability was a barely finite 0.4%.
You can use the Top Games Finder to find other improbable comebacks for any game over the past four seasons. Filter by team, date, and regular season vs. playoffs.


We won't lie, when the topic of cow farts came across our desks, it led to a few smirks and raised eyebrows, but we all agreed with the underlying topic. The heart of the matter – caring for the environment – matters to all of us, and we know it matters to you, too.
First and foremost, Tricarico said cows release 97 percent of all methane gas by burping rather than farting. Unlike people, cows burp without a sound. While it's true that the methane in cow burps is the greatest contributor to dairy's carbon footprint, we asked how much that adds up in the scheme of things.
Tricarico said that the carbon footprint of the U.S. dairy industry – from farm to table -- is approximately 2 percent. For reference, according to the EPA, when it comes to the United States' total greenhouse gas emissions, more than 30 percent comes from electricity production, nearly 30 percent from transportation and the rest comes from other sources.
Regardless of its individual contribution, each and every day dairy farms and companies work to find ways to bring that number down even more. For example, the Cow of the Future project brings together farmers and researchers to identify science-based opportunities to reduce enteric emissions in ways that are economically viable and socially acceptable. They are focusing on improving dairy cow nutrition, genetics and health.


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Home Uncategorized The Snug Opaque Quotidian
The Snug Opaque Quotidian
Kevin Stevens October 2014
Updike, by Adam Begley, Harper, 576 pp, £17.00, ISBN: 978-0061896453
All literary biographers face the challenge of assessing the raw facts of a life, to the extent that they are discoverable, in light of the versioning of those facts in the subject's work. All literary biographers must, like their subjects, contemplate the tangled, delicate relationship between art and experience, knowing that the artist has been there first, with more knowledge of his history than they can ever have, and with the unique advantage of his licence to alter, disguise, and transmute. And when all the research and writing is complete, the biographer must wrestle with the suspicion that the assembled collection of facts, chronologies, analysis, and historical context may fall short of the set task: to capture the truth of a life. As John Updike put it in his memoir Self-Consciousness, "What I have written here strains to be true but nevertheless is not true enough. Truth is anecdotes, narrative, the snug opaque quotidian."
Of course, Updike would say that. Though perhaps the most complete man of letters the American scene has produced in the last fifty years, he was first and foremost an artist. Fictional narrative was his coin of the realm. And Self-Consciousness, written nearly thirty years before his death in response to a rumour that someone was planning his biography, is slender and selective. Though brimming, as you would expect, with elegant observation and thoughtful insight, it is more a collection of essays on aspects of his character than autobiography. Yet leave it to Updike to put his finger on the shortcomings of a mode he nevertheless masters as he deprecates. As he observes in the preface to the book, with characteristic verve and apt metaphor, "Perspectives are altered by the fact of being drawn; description solidifies the past and creates a gravitational body that wasn't there before. A background of dark matter – all that is not said – remains, buzzing." And no better way to explore the resonant mystery of that dark matter, he implies, than through poetry and fiction.
You would think that Updike's relative reluctance to explore his past in nonfiction might leave the decks clear for a biographer. But Updike, the most prolific American fiction writer of his generation, mined his own experience so thoroughly that even the most casual reader feels he knows the personal history. Twenty-three novels and over two hundred short stories (most of them published in The New Yorker) chronicle his childhood and family life, his marriages and affairs, his ailments and ecstasies. Via numerous fictional alter egos, who pop in and out of his oeuvre across fifty years of publication, Updike showed us in intimate detail what it was like to be a son, grandson, student, lover, husband, father, churchgoer, friend, writer, traveller and celebrated author. He often spoke guiltily of how he "plundered" his own life and the lives of those closest to him:
Fiction is a dirty business; discretion and good taste play small part in it. Hardly a story appears in print without offending or wounding some living model who sees himself or herself reflected all too accurately and yet not accurately enough – without that deepening, mollifying element of endless pardon we bring to our own self. Parents, wives, children – the nearer and dearer they are, the more mercilessly they are served up.
David Foster Wallace famously quoted a friend who asked if Updike had ever had one unpublished thought. A better question would have been, had he ever had an experience he didn't plumb for its fictional potential? In tackling Updike's life Adam Begley is competing against this prodigious output of anecdote and narrative that, while always shaped by a controlling aesthetic intelligence of great subtlety, aligns extremely closely with the detail of his experience. And Updike covered the key moments of his life over and over again. His Pennsylvania childhood at home and in school, his Harvard years, the New York interlude, family life and "pagan, bourgeois bliss" in the suburbs of Massachusetts, his divorce and remarriage, his travels, his fame.
A good example of his cyclical return to core experience was his treatment of his family's move from the town of Shillington (Olinger in the fiction) to a farm in the Pennsylvania countryside, which happened when he was thirteen years old. This disruption, which he called "the crucial detachment of my life", formed the basis of his 1965 novel Of the Farm as well as several of his most important short stories, from "Pigeon Feathers", published in 1961, to "A Sandstone Farmhouse", his moving account of his final visit to the farm after the death of his mother. "Pigeon Feathers" is one his most anthologised stories, a small masterpiece on religious awakening that set the stage for Updike's many fictional forays into faith and doubt. The equally remarkable "A Sandstone Farmhouse", which won the O. Henry Prize in 1991, is a sublime study of death and the persistence of the past. If a writer could so fruitfully capture the same central personal event in discrete fictions spread across thirty years, what hope does a biographer have of shedding further light?
Begley faced other formidable obstacles, some of them self-imposed. He started writing the book just after Updike's death five years ago, without a pause to allow the roil of celebrity and posthumous praise to recede. As a result, it can feel as if, page to page, he is competing with a contemporary image of Updike in the public mind. Of course, if he hadn't written it, someone else would have, such is the demand in the industry to rush biographies of the famous into print. For Updike was indeed famous, and not just among readers. The novels Rabbit Run and The Witches of Eastwick and the short story collection Too Far to Go were made into feature films, and several stories, including "Pigeon Feathers", were dramatised on American television. Many who have never read a word of his massive output know his name and face. It is true that his celebrity peaked in the late sixties, when the novel Couples earned him a million dollars and led to his snaggle-toothed photograph appearing on the cover of Time magazine above the legend "The Adulterous Society". But to his death Updike remained a consistent seller for Knopf, a featured speaker on the cultural circuit and an established figure in the media. He had great literary presence and was unfortunate not to have won the Nobel Prize.
As for sources, Begley has been aided by the fact that Updike, a careful curator of his own creative materials from the beginning, began depositing his papers at Harvard's Houghton Library in the sixties, and for the next forty years delivered drafts, galley proofs and personal correspondence to the archive. Begley also had the benefit of interviews with a huge range of Updike's family, friends, New Yorker colleagues, ex-students, and even golfing and poker buddies. But access to Updike's wives was lopsided. Updike's first wife, Mary Weatherall, was an "inspiration" to Begley who, he says, "made me want to write a book she would recognize as a faithful portrait of Updike's life and work". Martha Bernhard Updike, on the other hand, to whom Updike was married from 1977 to his death in 2009, chose not to interview with Begley, and though he makes a great effort to be even-handed, the withholding of her input makes a full, unbiased view difficult. Mary is in front of us, three-dimensional, often quoted. Martha is seen through the eyes of others, many of whom lack Begley's attempt at objectivity.
Martha's silence also has the effect of tipping the balance of perceived significance in the biography, at least in relation to marriage, to the first half of Updike's adult life. As a great domestic realist, Updike (author of Marry Me, Couples, "Wife-Wooing", "Separating", "Your Lover Just Called" and countless other novels and stories about the married state) drew greatly upon the experience and views of his wives for his fiction – though how accurately he captured the female perspective is a matter of some debate. Yet the women, though both critical to an understanding of Updike's life and work, are reflected in the fiction in very different ways. Married at a young age, Mary and John grew into his fame together. He used her as a model without hesitation, through courtship, young married life, children, affairs (his and hers) and divorce. During the Ipswich years, his self-confessed role of "a stag of sorts in our herd of housewife does" was reflected without disguise in his stories, adding to the strain of a progressively more unstable marriage. During the seventies, there was a long run of submissions to The New Yorker which Updike asked his editor, William Maxwell, to put to the side until the events on which they were based – the state of his marriage, the evolution of an affair – had resolved themselves.
Martha, on the other hand, came into Updike's life when he was already a star. Hardheaded and direct, she assumed the role of gatekeeper. "When her husband wanted room to write," Begley tells us, "she held the world at bay, gradually assuming the management of his time, doing her best to make sure that nothing and no one encroached on the hours devoted to his work." Martha is also less vivid in the fiction. Updike did use her as a model, but he was more cautious than he had been with Mary, perhaps because of Martha's character, perhaps because he had matured to a place where he had more respect for a wife's privacy. He disguises her more effectively, careful not to expose her. So she is doubly removed from the reader – her choice, of course, but as she was one of Updike's literary executors, it would have been interesting to have her perspective on their relationship, not to mention the detail she would have brought to an account of his life.
In spite of these many challenges, Begley has done a good job of charting Updike's aesthetic development from his precocious, protected childhood in Shillington to his long period as one of American fiction's grandmasters. "What mattered most profoundly to him," Begley says, "wasn't sex or even love; what mattered was writing." And with the life so well chronicled in the work, Begley made the sensible decision to focus on the writing: Updike's magic touch in turning the ordinary into the universal, the differences between the drama of life incident and the drama of fictional narrative.
"From an early age, prodded by ambition," Begley writes at the beginning of his book, Updike "exploited with remarkable and enduring discipline his knack for imitating the life he knew." His relentless exposition of the self exerts a powerful fascination on the reader precisely because it is so well crafted, so well expressed, so heightened. "When we think we recognize his presence in the work, we're also recognizing its potent realism … His alter egos seem real to us because they are real, or near enough. They seemed real, in any case, to the author."
Yet Updike's skill at recreating the actual can disguise a love of artifice, and Begley's steady exposition clearly separates the core biographical incidents from the glittering fictional constructs. He shows how the alter egos – the New York Jewish writer Henry Bech, the sensitive David Kern, the boorish Rabbit Angstrom, the adulterous, anguished paterfamilias Richard Maple – embodied aspects of Updike's own complex character. He is also good at examining Updike's influences and the evolution of his famous style. Throughout his career, Updike was dogged by critics who claimed he "had nothing to say", that he was, in Harold Bloom's oft-quoted phrase, "a minor novelist with a major style". That many thought he was all sizzle and no steak was partly due to lack of respect for his domestic subject matter in an age of upheaval. As Louis Menand put it, Updike "wanted to rescue serious fiction from what he saw as a doctrinaire rejection of middle-class life and an apocalyptic interpretation of modern history". But it was also an overreaction to the lushness of his prose. At its best, the style needs no apology, but Updike was an able self-defender:
My own style seemed to be a groping and elemental attempt to approximate the complexity of envisioned phenomena, and it surprised me to have it called luxuriant and self-indulgent; self-indulgent, surely, is what it wasn't – other-indulgent, rather. My models were the styles of Proust and Henry Green as I read them (one in translation): styles of tender exploration that tried to wrap themselves around the things, the tints and voices and perfumes, of the apprehended real. In the entwining and gently relentless effort there is no hiding that the effort is being made in language, [and] printed language is what we all know we are reading and writing, just as a person looking at a painting knows he is not looking out of a window.
Updike's success (and he wasn't always successful) illustrates the paradox of mimesis: the greater the artist's powers of illusion, the easier it is for a reader to suspend disbelief. "Potent realism" is sleight of hand, or sleight of phrase. The real is apprehended, recreated, and presented to the reader in a dance of pretence. What seems real commands a reaction as if it is real. So rather than the fables of Vonnegut or the cartoon history of Pynchon or Mailer's cumbersome dramas of machismo, we get convincing moments in a boy's or man's life presented with consummate legerdemain. Like Proust and Joyce (whose photos hung on the wall of his study in Ipswich), Updike used his own life as the basis for almost everything he wrote, and succeeded because, like them, he mastered language to the point where he could manipulate words and their effect at will.
Updike's facility with language is supported by a lyricism influenced by his interest in visual art. From an early age he loved cartoons and comic strips, and throughout his years at Harvard he valued his drawing over his writing; his ambition during college was to "be the next Walt Disney". In Self-Consciousness he comments: "Illustrations affected me more strongly than reality; a picture of falling snow, for example, whether in black-and-white drawing or blurry four-color reproduction, moves me more than any actual storm." After Harvard, Updike spent a year at the Ruskin School of Fine Art and Drawing in Oxford on a Knox Fellowship. "I've never done anything harder," he said of the work he did that year, "than try to paint things the way they are … a very good lesson for me as far as accuracy in all things artistic." He continued to observe painting and sculpture with a sharp eye, writing regular reviews that he collected in two volumes, Just Looking and Still Looking, that attest to the visual's lifelong effect on his sensibility.
Things the way they are – this was Updike's mantra. "My only duty," he said, "was to describe reality as it had come to me – to give the mundane its beautiful due." When we consider the sweep of his fiction across five decades of publication, it is this dutiful capture of the middle ground of American life that, along with his style, is his great achievement. And of all his heroes, Harry "Rabbit" Angstrom, whose life is delineated in a rainbow of four novels and one novella published decennially between 1960 and 2000, is the most successful embodiment of Updike's essential themes: money, sex, death, fatherhood, and the Calvinist tug-of-war between virtue and prosperity that is at the heart of the American psyche. Begley is at his best when analysing these fictions – especially Rabbit is Rich, Updike's finest novel – and relating them to their author's inventiveness, his focus on "domestic and quotidian concerns" and his way, as Joyce Carol Oates put it, "of mesmerizing us with his narrative voice even as he might repel us with the vanities of human desire his scalpel exposes".
The Rabbit books are the keenest example of Updike's lifelong exploration of American material culture and its attempt to make up for the century's erosion of faith. In book after book Updike delights in describing, often in religious terms, the cornucopia of American consumer culture and its appeal to boys like David Kern and men like Rabbit Angstrom. Or, indeed, to Updike himself, as is obvious from this description of a visit to Shillington decades after he had left:
A few housefronts farther on, what had been Henry's Variety Store in the 1940s was still a variety store, with the same narrow flight of cement steps going up to the door beside a big display window. Did children still marvel within as the holidays wheeled past in a slow pinwheel galaxy of altering candies, cards and artifacts, of back-to-school tablets, footballs, Halloween masks, pumpkins, turkeys, pine trees, tinsel, wrappings, reindeer, Santas, and stars, and then the noisemakers and conical hats of New Year's celebration, and Valentines and cherries as the days of short February brightened, and then shamrocks, painted eggs, baseballs, flags and firecrackers? … In Henry's Variety Store life's full promise and extent were indicated: a single omnipresent manufacturer-God seemed to be showing us a fraction of His face, His plenty, leading us with our little purchases up the spiral staircase of years. Department stores, with their escalators and clouds of perfume and ranks of nylon lingerie, were like Heaven itself."
Updike grew up and chose to remain within an American Protestant tradition that believed in the guilt and shame of financial failure. Writing of his grandfather, who left his Presbyterian ministry only to fail in the real-estate and insurance business, he said: "A failure of economic fortune must be a moral failure: in my mythic sense of my family the stain of unsuccess ate away at my grandfather's life as if in some tale by Hawthorne." The arc of Rabbit Angstrom's life through 1,500 pages is, like America itself across the time span of the tetralogy, one of greater and greater prosperity. And yet Updike is always aware of the paradox of the Calvinist creed – that the end it seeks destroys the foundation of frugality and moderation on which it is based. And the objective correlative in the fiction is Rabbit's "typical" American heart, the failure of which, "tired and stiff and full of crud", causes his death on a Florida basketball court. After a lifetime of believing in the American dream, Rabbit, at the moment of his death, is flooded with the sudden perception that the trappings of the culture he so loved – from the tinselly Christmases of his childhood to the pop music of his adolescence to the advertising jingles of his business life – were all calculated commercial frauds. Updike, as Adam Gopnik has written, "viewed the material culture of American life with a benign, appreciative ironic eye. But he had no illusions, either, about its ability to cover the failure or wish away mortality."
Updike's vast output was bound to catch up with him, if only because he identified and cultivated his greatest strengths so early in life. By the early eighties, when he was only fifty years old, he had the air of a grand old man of literature; he was secretary of the prestigious Academy of Arts and Letters, a frequent member of numerous prize committees and a regular official representative of American culture abroad. Begley notes how, around the time of his second marriage, Updike started to worry "that he was putting too much distance between himself and the sources of his inspiration". As Updike himself said in the late seventies, "One of the problems of being a fiction writer is that of gathering experience. The need for seclusion, and the respectability that goes with some success, both are very sheltering – they cut you off from painful experience."
He had become settled and safe. And not just because he had abandoned behaviours that, though good for his fiction, were not so good for his marriage. He was also famous. "Celebrity," he said, "is a mask that eats into the face. As soon as one is aware of being 'somebody,' to be watched and listened to with extra interest, input ceases, and the performer goes blind and deaf." In the three decades of life remaining to him, the parade of novels, short stories, poems, reviews, and essays that flowed, year in year out, from his prolific pen, included several wonderful stories and the fine novels Rabbit at Rest and In the Beauty of the Lilies. But a gap begins to grow between his lyricism and his narrative intent, so that style becomes, in some cases, an end in itself. "The language lifts itself up on pretty hydraulics," as James Wood describes it, "and hovers slightly above its subjects, generally a little too accomplished and a little too abstract." When he moved beyond his natural world of domestic realism, he usually missed the mark; when he did not, he often recycled old themes. Updike's ease of output now worked against him, and many of his novels did not reach the high standards readers had come to expect: Begley lumbers through them in quick succession: S. (1988), "thin and stretched and uncomfortably manic"; Brazil (1994), which "baffled or dismayed" readers; Toward the End of Time (1997), which "summoned more bile from critics than any previous Updike novel"; Villages (2004), "a doggedly autobiographical retelling" of stories told more successfully four decades earlier.
The wilt in form is graphically illustrated by Begley's own narrative pace. His modus operandi of tracking the life against the work reveals a telling imbalance: he uses only the last sixth of the biography to cover the second half of Updike's writing life, a romp through 37 books published between 1982 and 2009. It was as if the comfort of Updike's status and the settled nature of his personal life had resulted in a corresponding fattening and flattening in his fiction. "Most of the best fiction is written out of early impressions, taken in before the writer became conscious of himself as a writer," Updike wrote in the late eighties. He knew himself the arc his career had taken.
And yet there is so much, at every point, that is so good. And though there are some who see his crowning achievement in the Rabbit novels, and others who insist the short stories must take pride of place ("American literature's greatest short story writer", Lorrie Moore dared to say), a final judgment must consider the totality, great and not-so-great, of this marvellous writer's oeuvre. And Begley's biography, in addition to its balance, insight, and warmth, performs this very valuable function. We feel the sweep. We see how the failures are failures only by comparison with the masterpieces. We are guided through the life and work with sympathy and sure touch, but without over-adulation. But above all Begley helps us understand that Updike wasn't just a great producer of fiction but a great believer in the enterprise of art, especially art that uses the highest standards of craftsmanship and personal vision to convey the wonder of ordinary experience.
For Updike writing was, indeed, almost a religious endeavour, and contemplation of religion, a favourite activity for him and many of his characters, prompts some of his most interesting conclusions about his calling:
One believes not only to comfort one's self but for empirical and compositional reasons – the ornate proposed supernatural completes the picture and, like the ingredient that tops up and rounds out the recipe, gives reality its true flavor. Similarly, in art one has to add a little extra color, some overanimation, to bring the imitation up to the pitch, the bright roundedness, the repletion, of the actual model.
Updike's frequent defence of religious experience – even as he pokes holes of doubt in the fabric of his own belief – became almost indistinguishable from the stated purpose of his fiction: to affirm the value of experience ‑ in all its bright roundedness – in the face of the terrors of consciousness and guilt. "The fabricated truth of poetry and fiction," he wrote, "makes a shelter in which I feel safe, sheltered within interlaced plausibilities in the image of a real world for which I am not to blame."
Such shelters are alive with the buzzing dark matter of all that is not said. We are so very fortunate to have them.
Kevin Stevens is a novelist and writer on literature, history and jazz based in Dublin and the US. His most recent novel, Reach the Shining River, is published by Betimes Books at $16 and is also available for Kindle for $4.99. He blogs at http://reachtheshiningriver.wordpress.com/
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I bet you use that same mouth to kiss your kid too.... - It's me, debcb!
I bet you use that same mouth to kiss your kid too….
I know it's hard to find good social media material on a consistent basis. I've struggled myself to come up with a witty Facebook status a time or two (thank goodness that Rosie's so funny herself so I have help). But, I think today you've finally crossed the line. The word f$%#ing should never be used in a caption under a child's picture. Ever.
I'm not a prude. I like to let a good F-bomb loose every once in a while. But, certainly not in front of my child. And, definitely not below a picture of my child. In fact, when I see pictures of my kid, a single negative thought doesn't cross my mind. Even when she's been bad.
Apparently, you don't seem to care that Facebook is public. Every word that you utter is out there for public consumption. A few of us that saw your posts today had a lively discussion surrounding your shocking behavior just prior to hitting the hide button.
The coolest thing about dissing your kids on Facebook is that handy timeline feature (and God knows what else they'll dream up by the time your child logs on.) One day in the future, your kid may have the picture (and everything else that lead up to it) pop up on his wall. Won't that be fun? I'm sure he'll be proud that you spoke of him with such fondness. Children are such needy little creatures aren't they?
I think it's time that you back away from the computer and put your mouth to better use. Praise your children. Give them kisses. It would be a much better use of your time.
Can I hear an "Amen!" Loved this!
I was disturbed and quite honestly infuriated by that post and a few others from the past few days… It just isn't ok. And those children clearly know how their parents feel about them, even if they were never to see the posts.
Hi, Deb, I probably should have asked permission first and certainly hope you don't mind that I included a link to this post on my blog today. It is so relevant to my point, and I believe your words need to be read.Thanks!
Hey no worries. Thanks for your stamp of approval.


This is one of the most rare modern documents a collector can get – if not the rarest at all. Here are some facts, stories and pictures.
The Daily NK obtained a North Korean passport, a new version since 2000, from an informant in China.
The informant reported that every North Korean traveling abroad must bring a passport, an international certificate of health for travelers, and an international certificate of HIV antibody control. Previous version of North Korean passport is made of vinyl with red color.
Kim Tae San, a former director of Czech-N. Korean Shoe Joint-Stock Company who defected North Korea, said that North Korea passport's quality was so bad due to lack of foreign currency and technology that every time I entered another country, immigration officials checked my passport as if I was possessing a fake one. And especially since North Korea is labeled as a terrorist-supporting country, Kim continued, North Korean passport holders are meticulously inspected. According to Kim, the health and HIV certificates are tradition of communist countries. However, in reality, because of shortage of medicine, certificates are provided without actual vaccination.
To ordinary people in North Korea, passport is never issued.
Even those who travel abroad for official reasons have to be verified by corresponding government and local party offices, officers' bureau, National Security Agency, Social Safety Agency, Ministry of Foreign Trade, Ministry of Foreign Affairs, and appropriate departments of the central party office for three months, and receive more than a week of Foreign Ministry's dispatch abroad preparation education.
North Korea's passport is classified into three; diplomat's passport, official passport and ordinary passport. Diplomat's passports are issued to high officials of the Foreign Ministry, the central party and other subordinate offices of the KWP. For the rest of bureaucrats, only vice ministers or higher can receive diplomat's passport. Trade and other economic bureaucrats traveling abroad receive official passports. Ordinary passports are single passports used by laborers and technicians who visit foreign countries. Ordinary passports are withdrawn by Foreign Ministry after being used. The other two types of passports are expired in five years, and must be returned after each travel. Returned passports are kept in the Foreign Ministry passport office and given back to the person if he/she visits foreign country, again.
Passports are printed in the Social Safety Agency mint, which is suspected for printing fake dollar bills, in Pyongsung, South Pyongan Province. Those who travel overseas must provide 'temporary certificate of ration suspension' before receiving passport. The certificate is gained from the related ration office and should be turned in to the office after travel to resume ration. So double ration can be prevented, and also all of the passports are withdrawn.
Less than thirty thousands North Koreans are blessed to receive passports in one year. Therefore, every year, only a small fraction of North Korea population enjoys a certain level of freedom for a few days.
Bansi, Jilin Province of China, I was encountered by Mr. Choi, a 48-year old resident of Sariwon, North Hwanghae Province of NK. Mr. Choi had been visiting his relative in China for two months. As he was showing me his passport, Choi told me that the passport was worth what he earned for about 40 years.
According to Choi, ordinary residents have to save their earnings for 40 years to get passport; in other words, it is almost impossible for the North Korean people to travel abroad.
– What is the procedure to obtain a passport?
There are two required procedures; an unofficial one before submitting document and official document submission. Because we need permission of the security officer in charge to get out official documents passed, it is most important to have a 'good relationship' during the unofficial process. Even during official process, it requires a 'good relationship' with local security office's external affairs bureau official. Good relationship means bribery.
– How much does a security officer ask for bribery?
In my case, the officer in the National Security Agency suggested two terms of contract. One is to bring one million won (400 dollars) worth cash or home appliances. Another one is a letter of invitation from my relatives in China. In most cases, invitations to a wedding ceremony or 60th birthday banquet are acceptable.
Security officer in charge then submits the letter of invitation to the External Affairs Bureau (EAB) of local security office. Officials in the bureau would decide whether somebody is permitted to visit China or not. The EAB official asked me one million one (400 dollars) worth bribe during decision process. If I don't pay that, documents cannot be passed. So far is unofficial procedure.
Then, the official would give me an application form, in which I have to write about my relatives in China, my current job and family, specifically. EAB official verifies the form through People's Safety Agency (NK police organization) registration office, and my company's bosses and party secretary agree on, then local security chief permits my travel. To get permission, it requires vis-à-vis meeting with local security chief.
Afterward two visas, one from NK National Security Agency and the other one from Chinese embassy. Chinese embassy checks whether my relatives are currently living in China. After receiving the two visas, a passport is given.
Visa application fee is 30 euros, 240 thousands won (100 dollars). Since the average monthly wage for a (North) Korean worker is 2 thousands won, we have to save our wages for 12 years without spending a penny. And even the monthly wage is often delayed. 240 thousands won is obviously a huge amount of money. Moreover, security officers ask some bribes. Therefore, about 40 years earning is spent to get a passport.
– How long does it take to issue a passport?
At least 3 months to more than 6 months. And even this is impossible without bribery. (North) Korea is a Bribery Republic of Korea. Maybe that is why national elites don't want the regime to be changed.
– What is the difference between the border area residents' passports and the regular passports?
Border area residents don't need their passports to be approved by the National Security Agency. The rest of the procedures are same. Personal bribery differs depending on the region, too. Residents of Pyongyang, South Pyongan Province, North and South Hwanghae and Kangwon provinces pay much more for bribery. Also, although my passport is officially valid for 3 months, in reality, I have to come back in two months. However, border area residents can stay in China for full three months.
– Is there any instruction before visiting relatives in China?
Of course there is. At local party committee Propaganda Bureau.
– What kind of contents?
They educate the possible visitors that even though China is richer than (North) Korea, we must not be blinded by money. China is differed from us, they teach. And, we are taught not to meet the South Koreans in China. If we meet them, we are instructed to boast about our country (NK) and be proud of. It is emphasized not to accept any of their (South Korea's') offers. And if there is an encounter with a South Korean, we are required to report that fact to the National Security Agency.
And here is the gallery of DPRK travel documents. Enjoy!
Could you please uppload the images ?
Thank you for reading. Best, Tom.


Presider: My sisters and brothers, God is with you!
Presider: Let us pray. Loving Creator God, you who birthed the cosmos, every living thing and each and every one of us, help us to notice your presence. Transform and change our hearts and help us love as you love. It is in loving as you love, that we can affect change on our society and our world. Amen.
Presider: Creator God, to whom all hearts are open, no desires unknown, and from whom no secrets can be hidden, cleanse our hearts by the inspiration of Holy Wisdom.
Presider: We ask for the grace to continually acknowledge our need to grow in goodness and caring for ourselves, for others and for our earth, and all the while to be Jesus for others, and to meet Jesus in others.
Presider: We join with you, Jesus the Christ, believing that the strength and insight of the Holy Spirit will lead us to a deeper dedication to justice, equality and peace in our world.
Presider: Let us pray to the God of unchanging love.
ALL: Oh God, make us quick to see where and when we block your loving Spirit and thereby slow down the progress of creation to its completion in you. And when we find it hard to forgive, help our egos to step aside and allow your Spirit to flow and bring about a change of heart. Amen.
Presider: Let us give Glory to our Loving God, in song.
First Reading: Hebrew 12; 26-28 Response: Thanks be to God.
Second Reading: 2 Corinthians 9: 11-12 Response: Thanks be to God.
Gospel: John 14:10 Response: Glory and praise to Jesus, the Christ.
Presider: We are people of faith. We believe in the power of prayer. Some of us struggle to understand why there is so much suffering in our world, often caused by one person's inhumanity to another and by acts of nature. Yet, we believe that we send blessings to those who are struggling and who need to experience hope, to those who are grieving and need to be comforted in their loss, to those who are facing medical challenges that they be granted hope and healing. We bring the needs of people throughout our world to our gracious God.
Presider: Blessed are you, gracious God of all creation, through your goodness we have this wine to offer, fruit of the vine and work of human hands. It will become our spiritual drink.
Presider: Creator God, we praise you who created this expansive and magnificent universe and all that exists and lives within it. Help us become more deeply aware that you created us, too, all of us, with no exceptions with something of your own life within us. We are prone to not notice your presence, and sometimes not notice your presence in others, but your great love reassures us that we are worthy and lovable in your eyes. Come now into our hearts and into this circle as we prepare this table, your table, which feeds us for this journey of life and sustains us each day. Let us become what we eat.
ALL: When supper was ended, Jesus took the cup. Again he gave you thanks and praise, gave the cup to his disciples, and said; Take this all of you, and drink it; this is the cup of my blood, the blood of the new and everlasting covenant. It will be shed for you and for all. Do this in memory of me.
Voice 3: As we gather around this Eucharistic table, we recall God's blessing and love from ages past, and we celebrate anew the gift we share among us at this Eucharistic feast. May the Spirit of life and wholeness, who transforms the gifts we present, transform us too, that we may be refreshed in our inner being and be empowered to bring mercy, love and healing to those whose lives we touch and who are Jesus to us.
Voice 4: Remember gracious God, your Church throughout the world. We pray with Bridget Mary, our Bishop, and Francis, our Pope, that we may be readied to love all those you love, and welcome them into our midst.
Voice 5: Grant that, in union with all peoples living and dead, we may strive to create a world where suffering and pain are diminished, where hatred and violence are erased, where justice and peace are restored, and where all people can live without fear, in health and wholeness. May we all be united in acclaiming the God of Life, whose abundance is offered to each and to all, 'til the Kin-dom arrives in the fullness of time.
Presider: Deliver us, God, from every evil and grant us peace in our day. In your mercy keep us holy in your sight and protect us from all anxiety and fear. We watch and wait, discerning signs that you are always with us.
"Peace I leave you, my friends, peace the world cannot give.
Presider: Let us offer each other a sign of peace.
Presider: May wonder, gratitude and thanksgiving fill us, and may compassion replace the numbness we experience in our hearts from having seen too much hatred and injustice. Lift the veils from our faces so that your wonderful beauty may be allowed to shine out from us.
ALL: May our gracious God, bless us all gathered here, in the name of God our Creator, in the name of Jesus our strength, in the name of the Holy Spirit our Wisdom, as we minister to one another in love, for we are the Body of Christ and the face of God to the world. Amen.
St. Andrew UCC sustained minor damage from storm. Power is still not fully restored.
"The Future of the Catholic Church Depends on Strong Women" by Kimberly K. Seidel , Resistance and Persistence are the story of my life as a woman priest!
"Catholicism has a feminist potential, and we need strong women to stay to make this possible for our daughters and future generations. Pope Francis has opened the door to discussions of women deacons, which may hopefully open the door further to women priests.
Let's keep these possibilities alive and look beyond the Church's patriarchal man-made teachings. It's there we'll find a tradition of love, inclusion, liberation and social justice. It's one that welcomes everyone to the table. This is the tradition that Gina and so many others, including me, continue to practice. Feminist resistance and persistence are urgently needed to carry the Church into the future. "
We have met (September 15/17) to celebrate the memory of our Brother, Gerardo Valencia Cano, with his daughters, in the House USEMI, some of his brother priests, seminarians of his Congregation Xaverian Missionaries, family members and friends.
We greet each other with the friends of yesteryear, we introduce ourselves and we begin to share beautiful memories lived, next to who was our friend and trainer.
She accompanied us, Sofia Toro, who delighted us by reminding us of the beginnings of UFEMI-USEMI, as a founding lay missionary, with Maria Eugenia Posada, Liliam Yepes, Astrid Yarce. We remember Teresa Guevara, Maria Loaiza and Margarita Franco, initiators of the project in the Vaupés, with Monsignor. An event worthy of remembrance, since it begins with what would be the future of the laity within the Church, 15 years before, of the Second Vatican Council.
With his prophetic vision, he encouraged the laity to come from the Church, living their Baptism in fullness.
What was his pedagogy? His spirituality, his testimony, his approach to the people, his life delivered to the service of anyone who needed it.
GRAPHIC REPORT ON THE MEETING AND EUCHARISTIC CELEBRATION.
Sofia Toro, begins the meeting with his presentation and shares his experience with our founder and trainer as lay missionaries in the service of the Church.
Ferdinand Peña, shares his experience as a layman, formed by Monsignor in Buenaventura.La attention of the present is captivated by rich and spontaneous narrative.
Jenny Valencia, Monsignor's niece, gives us her presentation and shares some of her uncle's letters, which reflect her commitment and unreserved commitment to the marginalized and impoverished.
Father Isaías, companion and friend of Monsignor, as a driver defying the waves of the Pacific and the mangroves and rivers, delights us with travel and anecdotes full of pedagogy and missionary pastoral in the spirit of Gerardo.
After the meeting, we began to share the Eucharist.
Astrid Yarce, missionary USEMI, is about to receive the Eucharist.
With Fr. Hernando Pinilla, sharing the Eucharist.
My comment: The Roman Curia should embrace gender equality as a goal in all offices that govern the church.
My comment: The Liturgy needs to be updated to reflect contemporary theology.The present liturgical texts used in Eucharistic liturgies reflect medieval theology and exclusive language. We need to incorporate inclusive language and feminine images for the Holy One as well as to get rid of atonement theology. Our inclusive Catholic communities are incorporating updated liturgies and inclusive language. See link on blog for samples of inclusive liturgies.


text:
Dylan Jeremy Neal (ur. 8 października 1969 w Richmond Hill) – kanadyjski aktor, scenarzysta i producent telewizyjny i filmowy.

Życiorys

Wczesne lata
Urodził się w kanadyjskiej prowincji Ontario – Richmond Hill. Cztery miesiące po jego urodzeniu, jego rodzina przeniosła się do Oakville w Ontario. Uczęszczał do prywatnej szkoły dla chłopców Appleby College w rodzimym Oakville, gdzie jego matka była nauczycielką. Początkowo chciał zostać zawodowym graczem squasha. Potem przeniósł się do szkoły średniej T. A. Blakelock High School, gdzie spędził ostatnie dwa lata nauki. To właśnie tam odkrył zamiłowanie do aktorstwa i uczestniczył w szkolnych programach teatralnych. W świetle swojej nowo odkrytej pasji i za radą swojego nauczyciela dramatu, Neal zdecydował, że chce zrobić karierę aktorską. Pracował jako dostarczyciel i dostawca pizzy.

Kariera
Pierwszą poważną rolę otrzymał w roku 1989, występując w Balu maturalnym III: Ostatnim pocałunku (Prom Night III: The Last Kiss), trzeciej części kultowego horroru. Przez pięć sezonów występował w serialu The WB Jezioro marzeń (Dawson's Creek, 1998–2003) Kevina Williamsona jako homoseksualny policjant z prowincjonalnego miasteczka Doug Witter. W operze mydlanej CBS Moda na sukces (The Bold and the Beautiful, 1994-97) grał postać Dylana Shawa, stażysty pracującego w Forrester Creations.

Kojarzony głównie z produkcjami telewizyjnymi, zaistniał na szklanym ekranie także m.in. w telefilmie Człowiek prezydenta (The President's Man, 2000) czy kanadyjskim serialu telewizyjnym Więzy krwi (Blood Ties, 2007–2008). W dramacie erotycznym Pięćdziesiąt twarzy Greya (Fifty Shades of Grey, 2015) wg bestsellerowej powieści E.L. James wcielił się w postać ojczyma głównej bohaterki (Dakota Johnson).

W serialu Hallmark Cedar Cove (2015) z Andie MacDowell wystąpił w roli reportera Philadelphia – Jacka Griffitha.

Życie prywatne
21 września 1996 roku poślubił scenarzystkę i aktorkę Becky Southwell, z którą zamieszkał w Los Angeles. Para wychowuje dwoje dzieci.

Filmografia

Przypisy

Bibliografia

Kanadyjscy aktorzy telewizyjni
Kanadyjscy aktorzy filmowi
Urodzeni w 1969

redpajama_set_name: RedPajamaWikipedia


This three car Carriage House was designed to complement the architecture of the family home on this property, while minimizing its visual size. This design provides ample space for three full sized cars, storage and full access to an exercise and home office studio above. The full bath and kitchenette provide all the amenities needed for both.


When a large, complex application is involved, it can be impractical to expect a production site to manage audit policies for the applications many tables across multiple databases. In such a situation, the developer can customize the audit policy tool by applying knowledge of the application and database schemas to the user interface of the customized policy tool based on shared ABL procedures, thereby greatly simplifying the audit policy configuration and maintenance.
For example, you can create a policy in segments with one segment holding a common configuration for a type of report or reports. The production site can then turn on the segment.


MEP Brian Simpson also hit out at the disturbing crime. He said: "I am disgusted that anyone could stoop so low, despite the desperate economic climate. "I was in town on the day of the bombing and it is something I shall never forget.


text:
N26 will end operations in the U.S.
Allianz X-backed N26 will end its operations in the U.S. after January 11, 2022.
In a statement, the challenger bank said that it is looking to sharpen its focus on its European business, with an emphasis on expanding offers beyond checking accounts to cover additional financial products and services.
N26 launched in the U.S. in August 2019 and five months later it shared that it attracted 250,000 U.S. customers. "American consumers are too reliant on traditional banks and face roadblocks to their financial health that have no place in the 21st century," US CEO of N26 Nicolas Kopp said after reaching this milestone. "N26 was founded to radically transform the industry and break down these barriers through the power of technology. We're incredibly proud to have reached a quarter-million U.S. customers in our first five months and we are just getting started. We have big plans to offer millions of future N26 users a feature-rich, easy-to-use banking experience."
About two months later, it was announced that Nicolas Kopp would leave his role to launch a new business yet the "ambitious expansion plans" for the U.S. were still on the table according to co-founder and CEO of N26 Valentin Stalf.
Bottom Line: U.S. was never the main market for N26 .
N26 raises $900 million
The Allianz X-backed challenger bank now counts 7 million users across 25 countries.
N26 launches new on-demand insurance product
N26 is launching insurance policies for smartphones in partnership with Simplesurance.
N26 extends Series D round
Founded in 2013, the Allianz X-backed mobile bank is live in 25 countries, including the US.
N26 hits 250,000 US customers in first five months
Since launching in August 2019, the digital-only bank now counts 250,000 customers.


Much of US Should be Evacuated Due to Radiation! Shocking Truth!
We've had working free energy devices and antigravity since 1945 so the nuclear meltdown of Fukushima that has permanently poisoned our planet didn't even need to happen! It only happened because of pure greed. Greed of the people in our shadow government that decided that free energy would not be allowed to be released to the public. Instead they would be given hundreds of nuclear power plants and be told that it was a GREAT idea because the power was so cheap! Oh yes, it's such a great deal when you've destroyed your planet! The bad thing about all of this is that the disaster keeps on going while the fake news pretends it never happens and our criminal government does nothing to even try to help stop it.
The global government being pushed by the new world order demons can't even stop 3 nuclear reactors from spewing radiation but they tell you it's going to be a really GREAT thing too! Sorry but I never trust known liars. Read the following sobering article and spread the truth everywhere. Ignore the trolls paid to lie about things for their demonic masters. But always remember that you will stay on this planet as long as God wants you to be here. Yes, we are all being irradiated but there is no use worrying about it. Get right with God and serve him in some way in whatever time we all have left. You still might make it to 100 years old if the new world order demoniacs don't start World War III before then so do something for God. Help fund a ministry, pray that all your family get saved, help others not as fortunate as you. All of us who know Jesus Christ is Lord must be lights in this time of darkness. Fear and worry all come from satan. For with God on our side, who can stand against us?
(San Francisco) – High Radiation levels exceeded the Evacuation Level requiring the wholesale Evacuation of civilians at many locations in the States over the past four years, from 2010 to 2014. Those who remain are supposed to be wearing Hazmat Suits.
Did Evacuation happen in your town or city? No, of course not. It did not happen anywhere that I know of.
This heavy radiation influx precedes the Fukushima Daiichi, Japan three reactor meltdowns. Therefore, by definition it cannot be just strictly from the Fukushima radiation releases. The killing radiation came from some place else, plus Fukushima's Rad. This pattern is repeated again and again in cities throughout America. What happened to beautiful Zapped America?
Certain scuttlebutt in the nuclear community is that America's is the most irradiated population in the world. Getting Zapped like that leads to "shortened life spans" in the quaint expression of the American Nuclear Regulatory Commission. It means the Rad kills you before your time. This is from greatly increased rates of radiation induced heart disease, radiation induced cancers and hundreds of other radiation induced illnesses.
Evacuation is required by national and International law, with no mechanisms to implement it, other that private funds, ie, the victims own money in most cases.
"Where" the radioactive people are to go is unknown. How to pay for their required health care is unknown. How to dispose of that many radioactive bodies is unknown.
The three destroyed and melted down reactors are not solely to blame for the nuclear deaths, illnesses and these, as yet undone, Required Evacuations.
The current Evacuation Required cities of Billings, Idaho Falls, Rapid City, Grand Junction, Colorado Springs, San Diego, and Raleigh endured greatly elevated Radiation levels before Fukushima happened.
The contaminated cities were close to or above Evacuation Levels 4 years ago and they still are. They are just higher because of Fukushima.
Although excess radiation is now planet-wide, for people with two or more houses in different parts of the country or world it is easy to simply move further away from the Radioactive Contamination hot spots.
The vast majority of people can't do that. Their only solution to the contagion is euphemistically called Shelter In Place. People do the best they can with what they have. Everybody gets irradiated by recent or previous radiation releases. Everyone is included. No one is left out. No one escapes.
Those with two or more homes may be able to extend their lives a bit. How much? Don't know – it depends on the individual and the locations.
Those that don't own two or more houses in "safe" areas? Do the best they can with their "shortened life span?" That's absurd; but, what other answer is there?
EXAMPLE: See the graph of Billings' radiation below. The deadly level of radiation in Billings preceded Fukushima, as it did in many other American cities.


Featuring pictures of stone and hardwood floor projects in Maryland, Northern Virginia, and Washington, DC.
Elegant Floor Service provides premium stone and hardwood floor services for residences throughout the DC metro area. We specialize in the installation, repair, and refinishing of all varieties of flooring, and offer only high quality products for our replacement and installation jobs. Our sales team can even come out to your home and bring samples to help you find the perfect fit. In the meantime, you can see examples of our previous work in our floor gallery below. Pictures of stone and hardwood flooring are available from projects all over Maryland, Northern Virginia, and Washington, DC.
Want to schedule a personalized consultation to get started with some samples? Give us a call for a free estimate!


I thought I'd share my oufit from the wedding I attended last week. I know I left a sneak peak on my instagram, with a close-up of my mom's awesome necklace, but here's the full package. I picked up this Juicy Couture dress, because it had pockets, and was also long enough to wear with tights & some flats to the clinic/hospital. Hurray for versatility! I'm so tired of buying dresses I can only wear once, it's such a waste of money to see them hanging in my closet. Womp.
I hope your summer adventures continue to keep you busy! Remember, the days are slow but the years are fast.
ooo that dress is gorgeous- i love the two suspender looking stripes going down at the sides! and i've recently started buying boho maxi dresses for weddings for the same reason- i hate just wearing it once!
I absolutely love your dress, its the perfect combination of stripes and monochromes, you look so elegant.
I love your dress and I totally agree about shopping for dresses. I always make sure I can wear mine more than once too!
Nice to see another outfit post from you :) The lines of this dress are really flattering. Not just the horizontal ones, but the body hugging ones. They're perfect :) And what a great dress for a wedding. I have MY wedding wear on my blog today, too! Great minds ;) You should check it out!
yes I'm also loving the dress!
Adorable dress and very lovely blog!
So cute! That dress is fab & that necklace is absolutely stunning!
So cute! That dress is fab and your necklace is absolutely gorgeous!