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26 scholars 'cannot endorse' the gender-neutral NIV revision
Posted on Feb 1, 2002 | by Art Toalston
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NASHVILLE, Tenn. (BP)--A group of 26 scholars has signed a statement declaring that "we cannot endorse the TNIV translation as sufficiently accurate to commend to the church."
The TNIV is the new gender-neutral "Today's New International Version" unveiled Jan. 28 by the International Bible Society. It is a revision of the widely used 1984 New International Version (NIV) Bible translation.
The 26 scholars' statement was released Feb. 1. Meanwhile, a list of more than 100 "inaccuracies" in the TNIV was compiled by the Council on Biblical Manhood and Womanhood in a daylong review of the TNIV Jan. 31. A 25-page document listing the translation objections is posted at the organization's Internet site, www.cbmw.org.
The 26 scholars who have stated their refusal to endorse the TNIV include two Southern Baptist Convention seminary presidents, R. Albert Mohler Jr. of Southern Baptist Theological Seminary and Paige Patterson of Southeastern Baptist Theological Seminary, along with Wayne Grudem of Phoenix Seminary in Scottsdale, Ariz., and a past president of the Evangelical Theological Society; Harold O.J. Brown of Reformed Theological Seminary; R.C. Sproul of Ligonier Ministries; John Piper of Bethlehem Baptist Church in Minneapolis; and Raymond C. Ortlund Jr. of First Presbyterian Church, Augusta, Ga.
The one-paragraph scholars' statement in full:
"In light of troubling translation inaccuracies -- primarily (but not exclusively) in relation to gender language -- that introduce distortions of the meanings that were conveyed better by the original NIV, we cannot endorse the TNIV translation as sufficiently accurate to commend to the church."
Spokesmen for the International Bible Society were unavailable for comment the morning of Feb. 1.
Another leading theologian, J.I. Packer, did not add his name to the signatories, but told Baptist Press: "This [TNIV] is a retrograde move that the translators have made. I have read a text of a statement by Wayne Grudem and others, and I find myself in sympathy with it. I find it to be a passing modern fad, frankly, to object to the inclusive masculine pronoun. To change the shape of biblical verses to fit this fad leads to a good bit of under-translation. The masculine pronoun belongs in almost every language of the world. The gains that this translation seeks to achieve are far outweighed by the loss. I appreciate the NIV, and I think they have taken a wrong turn." Packer is a theology professor at Regent College in Vancouver, British Columbia, and the author of numerous books, including "Knowing God."
The CBMW, in a statement accompanying its 100-plus findings, noted:
"The task of communicating the truth of the Word of God to the world is at the core of what it means to be an evangelical. With such the case, evangelical Christians should be zealous and eager for the translation and distribution of the Holy Scriptures. The New International Version (NIV) has served an entire generation of evangelical churches as one of the most widely used and widely distributed translations of the Bible.
"When the International Bible Society announced unexpectedly [Jan. 28] that they were once again moving forward with a 'gender accurate' translation of Scripture, Today's New International Version (TNIV), many of us hoped that the NIV would not return to the inaccurate gender-neutral translation practices that had caused widespread protests over the planned release in the U.S. of the NIV-Inclusive Language Version in 1997.
"However, we are saddened by what we have found in this translation. After examining hundreds of passages in the TNIV, the Council on Biblical Manhood and Womanhood is disappointed to announce that many of the changes in the TNIV actually mistranslate Greek words, thereby distorting the meaning of the text of the Word of God."
The CBMW stated that its 25-page document notes "dozens of such changes. ... While we realize that there may be room for scholars to differ over a few of these examples, we are convinced that the vast number of them, taken as a whole, show this to be a translation that should not be commended for use by the church of Jesus Christ."
The CBMW statement was signed by the organization's president, Bruce A. Ware, professor of Christian theology at Southern Seminary; vice president, Wayne Grudem; and executive director, Randy Stinson.
Ware told Baptist Press, "One of our most cherished treasures is an accurate translation of the Word of God. If the translation gets it wrong, multitudes of Christians may be misled and never know what God actually said."
Most, but not all, of the inaccuracies Ware said are in the TNIV relate to the Bible's gender language. "The TNIV changes multitudes of singular pronouns to plurals, thus removing the sense of individual relationship or responsibility God intended us to know."
Ware continued, "The 'Son of Man' in Hebrews 2:6 is changed to 'human beings'; the 'men' of Acts 20:30 are now merely 'some' who will arise; James 3:1 now warns not 'brothers' but 'brothers and sisters' not to presume to be teachers; and many, many more. Oddly, in John's gospel, the 'Jews' who oppose Christ are, in the TNIV, the 'Jewish leaders' only.
"Claims that no concern for political correctness or ideology promotion stand behind these translation decisions are hard to accept," Ware said. "In light of such inaccuracies and distortions of meaning, I would encourage Christian people to urge their Bible publishers to exercise exacting faithfulness to God's own Word. Yes, we need accurate translations, but unfortunately, the TNIV falls short of this goal."
Mohler, of Southern Seminary, stated that the TNIV seems to be following an "agenda of political correctness at the expense of the clarity of the biblical text. Those who love the Scripture should use and commend those translations that are most accurate and faithful to the text. No knowledgeable person would claim that accuracy is easily achieved or that any translation has achieved absolute accuracy; nevertheless, it is sad to see a major publisher and Bible society produce a translation with this degree of compromise.
"We should be very careful not to exaggerate the deficiencies of this translation. Thankfully, no gender-neutral language is used for God," Mohler said. "Nevertheless, the deficiencies of this translation represent a significant loss and will add to confusion in evangelical circles.
"This controversy is also disappointing, since the IBS had at one point indicated that it was abandoning all plans for a gender-neutral NIV," Mohler said in reference to a 1997 statement by the International Bible Society that calmed a controversy over its intention to introduce a gender-neutral Bible translation in the U.S. market by 2001.
Stinson, of the CBMW, amplified several of the organization's findings, including:
Hebrews 2:6, which the NIV renders: "What is man that you are mindful of him, the son of man that you care for him?"
The TNIV: "What are mere mortals that you are mindful of them, human beings that you care for them?"
The TNIV translation, Stinson said, "removes the possibility of connecting this with Jesus, who called himself 'the Son of Man.' [It] mistranslates the singular Greek words huios ('son') and anthropos ('man'). [It] no longer calls the human race 'man,' but 'mere mortals.'"
Concerning Hebrews 12:7:
NIV: "Endure hardship as discipline; God is treating you as sons. For what son is not disciplined by his father?"
TNIV: "Endure hardship as discipline; God is treating you as his children. For what children are not disciplined by their parents?"
Stinson's assessment: The TNIV "mistranslates Greek terms huios ('son') and pater ('father'), which in their singular forms cannot mean 'child' or 'parent.' [It] obscures the parallel with God as Father."
In a Jan. 29 statement to Baptist Press, IBS communications director Larry Lincoln said, "Accuracy and clarity are prime with us." The TNIV, he said, uses "generic language" for men and women "only when the text was meant to include both men and women." He argued that the TNIV should be called a "gender-accurate" translation instead of the term used by some in the media, including Baptist Press, as "gender-neutral." An overview of the TNIV is available on the Internet at www.tniv.info.
Steve Johnson, IBS vice president for communication and development, sent an e-mail to Baptist Press after its Jan. 28 news story on the TNIV, stating: "I wish to state for the record that the overriding concern of the [Committee on Bible Translation, a 15-scholar group responsible for the NIV text] is ALWAYS accuracy and clarity. While there may be differences within the body on the specific rendering of Greek and Hebrew, the influence of social agenda into any translation is NEVER permitted. We regret that once again, the issue of providing God's Word to the next generation of English-speakers has become an issue of division in the Body of Christ."
Russell D. Moore & Michael Foust contributed to this article.
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Although the full application development story is still being ironed out for Research in Motion's newly announced PlayBook tablet, developers are anxious to get their hands on one and start building anyway.
They also will continue to build for BlackBerry while waiting for more details about developing for the PlayBook, developers tell InfoWorld. "I'd love to have it," says Mehdi Rachdi, a developer at mobile marketing firm Adenyo.
[ InfoWorld's Martin Heller shows how the BlackBerry IDEs are a mixed bag. | RIM's PlayBook is no Apple iPad killer, InfoWorld's Galen Gruman asserts. ]
Multiple development environments available
So far, RIM has made it clear developers can use the company's WebWorks platform for development, which leverages their Web development skills. Web developers can also use Adobe Flash Player 10.1 to run their applications and Adobe AIR (Adobe Integrated Runtime) -- both of which are banned on the competing Apple iPad and iPhone.
Developers also can build native applications for PlayBook using C and C++ -- a path that game developers are likely to take, says Mike Kirkup, RIM's director of developer relations.
PlayBook's support of AIR bolsters its application arsenal, says Al Hilwa, an IDC analyst. "That promises to be one of the fastest ways to get a big portfolio of apps to the PlayBook in the short term," with 5,000 to 10,000 AIR applications available, he says, because "in theory, these are really easy to port once Adobe AIR is available on the PlayBook."
RIM is mum on support plan for Java ME apps
But questions remain about how developers can bring over Java-based BlackBerry 6 applications and RIM's precise Java plans. "We're still working out how we're going to enable the community to do that," says RIM's Kirkup. But some sort of path-to-app portability or easy migration is the goal, he says: "We want to help developers leverage the investments [in existing applications]."
RIM's approach to splitting the tablet platform from the BlackBerry platform is opposite the "one OS, multiple devices" approach used by Apple for the iPad and iPhone (both use the iOS) and the approach used by Google for Android devices.
The proprietary BlackBerry 6 application stack leverages Java Micro Edition (Java ME) as a base language. But Kirkup would not reveal RIM's Java ME application plans for the PlayBook.
PlayBook will use the Posix-compliant BlackBerry Tablet OS, built on the QNX Neutrino microkernel architecture that RIM acquired earlier this year.
Developers eager despite the uncertainties
Despite the uncertainties about the PlayBook's application development environment, developers can't wait to get started.
"It's a very interesting gadget because we are [building] enterprise applications. We have several applications that need a bigger screen," says John Bibal, a senior software engineer at Novare.


text: Home Site Editor Log On Home » Biblio Export 1 results: BibTex Tagged RIS RTF XML Sort by: Author [ Title ] Type Year Filters: First Letter Of Last Name is I [Clear All Filters]A B C D E F G H [I] J K L M N O P Q R S T U V W X Y Z [Show ALL] E Schweber, Simone, and Irwin, Rebekah. ""especially Special": Learning About Jews In A Fundamentalist Christian School". Teachers College Record 105.9 (2003): n. pag. Print.Google Scholar BibTex Tagged RIS RTF XML


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Demetri Martin cut his comedic teeth last decade writing for Late Night with Conan O'Brien and reporting for The Daily Show with Jon Stewart. Now a successful stand-up, using a giant sketchpad and a guitar in his act, he makes a one-night club appearance at the Punchline on a tour in support of his newly released book, Point Your Face at This. punchline.com


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I was born in 1944. My father was the village doctor as his father had been before. We lived in Granville House, which formed one junction of the road with Clock House and the Blue ...Read full memory
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I was born in Byfleet in 1950. We lived in Binfield Road. Later I moved to the hotel that was built where the village green is now. My mother Beatrice Stenning was the ...Read full memory
I grew up in Bristol for the first 5 years of my life, then moved to Byfleet, and lived there for a short time until I was ...Read full memory
I recall spending hours in the local rec playing football with my mates and then us all calling into Candy Corner to buy fizzy drinks or ice creams on the way home - great days
I had my first bike from the bike shop in Byfleet. First I rode around on a second hand bike which was just a bit too big for me and I rode it up and down Rutson Road and Unwin Avenue (I ...Read full memory
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How does the ACA have anything to do with people who pay out of pocket?
So the fees for us that pay out of pocket (he isn't covered under my insurance) are going up because of the ACA? I just find this so hard to believe... I'm trying to figure out why he would do this. It's up by $45, which, in my opinion is quite a lot money.
Have any of you guys experienced something similar?
I'm now looking for a new psychiatrist, which is not easy in my town.
I heard he was one of the best, so I was willing to pay out of pocket for him. But I feel like dumping him now that I got a letter blaming this all on the ACA. I'm confused. Sigh.


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If the UFC, and MMA in general, is going to keep track of takedowns, they should at least look into employing a reasonable definition of what constitutes a takedown. It's bad enough that in the process of judging a fight, takedowns are heavily overvalued, but both the world's leading MMA promotion and athletic commission judges who are scoring fights aren't employing an objective set of guidelines for what a takedown is, and what it isn't.
This problem is on display whenever Mike Goldberg identifies a wrestling sequence as a "takedown", though no control was ever established (I fear judges may do the same). It was particularly on display at UFC 160 where Khabib Nurmagomedov was awarded a UFC record for takedowns, in spite of the fact that most of what he was doing should never have been considered a takedown.
I think the task of keeping stats in combat sports to prove the worth or lack of worth of a combatant is largely an idiotic pursuit. The whole beauty and allure of combat sports is that stats are irrelevant because somebody gets their hand raised at the end. As a wrestling coach, I've had parents of my athletes vilify me for not placing importance on the numbers of escapes, reversals and takedowns they score throughout the year. Many of these parents didn't get it when I informed them that the only stat that really means anything is how many medal stands they stand on at the end of the season, and how high on them they stand. I always maintained a very faithful register of that statistic.
[Note: If you keep stats for the purpose of keeping track of what techniques work and what don't, with the intention of better preparing a fighter for future competition, then that is clearly not idiotic.]
Returning from my digression, the UFC seems like it's going to insist on keeping track of takedowns and takedown conversion ratios. I find this troubling as neither the UFC nor the Unified Rules of Mixed Martial Arts promulgates a definition of what a takedown is (the Unified Rules allude to takedowns but don't define them). When they get around to it, such a promulgation should be modeled on the standards already set by the takedown experts- NCAA wrestling or Olympic styled wrestling.
FILA (international wrestling's sanctioning body) defines a takedown in Greco-Roman and freestyle wrestling as the following:
- To the wrestler who brings his opponent to the ground by passing behind him, and while in this position holding him down with control (three points of contact: two arms and one knee or twoknees and one arm or the head).
The NCAA wrestling rule book defines a takedown thusly:
- A takedown shall be awarded when, from the neutral position, a contestant gains control by taking the opponent down to the mat in bounds and beyond reaction time. When a significant portion of the defensive wrestler's weight is borne on a hand(s), it is considered control.


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Aireborough allotment group's Chelsea Show place joy (From Wharfedale Observer)
Get involved: send your pictures, video, news and views by texting WONEWS to 80360, or email
Aireborough allotment group's Chelsea Show place joy
9:00am Sunday 19th January 2014 in News
Allotment holders in Aireborough are celebrating after the group they belong to was accepted to display at the Chelsea Flower Show in May.
The Leeds and District Allotment Gardeners' Federation has just received official acceptance to create an allotment garden at this year's show, in the discovery section in the pavilion.
Members say the demonstration allotment garden will have a similar theme to last year's display The Techno Allotment Garden, with additional innovations.
LDAGF publicity officer, Rawdon parish councillor Phil Gomersall said: "This is a great opportunity to promote nationwide, our wonderful and healthy activity of allotment gardening and all the benefits it has to offer, fresh fruit and vegetables, physical exercise, fresh air, new friendships, social cohesion and much more.
"The whole Federation was elated at the news but even more so were the volunteer allotment gardeners directly involved in the shows, who are extremely excited by the news and looking forward to the challenge."
Last year the group enjoyed huge successes at the Harrogate Spring Flower Show and the Great Yorkshire Show with their demonstration allotment garden displays, achieving Best in Show, Large Gold Medal and Champions Certificate.
Coun Gomersall said it would be an extremely busy year for the Federation, as they still intended to create new allotment gardens at the Harrogate Show in April and the Great Yorkshire Show in July.
He said creating a garden at Chelsea was going to prove expensive and the Federation would welcome any sponsorship.
Anyone who can help is asked to e-mail t firstname.lastname@example.com or on 07527 484545.


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From Wikipedia, the free encyclopedia - View original article
|The Edge of Night
|Also known as
|Edge of Night
|Soap opera
|Created by
|Irving Vendig
|Ann Flood
Forrest Compton
Lois Kibbee
Sharon Gabet
Joel Crothers
|Elliot Lawrence
Paul Taubman
|Country of origin
|United States
|Original language(s)
|No. of episodes
|Executive producer(s)
|Erwin Nicholson
|Robert Driscoll
Rick Edelstein
Charles Fisher
Jacqueline Haber
Werner Michel
Erwin Nicholson
Charles Polachek
|Running time
|30 minutes
|Original channel
|Picture format
|Black-and-white (1956–1967)
|Audio format
|Original run
|April 2, 1956– December 28, 1984
|The Edge of Night
|Also known as
|Edge of Night
|Soap opera
|Created by
|Irving Vendig
|Ann Flood
Forrest Compton
Lois Kibbee
Sharon Gabet
Joel Crothers
|Elliot Lawrence
Paul Taubman
|Country of origin
|United States
|Original language(s)
|No. of episodes
|Executive producer(s)
|Erwin Nicholson
|Robert Driscoll
Rick Edelstein
Charles Fisher
Jacqueline Haber
Werner Michel
Erwin Nicholson
Charles Polachek
|Running time
|30 minutes
|Original channel
|Picture format
|Black-and-white (1956–1967)
|Audio format
|Original run
|April 2, 1956– December 28, 1984
The Edge of Night is an American television mystery series/soap opera produced by Procter & Gamble. It debuted on CBS on April 2, 1956, and ran as a live broadcast on that network until November 28, 1975; the series then moved to ABC, where it aired from December 1, 1975, until December 28, 1984. 7,420 episodes were produced, of which some 1,800 are available for syndication.
The Edge of Night, whose working title was The Edge of Darkness, premiered on April 2, 1956, as one of the first two half-hour soaps on television, the other being As the World Turns. Prior to the debuts of both shows, fifteen-minute-long shows had been the standard. Both shows aired on CBS, sponsored by Procter and Gamble.
The show was originally conceived as the daytime television version of Perry Mason, which was popular in novel and radio formats at the time. Mason's creator Erle Stanley Gardner was to create and write the show, but a last-minute tiff between him and the CBS network caused Gardner to pull his support from the idea. CBS insisted that Mason be given a love interest to placate daytime soap opera audiences, but Gardner flatly refused to take Mason in that direction. Gardner would eventually patch up his differences with CBS and Perry Mason would debut in prime time in 1957.
It was in 1956 that a writer from the Perry Mason radio show, Irving Vendig, created a retooled idea for daytime television—and The Edge of Night was born. "John Larkin, radio's best identified Perry Mason, was cast as the protagonist-star, initially as a detective, eventually as an attorney, in a thinly veiled copy of (Perry Mason)."[1]
Unlike Perry Mason, whose adventures took place in Southern California, the daytime series was set in the fictional Midwestern city of Monticello. A frequent backdrop for the show's early scenes was a restaurant called the Ho-Hi-Ho. The state capital, however, was known generically as "Capital City"; the state in which Monticello was located had never been identified.
In later years, the jazzier Los Angeles skyline replaced that of Cincinnati; according to the website "The Edge of Night Homepage", "the city of Monticello had grown from an average-sized city to the size of a major metropolitan area." The skyline was eventually eliminated in the final two years of the show, as was the word "The" in the title.
While most soap operas centered on extended families or large hospitals that tended to be insular in their scope, The Edge of Night was probably the only daytime serial to truly capture the dynamics of a medium-sized city. Indeed, the city of Monticello — for all of its longtime friendships, age-old family vendettas, and insidiously cutthroat DAs and bad cops in the proverbial pockets of white-collar mobsters — was as vital a "character" as any human being depicted on the show.
During most of the show's run, the show's viewers were treated to an announcer enthusiastically and energetically announcing the show's title, "Theee Edge...of Night!" Bob Dixon was the first announcer in 1956, followed by Herbert Duncan. The two voices most synonymous with the show, however, were those of Harry Kramer (1957–1972) and Hal Simms, who announced until the series ended in 1984.
The Edge of Night played on more artistic levels than probably any other soap of its time. It was unique among daytime soap operas in that it focused on crime, rather than domestic and romantic matters. The police, district attorneys, and medical examiners of fictional Monticello, USA, dealt with a steady onslaught of gangsters, drug dealers, blackmailers, cultists, international spies, corrupt politicians, psychopaths, and murderous debutantes, while at the same time coping with more usual soap opera problems like courtship, marriage, divorce, child custody battles, and amnesia. The show's particular focus on crime was recognized in 1980, when, in honor of its 25 years on the air, The Edge of Night was given a Special Edgar Award by the Mystery Writers of America. It also should be stated that The Edge of Night had more prominent male characters than most soap operas, and included genuine humor in its scripts to balance the heaviness of the storylines.
The show's central protagonist was Mike Karr, tireless crimefighter, introduced as a cop finishing law school. This character evolved from the earlier Perry Mason character on radio.[2] He then progressed to the District Attorney's office as an ADA, hung his own shingle as a defence attorney for several years, then became DA of Monticello. Karr was portrayed by three actors: John Larkin (radio's Perry Mason[2]), Laurence Hugo, and Forrest Compton. Later main characters included socialite Geraldine Whitney Saxon (Lois Kibbee); Mike's wife, newspaper journalist Nancy Karr (played the longest by Ann Flood), whom Mike married on April 22, 1963; Adam Drake (played by Donald May) and his wife Nicole Travis Stewart Drake Cavanaugh (played by Maeve McGuire, Jayne Bentzen, and Lisa Sloan; and Nicole's third husband Dr. Miles Cavanaugh (played by Joel Crothers).
|John Larkin*
|Mike Karr#1
|Laurence Hugo*
|Mike Karr#2
|Forrest Compton
|Mike Karr#3
|Ann Flood
|Nancy Pollock Karr
|Teal Ames
|Sara Lane Karr
|Lois Kibbee*
|Geraldine Weldon Whitney Saxon
|1970–1971, 1973–1984
|Frances Fisher
|Det. Deborah 'Red' Saxon
|Charles Flohe
|John 'Preacher' Emerson
|Larkin Malloy
|Jefferson Brown
|Larkin Malloy
|Schuyler Whitney
|Sharon Gabet
|Raven Alexander Whitney #2
|Dennis Parker*
|Derek Mallory, Chief of police
|David Froman*
|Gunther/Bruno The Whitney's servant
|1980–1981, 1982–1984
|Joel Crothers*
|Dr.Miles Cavanaugh
|Terry Davis
|April Cavanaugh Scott
|Joe Lambie
|Assistant District Attorney Logan Swift #1
|Tom Keena
|Philip Seward
|Jaques Roux
|Dr. Calmette[3]
|Dixie Carter*
|Assistant District Attorney Olivia Brandeis "Brandy" Henderson
|Mildred Clinton*
|Judge Sussman
|Dorothy Lyman
|Elly Jo Jameson
|Tony Craig
|Assistant District Attorney Draper Scott
|Donald May
|Adam Drake Mike Karr's law partner
|Jane Bentzen
|Nicole Travis Stewart Drake Cavanaugh #2
|Maeve McGuire
|Nicole Travis Stewart Drake #1
|1968–1974, 1975–1977
|Ward Costello*
|Jake Berman
|Nicholos Pryor
|Joel Gantry #2
|Larry Hagman*
|Det. Ed Gibson
|Irving Allen Lee*
|Det. Calvin Stoner
|Mariann Aalda
|Didi Bannister Stoner
|Jerry Zaks
|Louis Van Dine
|Amanda Blake*
|Dr. Julianna Stanhower
|Frank Gorshin*
|Smiley Wilson
|Lori Loughlin
|Jody Travis #1
|Leah Ayres
|Valerie Bryson
|Alfred Drake*
|Dwight Endicott
|Kim Hunter*
|Nola Madison (aka Martha Cory)
|Margaret Colin
|Paige Madison
|Denny Albee
|Det. Steve Guthrie
|Farley Granger*
|Trent Archer
|1979 2 ep.
|Lee Godart
|Eliot Dorn
|Lew Resseguie
|Sgt. Sam Dwyer
|Ann Williams*
|Margo Huntington Dorn
|Lori Cardille
|Winter Austin #1
|Stephanie Braxton
|Winter Austin #2
|Bruce Gray
|Owen Madison
|Teri Keane
|Martha Spears Marceau
|Mandel Kramer*
|Chief Bill Marceau
|Ted Tinling
|Vic Lamont
|Elizabeth Farley
|Kay Lepage Reynolds Lamont
|Paul Vincent*
|Ashley Reynolds
|Alan Feinstein
|Dr. Jim Fields
|George Petrie*
|District Attorney Peter Quinn
|Bernard Barrow*
|District Attorney Ira Paulson
|Judson Laire*
|Judge Blackwell
|James Ray
|Bart Fletcher/Floyd Porter
|Mari Gorman
|Taffy Simms
|Alberta Grant
|Liz Hillyer Prentiss Fields
|Patricia Conwell
|Tracy Dallas Micelli
|Lou Criscuolo
|Danny Micelli
|Leslie Ray
|Babs Werner Micelli
|Jay Gregory
|Morlock Sevigny
|John LaGiola
|Johnny Dallas
|Kathleen Cody
|Laurie Ann Karr Lamont Dallas #3
|Emily Prager
|Laurie Ann Karr Lamont Dallas #4
|Jeanne Ruskin
|Laurie Ann Karr Lamont Dallas #5
|Linda Cook*
|Laurie Ann Karr Lamont Dallas #6
|(1975–1977, 1984)
|Lucy Martin
|Tiffany Whitney Douglas
|1970–1971, 1973–1976
|Bruce Martin
|Keith Whitney aka Jonah Lockwood
|Johanna Leister
|Dr. Phoebe Smith Jamison #3
|Heidi Vaughn
|Dr. Phoebe Smith Jamison #1
|John Driver
|Kevin Jamison #2
|Dick Shoberg
|Kevin Jamison #1
|Doug McKeon
|Timmy Faraday
|Bernie McInerney
|Mark Faraday
|Niles McMaster
|Dr. Clay Jordan
|Thom Christopher
|Noel Douglas #1
|Dick Latessa
|Noel Douglas #2
|Michael Stroka*
|Dr. Quentin Henderson
|Louise Shaffer
|Serena Faraday/Josie
|Sam Schacht
|Paul Fairchild
|Bennett Cooperman
|Benny Hayes
|George Hall*
|Ernie Tuttle #2/John
|Robert Dryden
|Oliver Barbour
|Kate Wilkinson*
|Mrs. Perkins
|Stephen Elliott
|Peter Dalton[4]
|Edward Holmes
|Willy Bryan[5]
|Frances Chaney*
|Jeanne Culpepper[6]
|50s-60s, 1967
|Cathleen Cordell
|Virginia Dalton[6]
|Richard Janaver
|Lloyd Conway[6]
|Barbara Joyce
|Jane Conway[6]
|Phil Sterling*
|Johnny The Hitman
|Phil Sterling
|Vic Ratner[7]
|House Jameson*
|John H. Phillips
|Jane White*
|Lydia Holliday, R. N.
|Lester Rawlins*
|Orin Hillyer
|1966–1968, 1972–1973
|Irene Dailey*
|Pamela Stewart
|Alice Hirson
|Stephanie Martin
|Anne Revere*
|Dorothy Stewart #1
|John Cullum
|David 'Giddy' Gideon #2
|Scott Glenn
|Calvin Brenner
|James Mitchell*
|Lloyd Griffin
|Barbara Berjer*
|Irene Eagon Wheeler
|Richard Thomas
|Ben Schultz Jr.
|Ernest Graves*
|Assistant District Attorney Walter Palmerlee #2
|Ian Martin*
|Leon Morenzie
|William Post Jr.*
|Mr. Hull/Walter Lepage
|Bill Macy
|Cab driver
|Mary K. Wells*
|Louise Grimsley Capice #2
|Ray McDonnell
|Phillip Capice
|Walter Greaza*
|Winston Grimsley
|Barry Newman
|John Barnes
|Fred J. Schollay*
|Lobo Haynes
|Hugh Reilly*
|Dr. Simon Jessup
|Nancy Pinkerton*
|Beth Moon Anderson Barnes
|Fran Sharon
|Elaine "Cookie" Pollock Thomas Christopher #1
|1962–1964, 1964–1972
|June Carter
|Elaine "Cookie" Pollock Thomas Christopher #2
|John Gibson*
|Joe Pollock #1
|Kay Campbell*
|Rose Pollock #3
|Anthony Roberts
|Lee Pollock #3
|Keith Charles*
|Rick Oliver
|Val Dufour*
|Andre Lazar
|Alan Manson*
|Ken Emerson
|Anthony Ponzini*
|Tony Wyatt
|Millette Alexander
|Gail Armstrong/Laura Hillyer/ Julie Jamison Hillyer
|Holland Taylor
|Denise Norwood, R. N.
|1977–1978, 1980
|Sonia Petrovna
|Martine Duval Crown
|Marcia Cross
|Liz Correll
|Julianne Moore
|Carmen Engler
|1984 (1 ep.)
* Deceased.
For the show's duration, the stories either revolved around or touched upon Monticello lawyer (and former Monticello police officer) Mike Karr. As the show began, Mike Karr's relationship with Sara Lane (Teal Ames) reproduced the radio serial's Perry Mason/Della Street relationship. Adding a complication for Mike Karr, Sara's family was involved in organized crime. In the early years of the show, Sara's younger brother Jack (Don Hastings) was drawn into the criminal world by corrupt uncle Harry Lane (Lauren Gilbert). Nevertheless, Mike and Sara eventually married. Their happiness was short-lived when Sara was written out of the show, killed as she saved the life of their daughter Laurie Ann, who ran into the street into the path of an automobile. By the 1960s, Laurie Ann was a teenager, supplying many plots for the show, and a young wife and mother by the 1970s.
Mike later married Nancy Pollock (Ann Flood), a journalist who helped in many of cases. Other important characters were Police Chief Bill Marceau (Mandel Kramer), who was one of Karr's best friends and shared a tremendous mutual respect, rare between a defense attorney and a chief of police (perhaps due to the fact that Mike had once been a police officer himself), Marceau's secretary (and later on wife) Martha (Teri Keane), fellow attorney Adam Drake (Donald May), his client (and later on, his wife) Nicole Travis (Maeve McGuire; Jayne Bentzen; Lisa Sloan), and wealthy socialite Geraldine Whitney (Lois Kibbee). Nancy had two siblings: Lee, who eventually married Geri McGrath, and Elaine (nicknamed "Cookie.")
Nicole Travis Drake has had a most interesting and bizarre history. An early storyline had her victimized by two different women who wanted her dead. She was then accused of murdering Stephanie Martin (Alice Hirson). Adam Drake defended her and proved her innocence. He then broke away from Mike Karr's law firm as partner and opened his own law practice. He hired Nicole as his secretary and a romance began to blossom. When Nicole sensed his lack of interest in marriage she walked out and went to work for another attorney, Jake Berman (Ward Costello). She continued to date Adam until she told him if he didn't propose to her by New Year's Eve their relationship were finished. She soon got another marriage proposal from her new boss widower Jake Berman. She didn't accept but moved to New York City with him when he was going to partner at an existing law firm. Adam then searched for Nicole in New York until he found her at the stroke of midnight on New Year's Eve and asked her "Will you marry me?" She ran into his arms, much to Jake Berman's jealousy. When Adam and Nicole returned to Monticello, so did Jake Berman determined to prevent them from every marrying. He plotted with ex-convict Johnny Dallas (John LaGioia) to frame Adam for attempted murder to prevent him from marrying Nicole. Johnny didn't show up but Jake was murdered by Joel Gantry (Nicholos Pryor) and Adam was arrested for the murder immediately following his and Nicole's wedding at the Karr residence. The day before the jury would find Adam guilty Joel Gantry was found by Kevin Jamison (Dick Shoberg) in San Francisco, who was really Edith Berman's son and convinced Jake had murdered his mother. Adam and Nicole were reunited and finally settled into married life. Sometime later, she was believed to have died in a boating accident in the Caribbean but was discovered alive 18 months later by Kevin Jamison (then played by John Driver) in Europe at the same time Adam proposed to Brandy Henderson (Dixie Carter). Adam and Nicole were eventually reunited once again and Brandy left town. But their marriage ended after Adam was murdered. In one of the foremost startling moments in this serial's history, the character of Nicole was replaced with a new actress and was subsequently de-aged a decade, a rarity for an adult character in the genre. Now younger and more vibrant, Nicole was suitable for a relationship with young doctor Miles Cavanaugh. Nicole was eventually killed off when her makeup powder was poisoned.
Another important relationship was that between Nancy and her younger sister Cookie, who was married first to Malcom Thomas and later to Ron Christopher, whose dealings with loan sharks affected Mike's good friends Louise and Philip Capice. In the show's later years, the Karrs' beautiful daughter Laurie Ann (Emily Prager), by now a young adult, was an important character. Her relationship with Jonah Lockwood, a sociopath, almost cost her her life, but he was revealed to be an alternate persona of Keith Whitney, scion of the wealthy Whitney family, nemesis of the Karrs and Marceau. Laurie subsequently married Mike Karr's law associate Vic Lamont (Ted Tinling) after he went to prison doing undercover work and his life was saved by inmate Johnny Dallas. Johnny was released from prison and became the owner of a restaurant The New Moon Cafe. Laurie (now played by Jeanne Ruskin) played the piano at the restaurant leading to her and Johnny falling in love. When Vic found out Laurie and Johnny were together in Chicago when he didn't show up to shoot and wound Jake Berman he walked out. Laurie and Johnny eventually married and Vic was murdered saving Johnny's life. Laurie (now played by Linda Cook) and Johnny had a baby they named John Victor. However, Laurie developed mental problems that led her to being placed in a mental institution and Johnny ran away.
One of the later major story arcs was about a train wreck and a prisoner, Draper Scott (Tony Craig), who had been unjustly convicted of murder, escaping from the train accident. There was also an interesting storyline in the mid-1970s involving a troubled woman (Nicole's cousin, Serena Faraday) who would change her personality to Josie as she donned a frizzy, black wig in perhaps a nod to One Life to Live's popular Victoria Lord/Niki Smith storyline. Another memorable character was Charlotte "Raven" Alexander Jamison Swift Whitney (Juanin Clay, then Sharon Gabet), a duplicitous coquette who became more stable and faithful in the latter years.
Whitney family matriarch, tough Geraldine Whitney (Lois Kibbee) seemed to suffer the misfortune of losing most of those close to her to untimely deaths: her first husband, two sons, a beloved daughter-in-law, a nephew, and she herself was nearly killed, having been pushed down a flight of stairs in 1975 by her ne'er-do-well son-in-law. She became close to Raven Alexander, and Raven's ex-husband Logan Swift during later years (and became de-facto grandmother to Raven and Logan's son). However, when Logan was killed in 1984, Geraldine could hardly bear the grief to learn that, through a series of events, it had been she who accidentally shot him.
Near the end of the series' run came an unusual story wherein Mike and Nancy, after sleeping in twin beds for nearly their whole married life, decided to "go all out, and buy a double bed", thereby retiring their twin beds for good. It was one of the more unusual moments of the show.
Uniquely among daytime dramas at the time, The Edge of Night finished its run with an ominous (and intentional) cliffhanger, revealing that an old enemy—Louis Van Dine, who had supposedly been sent to the state penitentiary—had returned to settle some scores, and none of the main protagonists were safe. In addition, police detective Chris Egan (Jennifer Taylor) - spying a supposedly-deceased henchman of Van Dine, Donald Hext - followed Hext into a previously unknown Monticello street called "Wonderland Lane." There, she discovered Van Dine's sister, Alicia Van Dine (Chris Weatherhead), in a shop. Alicia's brother viciously stabbed her in the back; her dying words to Chris Egan were: "...Off, off with her head...." Egan barely escaped from the shop after Van Dine and Hext attempted to capture her and ran out of Wonderland Lane, briefly falling by the post next to the street sign, a stuffed white rabbit propped against it.
The final scene of the series is of Chris Egan telling Mike Karr and others of her encounter with Louis Van Dine and Donald Hext, in addition to Alicia Van Dine's stabbing. The show's theme plays over the dialogue, masking Karr's words, but the audience is left to know that the story of Monticello continues onward, albeit off the air. The reason for the cliffhanger was that Procter & Gamble believed that they could find another network to take over production of The Edge of Night, or possibly continue the show in first-run syndication, but in 1984, there were no cable networks willing to take on such an expensive endeavor.
In 2010, actress Mariann Aalda, along with soap opera ghostwriter Alina Adams, attempted to continue the story (via blogging) of The Edge of Night by telling the story of Monticello 25 years later, with the explanation that The Edge of Night was actually television's very first reality television series. The blog entries ended abruptly in early 2011, with no explanation by either Aalda or Adams as to the status of the blog series.
Unlike most soap operas, which build a solid audience slowly over many years, The Edge of Night was an instant hit with daytime viewers; it amassed an audience of nine million in its first year, in some respects because the public did perceive it as a daytime Perry Mason, as the producers of The Edge of Night had intended. Through the 1960s, the show continued to flourish; it consistently ranked as one of the top six rated soap operas, alongside the rest of CBS' daytime lineup. It peaked at #2 (behind As the World Turns) in the 1966–67 television season and came in at #2 between 1969 and 1971.
At one point, The Edge of Night's audience was estimated to be more than 50% male, largely due to the show's crime format and its late start time of 4:30 PM (3:30 Central). In July 1963, the show was moved to the 3:30/2:30 time period after CBS gave the 4:30/3:30 slot back to the affiliates. The Edge of Night dominated the 3:30 slot even over otherwise-hit programs like NBC's You Don't Say and ABC's Dark Shadows and One Life to Live. However, when the show moved to 2:30 PM (1:30 Central) on September 11, 1972, at Procter and Gamble's insistence, it slid from a solid #2 in the Nielsen ratings to near-last. It has been hypothesized that the show rapidly lost viewership because many male viewers and teenagers were unable to make it home from work or school earlier in the afternoon to watch. (This would also not be the only time that Procter & Gamble's insistence on a certain timeslot for one of their soaps would cause a catastrophic drop in ratings; the same problem would plague the long-running Search for Tomorrow a decade later.)
By Summer 1975, CBS prepared to make its first-ever expansion of a serial to 60 minutes daily, in response to NBC's lengthening of both Another World and Days of our Lives some months earlier. Daytime executives chose the ratings-leading As the World Turns, which faced Days of our Lives directly at 1:30/12:30. However, CBS' affiliates usually aired newscasts in the 1:00/12:00 access slot, and also would preempt The Edge of Night if it returned to 4:30/3:30. Given the foregoing, CBS itself had no vacant timeslot into which to expand The Edge of Night, and had no choice but to cancel it.[8]
CBS informed Procter & Gamble that The Edge of Night would have to leave its schedule because the show had lost viewership to the point of losing in the afternoon ratings to NBC's The Doctors for some time. Meanwhile, ABC successfully revived shows from the other two major networks, namely Let's Make a Deal and The $10,000 Pyramid. Further, since ABC had been the only network at the time to have never had a Procter & Gamble program on its schedule, ABC was actually enthusiastic about bringing The Edge of Night onto its daytime lineup when in contact with Procter & Gamble about doing so. However, officials informed Procter & Gamble that contractual obligations to other programs would not permit ABC to admit The Edge of Night onto its lineup until December 1975.
This raised a serious problem because CBS wanted to expand As the World Turns when the fall season began in September, in which event The Edge of Night would have had to leave the air for nearly three months. Had this happened, ABC would have probably rescinded its decision to acquire The Edge of Night due to near-certain loss of viewer interest caused by any interruption. In the end, Procter & Gamble negotiated with CBS to delay the expansion of As the World Turns until ABC had an available slot for The Edge of Night. On December 1, The Edge of Night moved to ABC, and on CBS, As the World Turns began occupying the 1:30-2:30 block with Guiding Light moving down one half-hour to The Edge of Night's former timeslot.
The last CBS episode of The Edge of Night on November 28, 1975, ended with the discovery that Nicole Travis Drake was alive. She had been presumed dead in an explosion 18 months earlier while on a boating trip with her husband Adam Drake. ABC aired the show beginning on December 1, with a 90-minute premiere. This episode picked up where CBS had left off, with Geraldine Whitney still in a coma after having been pushed down a flight of stairs in a murder attempt by her daughter-in-law Tiffany's second husband, Noel Douglas. Nicole - with the help of Geraldine's adopted "son", Kevin Jamison - regained her identity after suffering from amnesia since the boating trip explosion. The final scene of that day's episode was an exciting climax in which Serena Faraday, in her "Josie" split-personality, shot her husband on the steps of the courthouse.
Initially, The Edge of Night showed promise when it began airing on ABC. It was the first serial to change networks (the only other to do so would be the Procter & Gamble-packaged Search for Tomorrow, which would move from CBS to NBC in 1982); it aired in a late afternoon time slot of 4/3 p.m. for ABC affiliates in the Eastern and Central time zones, and Noon for ABC affiliates in the Pacific time zone due to a different scheduling pattern for ABC's West Coast feed. At first, the show's overall ratings declined because fewer homes had access to it; this happened because many ABC affiliates had opted for local or syndicated programs at the 4/3 slot instead of the network feed for many years, and decided not to abandon the practice. As a result, in some markets, Edge would disappear altogether after relocating from CBS to ABC. In other markets, stations (either a local ABC affiliate or an independent station which picked the show up) tape-delayed the program for morning slots, airing on a delay ranging from one day to two weeks behind. Nevertheless, The Edge of Night was typically either first (or a close second) in its time slot in markets where the local ABC station cleared it at 4/3 p.m., due mainly to the weakness of competing programs on CBS and NBC. Further, the show's demographics were significantly better on ABC because the show got its youth and some of its male demographics back; thus, ABC was actually able to charge higher advertising rates for it than several series with higher audience ratings.
Despite never recovering the ground it lost from its CBS days, even sliding into the lowest third in the ratings by 1977, The Edge of Night's ratings improved slightly during the early 1980s, thanks in no small part to the overall rise of ABC's soap opera lineup. While the numbers were less solid, The Edge of Night still pulled in ratings in the 5.0 range and improved its position on the ratings list, peaking at 11th in both 1981 and 1982. However, from 1982 on, ratings would fall even further as even more ABC affiliates dropped the show in favor of the aforementioned syndicated offerings: At the end of the 1981-82 television season, The Edge of Night pulled in a 5.0 rating, but with the resulting pre-emptions, the show's rating dropped to a 3.8 in 1983. This caused Procter & Gamble to lose more money on the program with each passing year.
The series was also broadcast in Canada on CBC Television since the early 1970s, but after more than a decade, CBC opted in Fall 1982 to drop The Edge of Night from its daytime afternoon lineup and replace it with another ABC soap, All My Children.
In May 1983, Procter & Gamble dismissed the show's headwriter, Henry Slesar, whose 15-year stint with the soap was at that time the longest in daytime serial history, and appointed a new headwriter, Lee Sheldon. Although Sheldon's emphasis on younger characters and some humor reflected an attempt to boost ratings, the show's ratings slump only worsened: more and more ABC affiliates continued to drop the show.
By fall 1984, The Edge of Night aired on only 106 of ABC's 213 affiliate stations,[9] while a further two dozen more affiliates planned to drop the series in the first quarter of 1985. Although ABC intended to continue The Edge of Night, even by offering to move it to a mid-morning timeslot, Procter & Gamble could no longer afford to continue producing the show due to the constant loss of revenue from frequent pre-emptions. Thus, on October 26, 1984, ABC and Procter & Gamble made a joint announcement that the absolutely final telecast of The Edge of Night would be on December 28 of that year. At this point, the show's ratings were less than half of what they had been at the beginning of the decade; it finished the 1984-85 television season last in the daytime ratings race with a 2.6 rating in only four months of episodes.
To date, The Edge of Night is the last ABC network program to have aired in the 4 p.m./3 c time slot; ABC returned the 4 p.m. hour to its affiliates after Edge finished its run. NBC had returned the 4:00pm hour to its stations in 1979. CBS, which programmed the 4 p.m. timeslot with Body Language at the time The Edge of Night left the air, followed suit in September 1986 after cancelling Press Your Luck.
Most CBS episodes no longer exist. The network had terminated its wiping practice of shows it owned in September 1972, but Procter & Gamble still continued wiping tapes for several more years. Many monochrome episodes and some color episodes of the show were kinescoped; the color kinescopes survive in black-and-white. 45 episodes of the CBS era are known to exist, the best-known of which include the Christmas Day 1974 episode and a September 1975 episode depicting the attempted murder of Geraldine. Some fans also have the second episode of the series (April 3, 1956), which featured Don Hastings, John Larkin and Teal Ames. The first two years of the ABC run also followed this practice, which ceased in 1978 for ABC and all Procter & Gamble shows.
From August 5, 1985 to January 19, 1989, reruns aired in a daily late-night timeslot on cable's USA Network, transmitting episodes from June 1981 up to the series finale.
From August 2006[10] to January 2009,[11] Procter & Gamble made several of its classic soap operas available, a few episodes at a time, through AOL Video Service, downloadable free of charge. AOL downloads of The Edge of Night commenced with episode #6051 from July 17, 1979.
(Drama Series)
|Wikimedia Commons has media related to The Edge of Night.


text:
"Very good follow to a very good book"
I read The Tourist early in 2009 soon after it came out and I rated it as one of my top fiction books that year. These are both spy books. They are post 9/11 spy books, so they are not wrapped up in cold war like the original Borne books. They are as good, or better, than Robert Ludlum's version of Borne. In many ways I would compare them to the movie version of Borne. They are consciously post-cold war. Like the movie version of Borne, the bad guys are both inside and outside the US government and the controllers of "the tourists" (the black-ops arm of the CIA) may be as bad as the bad guys they are trying to defeat.
The Nearest Exit follows right on the heals of The Tourist, but you do not realize it at first. I listened to this on audiobook and so I may have missed some of the written clues about the changing timelines. I was about half way through before I finally put all the clues together and remembered enough of the first book (it has been over a year) to finally figure out what was going on. From that point, it was much clearer and much more enjoyable book.
I often read several books at a time. But this one I listened straight through, more than 12 hours in just 3 days. I do not read many spy books, but these are good. I am a fan of tainted heroes. Milo Weaver, the hero of these books, is definitely not perfect, but he also is not one of those tainted heroes that you just do not want to like. He has a struggling marriage and devotion to his daughter. He is less of a super-hero than Borne. I am not a fan of heroes that walk out of serious car accidents like nothing happened. Weaver gets hurt, gets blindsided by other spies, etc. There is a clear ending in this book, but an opening for another sequel. I hope it is being written.
The audiobook narration was good, but was a different narrator than the first book.
"Two cousins get in on the ground floor of comics"
Michael Chabon is one of those writers that has been recommended to me and I have been meaning to read for a while. I didn't really know anything about it, but The Amazing Adventures of Kavalier and Clay won the Pulitzer Prize for Fiction in 2000 so it seemed like a good choice when I saw it on sale a while back.
Joe Kavalier escapes out of Prague just before World War II breaks out and moves in with his Aunt and cousin Sam Clayman in New York City. Sam finds out that Joe is an artist and together with Sam primarily writing and Joe primarily drawing, they become the great comic book writing duo of Kavalier and Clay.
Their main comic book hero, the Escapist has great success, but World War II breaks out and things that have been going well, no longer are going well.
I really do not want to give away the story, but it is a wide ranging story. There is war, love, death, family, magic and more. Chabon is a great descriptive writer and this is a long book, but I was engaged virtually the entire time.
Toward the last third of the book I started getting a bit frustrated because it seemed everything was going wrong. But at the end I was also a bit frustrated because the book was wrapped up a little too nicely.
I have zero regrets that I read it. It is one of my favorite books I have read this year and I will totally read more books by Chabon. But endings are hard and it seems to me more and more that there are really very few good endings.
originally published on my blog at Bookwi.se
"Romantic Thriller set during the French Revolution"
When I was an elementary student I had two 'go to' reading choices, a set of children's biographies (more historical fiction than biography) and the Illustrated Classic series.
The children's biographies gave me a pretty good sense of history and historical figures (although probably 80 percent of each book was fiction.) And the Illustrated Classics gave me the rough outline of a number of classic books.
But as I read many of those classics again as an adult I have a hard time remembering if I actually have read the full version or the children's abridged versions prior to re-reading. (And there is often a pretty large difference.) Stories that I loved, I sometimes love even more reading the full original version. And sometimes my memory of the story is nothing like what the actual book is like.
The Scarlet Pimpernel was written originally as a play in 1905 and then novelized. It is a swashbuckling novel of heroes and light romance. But in many ways reading it again it feels more like a 1940s pulp fiction than a classic.
The hero (Sir Percy) is perceived as bumbling and slow (but very rich) by everyone, including his wife. In reality he is cunning and a great fighter. It feels like Zorro (but I looked it up and Zorro was written 14 years later.) That same secret identity idea really took off with the comic book superheroes.
Marguerite St Just (Sir Percy's wife) was a great actress in France prior to their marriage and married Sir Percy because she thought she could love the dim witted rich man because he would be devoted to her. But right after they are married Sir Percy find out that Marguerite's testimony condemned the Marquis de St Cyr to death. And so Sir Percy is often distracted or away and he stops letting the marriage be more than part of his disguise. (Marguerite did not intend to give testimony, but both was tricked and hated the Marquis because the Marquis had had her brother beaten because of her brother's romantic interest in the Marquis' daughter.)
From the beginning of the book the basic plot points are already set and the reader really knows what it going to happen. It is a fun little book and because the kindle edition is free and the audiobook was only $0.99 (and I used a coupon to make it free) it was worth the time to read and get the full version of the story.
This is certainly not what I would call a great classic. But rather a reminder that all ages have had their popular fiction. And I did enjoy it as a swashbuckling popular fiction book. In many ways it channeled the best of the Three Musketeers and Andre Dumas.
"A Classic about wanting what is not good for you"
For some reason that I can't really explain, I always have felt I did not like Charles Dickens. But the only two books that I can remember reading of Dickens (Great Expectations and The Tale of Two Cities) I liked. Maybe it is like feeling like you do not like a food, but never actually trying it.
Like many classics, I was first exposed to Great Expectations as an abridged children's book. I am pretty sure I read at least one additional abridgement in high school or college (not for school but pleasure) but I think this is the first time I have read the whole book.
With so many versions of the story in my head (I have seen at least one if not two of the movies in addition to probably two abridged versions), the basic story is not a surprise. Simon Vance (as always) did an admirable job narrating the audiobook. And like many classics, I think it could have easily been cut by at least a third without a problem. But according to Wikipedia, Dickens originally intended it to be twice as long, but his publisher restrained him. (Thank goodness).
The basic story is familiar. Pip helps a convict escape as a young child. And he is asked to come play with a girl and her deranged (but rich) adopted mother, Miss Havisham. Later, Pip is approached by a lawyer and told a benefactor is going to make him into a gentleman, but he can not know the benefactor until the benefactor reveals themselves to him. Pip assumes it is the crazy rich woman and goes to London leaving his kindly brother in law that is raising him (and his now incapacitated but cruel sister) behind with nary a thought.
With lots of money but not a not a lot of sense, Pip lives the high life with a good friend. He is still in love with the girl, Estella, who was always beautiful but heartless. As he ages he is influenced by a cast of characters, some good and some not as good. Eventually his benefactor reveals himself as the escaped convict, and not Miss Havisham as he had always assumed. His hopes are dashed. Both because he is ashamed of his benefactor and because he had always assumed that Miss Havisham had desired that he and Estella were to be married as part of him being remade into a gentleman.
The problem with the convict coming back is that he is still wanted and through many threads coming together, there are people around Pip that know the convict and want to see him face execution.
In many ways this is a morality play similar to Les Miserable. The convict has made good, has changed his ways, has helped to raise a child to make up for his past wrongs. It is also a coming of age story that seems to draw on the prodigal son and early romance stories, warning the reader to be content with their station and not seek after what they cannot have.
This is a classic of the best sort however. It is a true story of being thankful for the simple things in life (or else everything else will fall down around your ears.) I don't remember reading many classic books with so many threads that seemed to all come together in the end. Maybe that was more common than I am aware but it is definitely one of the things I either didn't remember from previous versions or were edited out of the abridgements.
I have seen the 1998 movie with Gwyneth Paltrow and Ethan Hawke and it deserves its low ratings. I looked around for a free way to watch the 2013 version, but couldn't find it. I did watch part of a 2013 stage version. But it was dark in ways that I am not sure is true to the story (although it is technically true to the story.) I gave up after about 30 minutes.
The 1946 version is available on youtube and it is both true to the story and seemed to keep the spirit of the work and was quite well done (and can be seen free) but it did play with the ending a bit. More problematic was that it squeezed the timeline of the story so that it felt like things happened one after another instead of the years between some of the scenes. And that made the movie feel a bit less weighty than the book.
And it always seems that movies try to play with the content of books and somehow seem to make the stories less important. Maybe it is the nature of cinema, but it is a rare movie that is better than its book.
originally published on my blog Bookwi.se
"Reflection on what it means to truly change"
Dallas Willard is one of the originators of the modern spiritual formation movement. Willard, and his protege, Richard Foster, have done much to refocus the Evangelical world on spiritual disciplines and intentional focus on spiritual growth.
Renovation of the Heart is the most comprehensive book I have read by Willard on the why and how of truly changing (and he means heart, mind and actions). As I read the book, I kept thinking of Paul's thoughts in Romans 7:15 about doing what he does not want to do and not doing what he wants to do.
Willard responds to this common frustration not by creating a five step program or some other silver bullet, but a fairly detailed discussion of what it means to really change. This is a fairly dense book. I spent more than three weeks working on it and really I am not sure how to review it.
On the positive side, there is real spiritual wisdom here. On the negative side, there is a lot of rabbit trails and it could have been organized better. I also listened to the book as an audiobook read by Willard himself. He is not the best reader and I think even if he had been a good reader, this is content that should be read in print, not listened to on audio.
I am planning on re-reading it in a little while. I was given this in hardcover a while ago, and then picked it up on Kindle when it was free, but it wasn't really until recently when I have become more interested in spiritual direction and spiritual formation that I really had much interest in reading it (and picked it up on audible when it was on sale).
Over the past couple months I have been meeting with a spiritual director and this book was helpful to the discussion of our last meeting. It seems I keep having the same revelation but it wasn't really until reading this book that it sunk in. Knowing something is important, but knowledge by itself does not create change.
One of the more helpful sections (which again, really wasn't new, I just heard it differently) was about becoming a different person. Not through willpower, or correct knowledge but by becoming the type of person that is the type of person that does what you want to do. We do this in part by actually just doing what you want to do, knowing you are forcing yourself and not always doing it willingly. And creating the discipline it takes to actually change.
Personally I am extraordinarily undisciplined. But I intellectually know that my spiritual growth is lessened because I am not consumer of scripture as I should be (I like reading theology and history, and even commentaries more than scripture itself.) But the way I become a consumer of scripture is in part by being a person that intentionally sets aside time to read scripture. In some ways it is pretty easy. But Williard is clear that while we have a role, spiritual growth is not about willpower. It is about being open to God working in us as we respond to him.
Williard is setting aside space after conversion where we need to respond to God. This is not about justifying ourselves to God or saving ourselves by our own works. Salvation is something else. Sanctification (or progressively becoming more like Christ as some others put it) is voluntary. We can choose to participate with the Holy Spirit in our transformation.
And I think this is where so many get uncomfortable. They emphasis salvation by Grace to the extent that they can allow no role for us. Willard and Foster and others are careful to emphasize that we are not saved by our own works (although some others still believe we have some role in accepting our salvation), the emphasis here is after salvation. That is not to say there are not dangers of legalism or spiritual pride. Legalism and spiritual pride are always the dangers of spiritual growth. But we cannot refuse to progress spiritually because there is a danger of sin.
This is not a book I would recommend to someone that is starting on the spiritual formation investigation. It is too dense and meandering and always careening on the edge of spiritual danger because Willard is assuming a fairly mature believer as the reader.
One example of this is that Willard repeatedly emphasizes the need for a church grounding as we focus on spiritual formation. But so much of the book is written to the singular you. In an interview in Discipleship in the Present Tense, James KA Smith talks about the difference in approach between him and Willard. Smith very clearly respects Willard, but Smith believes that Willard can be easily read to place the role of the individual above the role of the church.
And I agree with Smith, throughout the book, even with his frequent comments about the church, there is an underlying individualistic focus. I think a mature believer can read that and give proper weight to Willard's warnings. But many would read Renovation of the Heart as justification for why they should leave their dysfunctional church and go it alone because they are 'much more serious about spiritual growth than any church they know of.'
Frankly I am not sure I am spiritually mature enough to get what I need to be getting out of this. So I will ruminate and come back again later.
originally posted on my blog Bookwi.se
"Georgie goes to a wedding in Transylvania."
I am a big fan of fluff reading. Some turn the noses up at the idea of a book that does not fully engage the mind or bring up deep ideas. I am certainly not opposed to big idea books. But you just can't only read big idea books, or you are distorting part of the purpose of reading.
Her Royal Spyness series is a light cozy mystery series. They are set in the early 1930s with Georgie (the 34th in line to the throne) as the main character. Her family is broke and she is trying to make it on her own. But she keeps stumbling into (or being pushed by the Queen) into situations where she has to use her head to solve the mystery.
Royal Blood is the fourth book in the series. And Georgie is starting to find her place as a detective. Her would be boyfriend Darcy, (if they can ever get together), is clearly some sort spy/secret service agent. There have been a number of hints, but it has not completely come out yet. So he is good muscle and and a stabilizing force, but it is mostly Georgie that is solving the mysteries.
This is a cozy mystery, so I don't expect any hard hitting crime drama. But I think the books are better when Georgie is actually taking charge and investigating instead of just falling into situations. At times Georgie's lack of confidence and 'woe is me' attitude is over played. She is a royal, she has been trained in all of the social niceties and she has been providing for herself for the past year now. So some of the little girl issues need to start dropping away.
Darcy and Georgie do not end up together at the end of this book (but there is a better footing than the previous book.) At some point the romance will be dragged out too long, but right now it is fine.
"Exactly what I am looking for in a Christian bio"
read A Passion for God first about three years ago. It is one of those books that has stuck with me more than most.
The main reason is that Tozer is a perfect example of something that theologically I don't really have a category for. Tozer, by nearly everyone that knew him's estimation, was a real and passionate man of God. But at the same time he was distant from his family (especially his wife), personally lonely and probably leaned toward clinical depression.
It is not that I don't think Christians can be depressed or lonely. I certainly think they can. But Tozer, like several other pietistic leaning pastors that I have read or read about seemed to lack many of the interpersonal tools of relating to those closest to him (while pouring forth energy on others.)
As with the first time I read the book, the most damning sentence in the book is a quote from Tozer's wife who remarried after Tozer died. Her standard answer when people asked how she was doing after re-marrying was a variant of: 'Aiden loved Jesus but (her new husband) loves me.'
Dorsett unlike most Christian biographers does not shy away from this difficulty. In fact, I suspect that it is this difficulty that drew him toward Tozer as a subject.
In spite of the fact that as a Christian that believes in the universality of sin and the fact that God frequently uses broken people for great things, I (and I think most other Christians) still expect our Christian leaders to be whole, healthy and examples. But no one today would look to Tozer as an example of how to relate to your wife or raise your children. While none of Tozer's children left the faith or held long term resentment toward Tozer that is not the case with many other family members of some of our less exemplary Christian heroes.
Tozer is just one example of many recent and older pastors and Christian leaders that did great things for God and genuinely seemed to have the anointing of God on them, but were far from perfect in their personal lives. One of my personal heroes, Brennan Manning is an alcoholic and in his recent memoir has said the only thing that keeps him from drinking now is that he is too weak to do anything by himself (including getting a drink.) John Yoder, a great theologian and pacifist, is now known for his sexual harassment and abuse of women around him. Jonathan Edwards (and many others) owned slaves.
In small and great areas, many of our great heroes of the faith were far from sanctified and holy. And I am torn about how and whether to recommend some of the spiritual writings of those whose sins seem most repugnant to me. But does that just hide the fact that all who have gone before have been sinners? Is it just my personal blindness to sins that are less repugnant to me that allow me to embrace some while having difficulty with others? (Let alone all those that I just don't know enough about to know about their sins.)
I do not have a theological answer for why God seems to still work through broken people (and people that are still broken and filled with sin after their conversion and throughout their ministry). I do not have an answer about how sanctification really works (although I do believe that sanctification is a real goal of all Christians and that we should be striving after becoming more Christlike, of which, a part of being Christlike is becoming more holy.)
I re-read this book in large part because I want to keep this story in the front of my consciousness. That tension seems to be part of the long term issues within the Christian church. We will not solve it. I think living with the awareness that God does use us in spite of our weakness, and at the same time, our sin keeps us from being fully used by God in some areas, is difficult but a necessary part of Christian maturity.
"Previously published chapters compiled to a book"
I am an unabashed fan of NT Wright. I have read most of his popular level books (except the commentary series) and a few of his more academic oriented books. I appreciate his focus on calling people to a fresh look at scripture and his ability to take scripture seriously while maintaining real academic quality.
But on the whole I was disappointed by this book. It is a re-working of articles that have previously appeared elsewhere. Most of them were commissioned by US journals or from chapters in books that were for US audiences, so as a Brit, he is most of the time consciously writing for the North American Evangelical audience.
His basic arguments, like most of Wright, is that given historical realities of the original writers and audience, we modern readers tend to be missing the intended point of the original writers.
As with most Wright he needs to go through a fairly long narrative to be able to help the reader understand his point. And I think that is why his full length book treatments are better than these shorter issue based chapters.
The problem is not so much the individual chapters, but that in almost every case, he has a better response in a full length books (and he frequently tells the reader that there is more to the story if you want to pick up another one of his books.) So his first three chapters on science and religion, the historical Adam and the resurrection were all better handled by his book Scripture and the Authority of God.
The fourth chapter, The Biblical Case for Ordaining Women, is actually one of the two issues in the book that was new to me (although he says he has brought up several of the issues before in his commentary series.)
The fifth chapter is theoretically about environmentalism, but is really a short version of his Surprised by Hope book about eschatology.
The sixth chapter is the only chapter that I think might be better as a chapter than the book. Wright's Evil and the Justice of God was decent, but in this chapter he does a better job of summarizing by saying, we cannot solve the problem of evil. Instead, God has chosen to give us scripture, not as a way to intellectually solve the problem of evil, but as a way to remind us that God is with us through difficult times.
Several of the later chapters are more political and this is where likely a number of bad reviews will focus. Wright have a very good defence of why a scriptural church is a political church. And Wright also is theologically consistent with his politics. The problem for many readers is that those politics do not match well with our US political systems. So Wright is 'conservative' about sexual issues, 'liberal' about environmentalism, international debt and immigration policy, and off the political map in regard to terrorism. He is against anabaptist retreat and attempts of re-creating Christendom. As I have said in regard to his discussion of politics in other books, I think he is theologically right about most of his points, but he is not a great economist, political historian or political theorist. (And I agree with him in a large number of his political stances.)
If there is a main theme in the book it is that we are now all Epicureans. It is the focus of the chapter on Idolatry, but comes up multiple times throughout the book. Essentially this is not unlike what some others describe as modern Deism. But Wright believes that Epicureanism is actually a better description. The short description of Epicureanism is that it is a believe that the gods don't really care about us or at least don't have much influence over our daily lives, so we might as well live for pleasure because that is something we can do.
The rest of the chapters not mentioned are basically the same. Good topics, fairly well handled by Wright, but always feeling a bit too rushed and too thematically squeezed into the book. On the whole, I would just suggest that you read Wright's others books and skip this one, unless you are really interested in his take on Epicureanism or Women in Ministry.
Personally, I think you should start with Scripture and the Authority of God, then read Surprised by Hope and Simply Jesus and expand from there as you have time and interest.
3 stars is probably too harsh, but I give very few 5 stars and this just isn't quite a 4.
"Nicholas has to come to his own faith and purpose"
I am continuing to really enjoy the Church of England Series. Mystical Paths is the fifth of the Church of England series and is the start of a spinoff series about Nicholas that starts with High Fliers. There is one more in the Church of England Series, Absolute Truths. But that book goes back to the 1960s again and revisits the original protagonist that started the series, Charles Ashworth.
Mystical Paths broke the series format again. This book is mostly a mystery/thriller. Christian Aysgarth, the oldest son of Neville (subject of books 3 and 4) died in 1965. But Katie, his wife is still troubled with the thought that it was not an accident, but a suicide (and she is to blame).
Nicholas, with his psychic powers, so a like but so different from his father's, wants to bring healing to Katie, but instead brings her pain. So as penance Nicholas seeks out the truth of Christian's death.
Of course being the Church of England series, Nicholas has to confront his own sin and the way it separates him from God and distracts him from his own path and calling.
It is a very different feel, not only the elements of mystery, but also paranormal thriller. Because one of the very real possibilities is the Christian was possessed by a demon and/or is a ghost currently haunting those that were around him.
Again, this is a very different sort of book from traditional Christian fiction. There is a lot of sex, drugs, alcohol and other sins in this book. But I think it serves well the intent of most Christian fiction to get the reader to examine their faith and seek out a deeper faith.
(originally published on my blog, Bookwi.se)
"Ernst Bloefeld (of SPECTRE) is back"
When I was a kid I loved James Bond movies. And I still mostly like new James Bond movies. But as I re-watch old ones the cartoonish villains bug me. Lasers to shoot down rockets, stealing all the gold in Fort Knox, etc. are just a bit silly.
I stumbled on the movie of On Her Majesty's Secret Service sometime last year and made it through 20 or 30 minutes. The set up is a bit ridiculous. The bad guy has a lair in the Alps where beautiful girls go to get rid of their allergies. James Bond sneaks in find out what is going on.
The movie was a bit silly, but the book was actually the best of the Bond books I have read. And from a story perspective, it seems to be one of the more realistic. It involves bioterrorism, but I won't reveal the actual story.
This is also the book that is famous for Bond getting married.
As much as I enjoyed it, this is the last of the Bond books I have purchased and I think it is the last I will purchase.
"A classic biography of St Francis"
GK Chesterton's biography of St Francis is one of the classic biographies of St Francis and Chesterton attributed his work on this book to his eventual conversion to Catholicism. Both of which were good reasons to read (listen) to this book.
I have started paying attention to the audiobook discounts when you first purchase kindle books. So I picked this book up at the beginning of July when I had some promotional credits at Audible. I might have been better served by reading the kindle version instead of listening to the audio version. Chesterton is not the easiest author to read. He has a lot of asides and his fairly conversational writing style takes some getting used to. That and he is brilliant.
Chesterton's biography of St Francis is not a traditional biography. Instead it is partially a biography and partially an exploration of the state of the Catholic church at the time of Francis and how Francis changed the Catholic church during his time and after. So if you are looking for a traditional biography, you will probably be disappointed by this book. It has biographical details, but not many of them.
Honestly my main reluctance to read this was that I assumed it would be hagiography and I really do not like reading hagiography. I want to read about the person, but I assume that the reality of the person is important (not just how great they are.) Chesterton is not writing hagiography. He is fascinated by Francis, but that does not stop him from see Francis as a real person.
Chesterton does, however, defend the traditional views of Francis, including the miracles. He does this not so much because of his superior evidence, but to counter the idea that miracles must be made up because we are in a more modern world that does not believe in miracles.
If this is your first view of either Francis or Chesterton, you might want to at least read the wikipedia page first to give yourself a little background going in.
(Originally published on my blog, Bookwi.se)
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text:
- Studio: Focus Features
- Release Date: Mar 29, 2013
- Starring: Bradley Cooper, Eva Mendes, Ryan Gosling
- Summary: A motorcycle stunt rider considers committing a crime in order to provide for his wife and child, an act that puts him on a collision course with a cop-turned-politician.
- Director: Derek Cianfrance
- Genre(s): Drama, Crime
- More Details and Credits »
Score distribution:
Positive: 29 out of 42
Mixed: 13 out of 42
Negative: 0 out of 42
The music, the cinematography, the acting choices, the daring plot leaps — not a single element is timid or safe...The Place Beyond the Pines earns every second of its 140-minute running time.
Apr 10, 2013The film is so velvety textured and dreamy, I would've stuck around for more. That is Cianfrance's special talent.
Cianfrance is the real deal, and anyone who can persuade talented Hollywood stars to enact nonironic, intelligent, ambitious drama should be encouraged, especially when the result is something like this.
Cianfrance generally shows again that he knows how to build immersive characterizations with his actors. And while this sorrowful triptych is uneven and perhaps overly ambitious, the director displays a cool mastery of atmospherics and tone.
The Place Beyond the Pines can't be said to be anyone's movie but Cianfrance's. Structured as a triptych, the movie is novelistic, earnest and somewhat exhausting — an ambitious effort that tries to be many things. And it is definitely something: a sprawling, engaging study in fathers, sons and sins.
The Place Beyond the Pines is a much bigger canvas, and scene by scene it can be riveting...But the disparate pieces never quite jell; the movie is all trees and no forest.
Mar 15, 2013The film never reaches a climax because it's always in one, distilling the lives of its characters to their tensest moments.
Score distribution:
Positive: 72 out of 87
Mixed: 7 out of 87
Negative: 8 out of 87
Apr 7, 2013This movie is amazing. I feel like Cianfrance knows me, my parents and my family the way he weaves characters together. Blue Valentine already hit close to home and this is Cianfrance doing his thing on a bigger scale. He is a master behind the camera and he has an amazing team in front of the camera. I'm sure this movie will have many haters for its unwieldy structure, but I love this movie and I know others will stand up for it as well. Derek Cianfrance, please keep making movies, because they really do it for me like no other movies do.… Expand
Jul 23, 2013This review contains spoilers, click expand to view. The place beyond the pines is not just a Mohawk denomination for a little town (Schenectady), but is the name of a little-big masterpiece. I totally loved the plot that runs really good and let pass two hour and half like no other recent movie. I loved the acting of Ryan Gosling and Bradley Cooper. So emotionally, so deep and when "Luke Glanton" starts to be a bank robber, your adrenaline stars to flow like him in the movie as well as for "Avery Cross" and his peripeteias.
Derek Cianfrance is one of the "new" cinema's promises and I feel like he'll be back soon with another masterpiece, his job on this movie is just fantastic.
My vote is 9/10.… Expand
May 3, 2013Director Derek Cianfrance's film links together three separate, yet interlinked, stories of two families in a manner that is certainly not without risk. Roughly a third of the film's two hour plus running time each, the shift in narrative and characters, certainly from the first to second, is so sudden that it caused the film to lose all momentum on two occasions. Being led, deliberately no doubt, in one direction by the trailer, I found myself checking my watch after 50 minutes, so sudden is the shift in story. Second time around was less of a shock, as I began to appreciate what Cianfrance was trying to achieve. However, given the fragmented nature of the narrative, being asked to invest in three stories, each slightly less enjoyable than the previous, totalling two hours plus is stretching the capacity of the audience.
That's the negatives out of the way.
Saving and driving The Place Beyond the Pines into success, is the standard of the film's cast and Cianfrance's and cinematographer Sean Bobbitt's visuals. Starting with the cast, the performances of leads Gosling and Cooper are first rate. Gosling's bank robbing rider channels all of the raw, stoic cool, audiences have become accustomed to, while Cooper is excellent as the troubled, professionally and emotionally, police officer, under pressure from wife, father and colleagues. The accolades shouldn't stop there, Mendes gives an emotionally fraught performance as Luke's old flame, Ben Mendelsohn was my favourite as Luke's partner in crime and Ray Liotta dials in the menace as only he can as a corrupt cop asking more of Avery. Youngsters Dane De Haan and Emory Cohen, also hit the right notes with their performances, even though I have to say I didn't like either character.
Going back to the visuals, the film looks stunning, with some excellent vistas and use of colours, interspersed amongst the scenes of bikes racing through streets and forests and personal nature of close-up shots during more intimate scenes.
Certainly different to what I was expecting when I took my seat, Cianfrance took some risks with the plot and didn't win them all but The Place Beyond The Pines is nonetheless a strong film anchored by an excellent cast, superb visuals and strong script.… Expand
May 22, 2013In a time when it is difficult to see something truly original or epic in theaters, The Place Beyond the Pines offers a bold attempt at being both. Essentially split into three interweaving stories of a criminal, a cop, and their two young sons. Very well acted, competently written, and with a somber soundtrack that establishes its dreary and cynical tone throughout. Far superior to Blue Valentine, which I found pretentious and unspectacular. This is one of the good ones, and well worth a shot if you can still catch it in the cinema.… Expand
Jun 12, 2013I read through the positive user reviews of this movie, and it made me think I watched a different movie, than the one they viewed. The way the go into detail about the positives, makes me think they are part of the production crew. I was bored out of my mind watching this. I kept checking my phone countless times, to look at the clock.
I want the last two hours of my life back!!… Expand
- 2:32
- (16 views)
- By user score


text:
Rockaway Getaway - Oustanding Ocean View in Rockaway Beach
- bedrooms 2
- baths 2
- sleeps 6
- pool no
- hot tub no
- pets allowed no
- type Condo
- community
rates (USD)
/ week
vacation rental description
This luxury condo has unobstructed views of Twin Rocks and 7 miles of beautiful sandy beach. Access
to beach, activities and shops are just steps away.
Rockaway Beach is a perfect coast retreat with several restaurants, miles of beach, shopping,
fishing, storm and whale watching and events throughout the year.
property availability
- dates with deals
- unavailable dates
Last modified on 09-10-2008 at 4:30 PM.
email owner view full calendar
Rockaway Getaways 360-713-4605
condo rental amenities
-Custom kitchen with large slab granite countertops and island. Stainless steel appliances and fully
stocked kitchen items for the chef.
-Plasma TV's: 42' wall mounted TV with surround sound in living room, 32' plasma TV in master
-Bedrooms equipped with queen pillow top in master with full over twin bed in 2nd bedroom.
-Condo is fully stocked with washer and dryer, supplies and linens.
-Incredible detail throughout condo featuring wall of windows, designer tile, propane fireplace and
deck with breathtaking views.
-2 assigned garage parking spaces
activities and attractions in Rockaway Beach Oregon
-Antique stores
-Site seeing
vacation rental rates
High Season (Memorial Day - Labor Day) .......... $199/night (3 night minimum)
Winter/Spring Break Holiday Rates ............... $180/night (3 night minimum)
Low Season ...................................... $140/night
City tax rate of 8%
Cleaning Fee $70
Rockaway Getaways 360-713-4605
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text: Celebrity Moms Who Design For Kids Sketching For Baby: Celeb Moms Who Design For Tots by Rebecca Gruber 10/18/10 0 Reactions 3 Shares Print 0 1 2 0 0 After having a baby, lots of mamas search for items they can't seem to find for their lil ones. While most resort to the next best thing, some create it. These celeb mamas have lent their names and their visions to baby products your tots may own! Source: WireImage Tori Spelling's Little Maven What's Your Reaction? 0 0 0 0 0 0 The Beverly Hills, 90210 alumnus and current reality star launched her infant and toddler collection in March 2009. The Hollywood-inspired designs are often modeled by her own tots, Liam, three, and Stella, two, in ad campaigns. Source: WireImage 1 / 5 Tiffani Thiessen's Petit Nest What's Your Reaction? 0 0 0 0 0 0 The just-launched Petit Nest collection of nursery products has two stylish names behind it. Fellow Beverly Hills, 90210 alumnus Tiffani Thiessen joined forces with HGTV's Design Star finalist Lonni Paul to introduce a line of nursery furniture, crib linens, and wall art for mamas with an eye for modern design. Source: WireImage 2 / 5 Ali Landry's Belle Parish What's Your Reaction? 0 0 0 0 0 0 The former Miss USA and Doritos spokeswoman is bringing some Southern charm to lil girls' clothes with her Belle Parish line of traditional and heirloom pieces. With delicate smocking, embroidered ribbons, and sweet ruffles, the vintage-inspired pieces are ideal for special occasions. Source: WireImage 3 / 5 Jenny McCarthy's Too Good What's Your Reaction? 0 0 0 0 0 0 Autism activist and former Playboy playmate Jenny McCarthy is lending her name to a line of affordable, nontoxic infant and nursery products, all designed to create an environmentally safe home for tots. Source: WireImage 4 / 5 Soleil Moon Frye's The Little Seed What's Your Reaction? 0 0 0 0 0 0 When Punky Brewster had her first child, she became acutely aware of how difficult it was to find eco-friendly goods for tots. She went on to open The Little Seed, a one-stop shop for healthy, nontoxic goods for kids. She recently launched a line of organic basics at Target. Source: WireImage 6 / 5 0 1 2 0 0 Read More NurseriesCelebrity MomsLil Apparel celebrity moms Jessica, Busy, Tori, and More Shared the Sweetest Snaps of Their Tots This Week! 1 day ago Watch Celebrity Families Take On the ALS Ice Bucket Challenge 1 day ago Divorced Celebrities Who Keep the Peace For Their Kids 1 day ago Let's Hear It For the Boys! See Melissa Joan Hart's New Kids Collection 1 day ago Rachel, Ivanka, Neil, and More Shared the Sweetest Snaps of Their Tots This Week! 1 week ago Kelly Rutherford Goes Public About Her Custody Battle — Would You? 1 week ago Link Love Mom forced to stop feeding baby homemade formula — BabyCenter Blog The easiest ways to save on organic food — The Stir A look inside Fergie's second baby shower — Celebrity Baby Scoop Danielle Jonas debuts her baby bump — People Moms & Babies 7 light and fresh recipes to take you through Summer — FitPregnancy Does where you live affect your risk for PPD? — The Bump Where to find the best deals on school supplies — Real Simple Now this is how you announce a pregnancy! — HuffPost Parents