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It is not uncommon for entry level photographers to feel uncertain about what to charge for their work. Many feel as though price structures are the most complicated area of their business. As a result, these photographers under cut themselves and unknowingly undervalue their work.
Don't be overwhelmed. Take the guess work out of pricing your work by thinking through the following aspects:
1. Know your market: What is the average value of photographers work in your area? Compare and contrast and decide where your work can fit in. Don't forget to evaluate your service, quality of imagery, and professionalism.
2. Know your client: Some people would rather pay more for a service if it means higher quality. Some people cannot afford anything but the basics. Determine what clients you want to reach and begin arranging your price structure from here. Take note: Unless you are in similar circles and arena's as your potential clients, you may find it difficult to keep to a higher price bracket.
3. Evaluate your investment: How much time to you put into a senior shoot? A wedding? Evaluate hours of prep, driving, shooting, editing, development, service, quality, and interaction. When you have an idea of your hours of investment per shoot, divide your price by this number. How much are you really making by the hour? What is your return on investment?
4. Determine your expenses: Every photographer has expenses above and beyond the time spent in a shoot. This is where many photographers fall short of "making it" in the business; they have not learned to identify the additional expenses of running this business outside jobs. Equipment costs. Time spent. Services. Presentation and packaging. Insurance. Unless your jobs can cover this overhead, you will be hurting for a way to increase your income. Add up this number to get a ball park figure of additional coverage from your jobs.
5. Establish your jobs: Total your hourly rate, and your expenses. This is the number you need to shoot for when pricing your work. After you have totaled this number, divide it by how many jobs you would like per year. This final number is what you ought to charge for your sessions and shoots. Of course, you may need to adjust your pricing more or less, or increase the number of jobs you aim for. At this rate, you will be able to target the pricing of your work to maximize your overall profitability.
John Parli's absolutely right about doing work for family. Doing business with family almost always ends quite badly. I don't make a living off photography, but I do make a living off Information Technology, and the exact same circumstances apply in regards to doing computer work for family members. They WILL expect you to work pro bono.
As soon as my career started budding, I had family members left and right contacting me to fix a PC or troubleshoot home networking issues. It became too much aside my regular job, so I put my foot down and began quoting them prices for my work. With the snap of a finger, 99% of them never asked me to do computer work again. I did have a bad fallout with a relative. Every single time I'd be at one of his gatherings, I'd end up stuck inside working on his computer while everyone else was outside having a good time. One day, I wasn't having it. We haven't spoken in well over a year.
So, my advice to Conrad would be very similar - be weary of providing any type of service to family that you would normally charge other people for. The only family members I will never charge for anything are my parents and my in-laws. Everyone else has to pay up.
Thank you for this well written article!
Annems and others about prints:
I just wrote an article about the costs of business for fine art photographers who produce their work as prints. So often photographers who sell their work as prints (versus services such as weddings and portraits) base their costs on just printing, framing and commission alone. But that can put an artist out of business pretty quickly.
Photographers who produce their work as prints need to be aware of their business costs prior to figuring out what price tag to put on their artworks.
I hope my article helps people. There is a great business calculator linked on my article too. I found it to be very helpful.
Pretty legit post. Will definitely help out in my pricing.
Auto Mechanics charge $80 an hour. With your paper note example, why should photographers only charge $20? As I think my equipment, rent and technical overhead is comparable it should be the same or greater. $20 an hour = 40,000 a year at full capacity. If a photographer wants to make a living to get by you must charge more to account for down time, holidays, benefits, etc!
My photo pricing question is a bit unusual. I have a request for use as a stage backdrop & have no idea wht that is worth. Any help or suggestions are appreciated. Thank you.
i think this was an okay atricle but not enough. i'm starting out a photography business and i really need to know how to price everything. anyone who has a successfull photography company please contact me. i'll send my exsecutive summery to you. contact me through Email. please and thank you
@HANK. It's like you say. They want the world but refuse to pay for it. I think you and many others will enjoy this ranting by Harlan--> http://www.youtube.com/watch?v=mj5IV23g-fE I love it! Free to a charity is one thing and be sure to write it off as such but they approached you. For starters I'd ask for their typical rates but sounds like they'll feed you a line. Base your fees on the amount of people seeing it. Large circulation in this case as its a publication and usage terms. Look into these resources. http://www.cradocfotosoftware.com/fotoQuote-Pro/ as a photo rate calculator. Also, The Photographers Marketplace may provide you with some standard rates for comparable companies in that market.
Long story short Hank. Charge your due. Don't settle for less or sell yourself short. If they won't meet to make both parties happy it may not be the client for you. And this goes for every genre of photography. After-all, is making a name for yourself as the lowballer worth $50? Once the low cost leader always the low cost leader. They'll keep coming back to you for the same rates. Consider that they want your work enough to hound you down so they may not have any other avenues available to acquire an image such as yours. Stand tall. Balls in your court.
First off NEVER give your photography away, it sends the wrong messege by saying you don't value your work. IF they want it bad enough they WILL pay YOUR price you have set. My suggestion is you sit down, go through your protfolio and ask yourself what you would pay for these photographs as if you were looking to purchase them from someone else, then add up your cost of what it took to take these photos i.e. gas, travel time, your time, etc.
One thing to consider, if they are using it one time only there is one fee but, if this one time only is going to be printed say in 10,000 brochures or books, magazines etc. then set a price X's that 10,000. For instance they offer you $50 for a photo, if it is going to be printed 10,000 times then it would be $50 x 10,000 = $500,000. If you only sell the photo for $1.00 x 10,000 that equals $10,000. Always find out what they want the photo for and how many will be printed and make sure the contract states what they want to use the photo for, how many brochures, magazines, books etc it will run in and for how long. And, always make sure you get a line of credit stating that you were the photographer. Hope this helps and good luck.
Hank, I would politely write them a letter and let them know that I charge "x" for all rights, which is probably what they expect. (That's pretty crummy, if you ask me!) I would let them know that youc annot sell the desired rights to them for such a low price, here is your asking price for all rights, and let it go.
It is one thing to volunteer a few times and donate your services to causes about which you care, but you have to draw the line. When I do shoots for my friends, they get the first one for free, and after that, I charge them, but at a lower rate than I'd charge a regular business client. If they can't pay, then we work out a barter. You can't do that with a large company, though.
I'm interested in hearing what some of the more seasoned pros have to say, but I would definitely say do not ever sell yourself short or let someone take advantage of you!
I made a mistake. It was not the National Conservancy. It was Nature Conservancy that I let use my photos http://www.nature.org/ which I figured was a good cause to let people use my Photos to help Conserve the Land and natural area's we have for wildlife and parks.I have never really done photography for money.It is something I have always done in my spare time or when I'm out hiking in the wilderness and traveling to new places.I would like to know what I should be getting for Photos being used for professional publishing companies as I said about books and magazines and I guess greeting card companies.I also had let a company working for my state government use some of my photos on the state Gov Website for Tourism for free as they had requested to use some.
I keep getting requests from book publishers ,magazine publishers,greeting card companies and others for permission to use my photographs for their own publishing.How do you set a price on that?Some tell me that they will include my name as a reference to who had done the photography and others that I know are going to make thousands if not millions on wildlife and identification reference books offer me only $50 for each photo and want me to sign a contract. The story I always get is ohh we only have a limited budget and can only pay you this much. I am thinking like really??How should I negotiate with them? .I let the national conservancy use my photos for stationary and flyers one time and then I get requests for more free use and lowball prices. If i could get decent prices,I could buy even better equipment and take a lot more photos of things that I missed because I couldn't zoom in close enough and not good quality.I don't mind letting some people use my photos for good causes but If people are going to have me waste my time signing a contract that binds me to whatever they want,I'd like a little more than $50.
My "Old Prestigious" Boarding school in New Zealand are showing a keen interest in my Black & White photos (Mint Condition) They show my Headmaster standing next to Prince Andrew at the school Chapel in 1983. I know that these pics can be used by the school in T.V Documentaries / Websites / Photo & Card Sales / Books / Magazines / Souvenirs...
How much should i ask???
Hello i am just staring off my business and have NO CLUE what to charge people for their photos. I have MANY wanting wedding, engagement photos, parties, family portraits and other types of shoots. What should i charge? HELP!!!!
Hi Lynn,
It doesn't matter if you're just out of school or not. Your selling your talent as a photographer, not your age. If your images are professional, charge professional prices (see what local portrait studios are charging).
And don't give them a CD of the images. If you do, they will make their own prints and you won't get anything. Create a webpage with the images that they can look at, or get together and show them the images on a computer, and they can select what they want.
Good luck with this.
Have Fun,
Hi there i'm just about finished school about a month away and i have been ask by 4 different families and a couple to do family photos for fall in October and i would put them on CD and let them choose which photos they would like to have printed as a 8x10, 2 5x7's and some wallet sizes, but i have really no idea what to charge? I was going to charge 150-200 just cause i'm just getting out of school. But i do want to make some money as this is going to be my career but also dont want to be over-priced either just for a beginner out of school.
If anyone can suggest anything that would be awesome. Thank you
I do mainly wildlife and landscape photography. My cousin-in-law has a mud bog, for those not familure it is for 4WD vehicles to play in the mud. Any way, he wants me to not only photograph the trucks going though the bog, he wants me to also make the fliers promoting this weekend event. I'm stuck on pricing.
When he was first getting started, out of the kindness of my heart (and stupidity) I wasn't charging him for my "services" but, the time has come to set a price. I have no compition in my area for the photography or designing and printing of the fliers. I do the photography, editing, design the fliers and print them.
I would appreciate if someone could give me an idea of a starting price.
Thank you in advance.
Those people were right: Your quote was more than generous!
Think of it this way, though: You probably avoided working with a nasty client!
^^^Under construction^^^ I recently had a relative (my cousin) ask me to shoot head shots for her daughter's sweet 16 party. Like a VIP thing. I figured I would bring lights, all my camera equipment, 2 hours of shooting, cart all my equipment away, editing and a cd with the final images. I told her $150 and she was appalled. This is a person that has more money than God (which I know doesn't matter). Everyone I talked to said I should quote her three times that much. The funny thing is, is that her husband is a tile installer and he did my tile in 1999. I estimated he took about 14-17 hours laying and grouting the tile, plus his time with the estimate and picking up the tile. He charged me $3495 for the job. And I never said a thing. I was happy with his work. But after her attitude towards MY price, I thought she has a lot of balls!
Amber, I would suggest you try to stay in the ballpark of what others in your area are charging. Aside from being 15, if you can produce quality images that they love and do so in a professional manner you should deserve every penny. Don't sell urself short just to land a gig (aside from a port builder or two if need be) or you will soon become the "cheap photographer". Its hard to shake that. And you also don't want to drive down prices by offering a lot for a little.
Best Of Luck!
I'm still having problems deciding on the price for photos. I'm 15 and I'm taking pictures at the park, my house, and places they would like to have them done at. I'm having a little photo shoot this weekend and it would be nice to know what to charge so I don't get taken advatage of.
A good similarity in the "high" price for 4 hours of wedding photography is a stage production. In the price of admission, are you paying for the actors/actresses and other staff for just a few hours of a show on stage? No, there's much more that went on behind the scenes to make it happen.
John, you should price as you are comfortable. Some people just say 3 times your retail cost for the prints. Others add in other factors.
I'm thinking about raising my own prices, because they've been the same for a few years, but you really shouldn't worry about what others think about your pricing.
You DO want to make sure you are making a profit and charging for any time you spend on the photo, of course (like if you do your own framing and also based on how much post processing you do.)
Just my two cents.
Jennifer Moore
JenniferLynn Productions, LLC
I have been selling 8x10 prints without matting or frame for $20 plus tax, but now some people want 11x14 and I am not sure how much to charge, I just charged one person $35 plus tax, is this not enough to other photographers told me I should have charged $50, plus the photo just won a contest so I was told you should charge more because of that as well, pricing seems to get so confusing, I just dont want to cheat people or myself, so please give me some advice.
Sorry Conrad but I'd suggest running away as fast as you can. Shooting for friends and family with the intent on making anything off it is just a cruel joke we put ourselves through constantly. I know, I know, they said don't worry... just charge 'em what you normally would. Well, my friend, when it comes down to it they just want it for free. The going rate for shoots such as these is 10% more than normal in hopes of driving them to someone else : ) It just makes for a sticky situation in my eyes. Now, maybe it has worked out some of the times but the majority I would say are a waste of time and mainly energy and broken relationships. I could go on and on but that's my two cents. I would strongly urge you against it unless you really really need some portfolio work. Just play like a pro and not a pal. They are hiring you as a professional.
Best Of Luck Conrad!
Hope it works out.
-John Parli Photo
I am a student with the Art Institute of Pittsburgh's Photography Program. I am hoping to eventually become a Professional Photographer, many of my friends that know I am studying for this are already asking me to take their family pictures and such. I have no idea where to begin telling them a price for the sessions. If anyone would be willing to help me out, any input would be greatly appreciated. Thank you!
There is an old saying: ( the reason people do not make more money than they do is, That they do not
ask for it. I have been self employed for 40 years and I see this time and time again.
Christina started a good discussion here. Above, Hal mentioned the father of the bride being amazed at a price tag for four hrs of work. As he stated he explained the reasoning. GREAT job! It is our duty as photographers to educate our clients. Don't undervalue your work to please them. Explain yourself and educate others on the work involved on the back end of things and more times than none the client is cool. This is an art and a profession after all.
Determining an hourly rate is a starting point, but I would not suggest quoting a fee based on the number of hours a project will take. As you gain experience you will find that you shoot faster, and thus complete an assignment faster, so as you get better, you earn less. I would suggest using the hourly rate to determine your bottom line, then increase your fee to reflect your expertise. Your neighbor may charge you $5 for a fantastic print of Yosemite, But an Ansel Adams print from the same vantage point will cost more. Part of what a client pays for is the photographers expertise and ability to deal with problems that come up. The ability to get the photo, no matter what problem comes up, has value.
Absolutely determine your hourly rate, that's what you need to pay your bills, but then add on a fee for your knowledge, experience and professionalism.
Have Fun,
Hi, I would like to know have much to charge for my photo's, I've been asked to take head shots of 9 or 10 individuals and put them on CD. How many images should I put and charge for the cd's and how much should be my hourly rate
Very interesting site, this is a difficult problem in knowing what to charge, I would love to know what to charge for images that will be used for a website.
I've asked the question "what should I charge" before and usually get an answer from people similar to number 1. above. "Know your market". That's all well and good, but to know your market you need to find out what other photographers in your area are charging. A great many of them don't post this information on their websites; they expect you to call them for a custom quote. So, it can be hard to get this information.
I agree with what Jen M. said. This came at just the right time as I have been asked by an old high school classmate if I would shoot her wedding in January. I've never done a wedding before and had no idea what to charge. She doesn't have high expectations. She wanted someone affordable and I'm wanting to build a portfolio, so it works out well for both of us.
That link posted by Meagan Summers was absolutely awesome!! What a great followup comment. The information there was really useful as well. DPS should consider doing a more in depth article such as what was posted at that link.
This is a great article to help you personally and to help those newbie photographers who ask you, "how do I know what to charge." I was just asked that question today. Thanks for giving me an article to share with them!
TreeFrog Studios
Wow. This article and the follow up comments are fantastic! I really appreciate all of the information here.
I'm primarily an art photographer, but will take on promotional jobs (musicians, products, etc.) and have not had a clue as to what to charge.
This has been very, very helpful!
Jennifer Moore
JenniferLynn Productions, LLC
What about weddings? I have only done one wedding, and it was for a family member. I did it as their wedding gift. Now, after seeing the photos, I'm getting requests for pricing info. I notice most photographers do the wedding books. I have never done one and to be honest, the thought terrifies me! What is a good price method for weddings in a small town?
It's a good start to be thinking towards an hourly wage, even better a salary, but there are so many other elements to consider for a freelancer when pricing: overhead costs to keep your operation physically running, taxes, retirement/pension, insurance, marketing, equipment and computer upgrades, continuing education and training, and the list goes on. A hobbyist shoots for beer money, but a freelancer can't survive for long at those rates. "Take home pay" is just a slice of a freelance photographer's rate.
I would argue that you might be undercutting yourself and undervaluing your work.
I have been taking a course with a well known landscape photographer. Part of the class is on marketing your work. He says that an hourly charge for a "photographer for hire" rate is cheap at $100.00 per hour. He says most are getting $200-300 per hour.
That must be understood as different from coming up with a price for a print you are selling.
Must read article on pricing structure: http://mcpactions.com/blog/2009/10/12/how-should-i-price-my-photography-words-of-advice-from-jodie-otte/
Best article i've ever read on really understanding what goes into our prices.
annems - triple or quadruple your COSTS. The "norm" is 2.25 times your cost, but if they really want your work, they will pay the price you put on it, period. Example - I get 24" x 36" prints and I sell them at 4 times my cost, and that is print only.
I have just entered 3 images into a local (country town) art show held during a big market day weekend at the local church hall.
They have asked for a price on each image.
This is a first for me so I have not used archival paper or mat - just some Ikea frames (A3 size,mat included).
The images are glossy 8X12.
My thoughts were to cover the cost of the printing + frames + entry fee + 20% church commission and then I get confused . . . . I am proud of the images but I am still a happy hobbyist. . .
any tips???? . . . ;)))
A good article. I agree with Jitzul: Approaching your client with a per hour number may become the deal breaker as hearing "$100 p/hr" may freak them out and get them calculating the hours they think you'll need.
I have also had friends encouraging me to up my prices simply because they know that I not only do whatever I can to get the best shots possible, but the care I take in going through every shot in post pays off in reputation points, leading to more clients. It's a tricky part of this business, but as the article expresses (and I have been learning) calculating your time and expenses outside of the actual shoot are things we newbies pass off, so be careful to understand your TOTAL value.
THANK YOU for this article. As a very new NEWBY, I struggle with this ALL the time. THANKS AGAIN!
I can't tell you how many bride's fathers (who have to write the check, but seldom see the work done) who have said to me, "I can't believe you're charging me so much for FOUR HOURS of work!
I have to gently explain to them that, from first meeting, through formal sitting, casual sitting, selection meeting, wedding (the 4 hours), processing, printing, book choice meeting, book assembly, portrait printing and final delivery, a wedding photographer puts in about FORTY hours!
Then I say, "I don't know how much you need for YOUR 40 hours of work, but I know how much I need! They usually understand, then.
The point is that the customer has to be educated as to what he/she is getting when they hire a professional.
I include everything, calls, text messages, equipment hire (don't have my camera as yet), transport.
The shoot itself: type of shoot/hours taken which I label as labour/ creative
Post-production: editing, packaging.
Great article and it touches on points that most customers don't also realize - that there's more work than capturing the photographs.
John Michael
"Preserving the memories so others will remember..."(tm)
I was asked recently how much I would charge to do a group portrait. As I do not normally do portraits I was stumped for a response. This article has given me a starting point to come up with one. Thank you!
I used a sample format for CDB (Costof Doing Business) worksheet. added all of the vairables to establish my base price per hour. When it comes to doing jobs outside of my normal business I give a daily quote and discount it based on the work/shoot to be done. If I do portraits for friends or family I quote my standard rate with a discount. That way when someone see my work and asks, I have told my friends and family that they got a discount, and it is reflected in an invoice they get. I don't undercut myself for what my rate should be, and if I feel that I can work with a new client I can comprimise without killing my self. Hope this makes sense.
I went through this when I got asked for a quote for my first job. I would have charged far less, but a friend urged me to get my price up, so I set it at $600 for a full-day shoot + $300 for post-processing, making it $900 per day of shooting. I held my breath as I passed the quote across the desk, but I got the contract.
Another thing worth noting is that pricing by the hour is not a very client friendly method as it is very hard to exactly predict hours before-hand and the client almost always wants a final price. It is much better to generate a single static price with a very specific list of deliverables.
In order to calculate the final price, do like above and calculate an hourly rate and then estimate the total hours. However, the hourly rate itself should remain confidential from the client. Most clients don't think in terms of expenses and such, if you go in and say that you charge $100/hr, they immediately think that is full profit and in their head they being calculating exactly what you make a year, so in their mind they figure out how much you make at 8 hours a day, 52 weeks a year and they start to think, man this guy is greedy, if he charges $100/hr he makes over $200 000/year! They don't consider that you will not often be booked 40 hour/week and they also don't consider the other expenses associated with creating what you create.
With an quote, be as concise as possible. Have a specific list of exactly what you will give. How many photos, In what form they will be delivered, how long it will take, how long you will spend on site shooting etc. Also it is often wise to come up with a few quotes with different options to give the client choice.
Try to make your estimate as detailed and concise as possible and also try to leave openings so that you can "over-deliver", for example, if you plan to deliver 40 photos, deliver 45 and make sure the client knows that you gave them some "extra" as a bonus. Remember that 95% of their opinion of you is formulated by the final 5% of the job.
Very good and helpful article; but what about art photos. What is the price of limited edition framed & signed photos?
I'll be honest; I consider base costs such as framing and printing etc. and then I add some tags based on my own feelings about the photos. For some of the photos such as prestigious award winners I'm not reducing the price. But sometimes I feel like I need to reduce the prices and I do so.
In Turkiye, there is a very small market for art photography and there are very few number of art photographers. Maybe you know more about art photography price tags. I would love to read an article about that as well.
Take care..
Thanks for this article! I think we too often under value the time that goes into a session. The client only sees the hour you spend with them when you're behind the camera. They forget the numerous emails, calls, travel and editing.
In response to the picture in this article, it says 3 hours shooting and 6 hours of editing.
I learned that you should not be longer busy with editing then shooting. So if your shoot is 3 hours, then you should edit for a maximum of 3 hours. If that isn't the case, then you are doing something wrong.
I have established prices for my "standard" photography services. The challenge in pricing I have found comes from requests that go outside those standard photography services. Like last week a videographer wanted me to just shoot behind the scenes shots of his product set at two different locations. Also, shoot the models with the product as best I can given the setting when time permits. No editing required, just submit the photographs.
I came up with $50 an hour because I knew the job would be 9am to at least 5pm affair. It ended up going to 6pm and I was very satisfied with the pay rate I got for the job considering the hours I put in.


text:
New York's financial hub is looking to electronic trading and London to help it through any disruption during Hurricane Sandy, which is due to reach the US east coast today.
As the storm closes in on New York City several banks have made preparations to shift their trading activities to London, according to Dow Jones.
Closures of the transport systems in New York have meant that many traders have been unable to get into the office on Monday, which poses a challenge for banks in the currency market, because clients have standing orders that are triggered when prices pass through designated levels.
However, Citigroup, the world's second-largest foreign exchange bank, has said that its London trading operations will be 'picking up the slack'.
Australia's Westpac Institutional Bank won't have any of its 40 New York staff at their desks when Sandy hits. It said: "We will be covering the US time zone out of London and out of Sydney, so we'll just run longer out of London."
"It's very seamless to be able to cover for each other and pass books off electronically."
Electronic trading systems should allow banks to automatically execute orders from anywhere. The widely used EBS electronic currency trading platform is working as normal, said owner ICAP.
EBS is the largest voice and electronic interdealer broker for the global foreign exchange market and said its global operations group is providing additional backup.
Geoffrey Yu, a strategist at UBS, told Dow Jones: "Global banks are well prepared for such eventualities and even if traders can't get in to New York, orders can be processed electronically, so the impact on markets will likely be limited."
The BBC has reported, however, that New York based exchanges Nasdaq and NYSE have been forced to shut completely for the day. It is the first time in 27 years that the stock markets have closed for a full day due to adverse weather.

subset: commoncrawl


text:
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Friend's Email:
Subject: I have found a DVD that I think you would enjoy
|The Mouse That Roared
Actors: Peter Sellers, Jean Seberg, William Hartnell, David Kossoff, Leo McKern
Director: Jack Arnold
Genres: Indie & Art House, Comedy, Kids & Family, Military & War
UR 2003 1hr 23min
Sellers stars in three roles in a story of a little country that plans to find financial security by losing a war to the U.S., but whose plans go awry when it wins. — Genre: Feature Film-Comedy — Rating: UN — Release Date: 8-... more »
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Member Movie Reviews
Michael G. (doctorslime) from SAGINAW, MI
Reviewed on 11/15/2010...
B & W campy old Movie.
It is classic peter sellers, if you don't love peter then this movie may be to campy for you.
(Potential Spoilers Alert Do Not Read Further)
He plays at least 3 roles in this movie, You ought to count and see how many more he does play, so therefore he is almost always on the screen at all times for this farce. In which a tiny country which finds its self broke decides to go to war with the USA? Why? Because if they do, they will loose... and if they loose they will get money spent by the victorious soldiers in their country, plus lots of foreign aid from the Stupid USA. Sounds like it might work right? Well they try to invade the USA and something goes wrong.... That is the whole theme and plot of this movie.
Movie Reviews
Forgotten classic
Orrin C. Judd | Hanover, NH USA | 04/02/2002
(5 out of 5 stars)
"Sadly Leonard Wibberley's hilarious satire, The Mouse that Roared seems to be making the slow sad transit from wildly popular bestseller and hit
movie in the 50s and 60s to cult classic in the 70s and 80s to largely forgotten in the 90s and 00s. The book, which was originally serialized in the
Saturday Evening Post from December 1954 to January 1955 as The Day New York Was Invaded, is no longer in print--despite the fact that the
tattered copy I'm holding is something like the 30th printing. And the film does not seem to have been transferred to DVD, though I did find a copy
of the equally funny sequel, The Mouse on the Moon. Our growing amnesia is unfortunate, both because this is just a funny story, and also because
current events reveal it to still be timely.The tale concerns the Duchy of Grand Fenwick, a tiny European nation which "lies in a precipitous fold of the northern Alps." It was founded in
1370 by British soldier of fortune Roger Fenwick, under not altogether honorable circumstances. Practically the only thing that is produced there,
and the only reason anyone has ever heard of it, is a fine wine called Pinot Grand Fenwick. Other than this one export, the nation remains happily
isolated, a medieval remnant in the modern world, ruled over by Duchess Gloriana XII--"a pretty girl of twenty-two" in the book, a more matronly
woman in the film, so that Peter Sellers can play her--and her prime minister, the Count of Mountjoy (also played by Peter Sellers).As the story begins, crisis has descended upon the Grand Duchy in the form of revenue shortfalls. It is determined that the most effective way of
raising money is to declare war on the United States, the pretext for which is the introduction of a San Rafael, California winery of a wine called
Pinot Grand Enwick, a provocation that can not be allowed to stand. As Gloriana explains the aims of the war : All in all, as I said before, there is no more profitable and sound step for a nation without money or credit to take, than declare war
on the United States and suffer a total defeat.It's easy to see why the fortunes of this story changed over the years; written just a few years after the Marshall Plan, it resonated in an America that
had won WWII and rebuilt its enemies. But in the late 60s and early 70s, the Left determined that America was evil and that there was nothing
honorable nor humorous about the Cold War, Vietnam, or any of the other seemingly benign extensions of American power. Wibberley's witty
insight must have seemed the stuff of delusions or insidious propaganda to folks who had convinced themselves that we were really an imperialist
nation. But now that the "blame America first" crowd has been routed, you can read that speech above, or watch the movie, and hear the eerie
echoes coming from Afghanistan. What might Mr. Wibberley have made of the absurd notion that at the same we were bombing the Taliban and Al
Qaeda we were bombing the rest of the Afghanis with food supplies? And the rest of the war has played out exactly as the Duchess Gloriana would
have predicted--the Taliban had no sooner been routed than we started pouring in money and rebuilding that broken nation. You could read through
thousands of pages of anti-American screeds by Noam Chomsky, Susan Sontag, Barbara Kingsolver, and their ilk, without increasing your
understanding of the world by one iota. But in that one speech, Leonard Wibberley basically explains the entire 20th (or American) Century.At any rate, Tully Bascombe, chief forest ranger of the Duchy (again played by Sellers in the film), and twenty longbowmen charter a boat and
invade Manhattan, intending to surrender as quickly as possible. But by happy coincidence, the whole city is underground for an air raid test, and
when first Tully and his chain mail clad "army" are mistaken for aliens and then they capture a scientist, Dr. Kokintz, and his super-lethal quadium
(or Q) bomb, Grand Fenwick ends up winning the war. Armed with the Q bomb, Fenwick forms a League of Little Nations and dictates its own
peace terms and blackmails the U.S. and Russia into a general nuclear disarmament.Tully, hero of Fenwick's great victory, of course gets the girl--Dr. Kokintz's daughter in the film; the Duchess herself in the novel. This gives Mr.
Wibberley one last opportunity for a very amusing, though thoroughly politically incorrect, observation, as Mountjoy tries to convince the Duchess
that she must take a husband : 'I hope,' said Gloriana warily, 'that you are not going to suggest that I marry the American minister because I won't do it.
I've been reading about the Americans in a women's magazine and they're all cruel to their wives,' 'Cruel to their wives?' echoed the count. 'Precisely. They treat them as equals. They refuse to make any decisions without consulting them. They load them up with
worries they should keep to themselves. And when there isn't enough money, they send them out to work instead of earning
more by their own efforts. Some of them even make their wives work so they can go to college. They are not men at all.
They are men-women. And their wives are women-men. If I am to marry, I want a husband who will be a man and let me
be a woman. I'll be able to handle him better that way.'Of course, the ultimate truth of this sharp observation lies in the final line, Gloriana's certainty that theoretical "equality" is unnecessary for her to
actually control a husband.Both book and movie are a great deal of fun. They are well worth seeking out. That their satire is once again applicable to the events of the day
should be reason enough for a revival.GRADE : A"
"How did the war go?" "I think we've won."
M. Hart | USA | 07/14/2005
(5 out of 5 stars)
"In 1959, a hilarious Cold War-inspired film entitled "The Mouse that Roared" was produced about a fictional tiny country named "The Duchy of Grand Fenwick". Grand Fenwick is no ordinary country. First, it's the smallest country in the world (about 15 square miles). Second, it's the only English-speaking country in continental Europe (located in the French Alps). Third, it's primary source of revenue is its wine; which was quite popular in the United States until a Californian winery started to bottle a cheaper wine with a similar name to the Grand Fenwick wine. Several letters of protest had been sent to the U.S., but no response had ever been received, except from the U.S. Department of Agriculture about growing grapes. To prevent bankruptcy, Prime Minister Count Rupert Mountjoy (Peter Sellers, 1925-1980) makes an unusual suggestion to the Grand Fenwick Parliament: declare war on the United States, then immediately surrender so that the U.S. will provide bountiful amounts of monetary aid. Grand Duchess Gloriana XII (also played by Peter Sellers) doesn't initially like the idea of going to war, but she acquiesces and the Prime Minister Mountjoy calls upon the Grand Fendwick military Field Marshal, Tully Bascombe (again, played by Peter Sellers), to lead Grand Fendwick's 20 (or so) man army (wearing chain mail from the Middle Ages) to invade the U.S. in New York City, where they can surrender to U.S. immigration authorities. Grand Fendwick's Declaration of War is perceived initially as a prank in the U.S., which is more interested in the development of a new super bomb (dubbed the Q-bomb) by the well-known scientist Professor Alfred Kokintz (David Kossoff, 1919-2005), who is also in New York City. Due to the potential destructiveness of the Q-bomb, New York City is evacuated. So, when the Grand Fenwick army arrives, there is no one around for them to surrender to. Instead, they proceed into the emptied city and are misconstrued by some evacuation officials as being extraterrestrials because of their chain mail. When Tully happens across a newspaper, he realizes that they are not far from where Professor Kokintz is developing the Q-bomb and decides that surrender isn't necessarily the only available option. What follows is a complete shock to the entire world.
Even after 46 years, "The Mouse that Roared" is still a hilarious and very entertaining film, and Peter Sellers did a superb job of portraying three very different characters. Overall, I rate "The Mouse that Roared" with 5 out of 5 stars. Other memorable characters include Professor Kokintz's daughter Helen (Jean Seberg, 1938-1979), General Snippet (MacDonald Parke, 1891-1960), Will Buckley (William Hartnell, 1908-1975, who is better known for being the very first "Doctor Who" on the long-running BBC sci-fi TV series of the same name), Benter (Leo McKern, 1920-2002) and the United States Secretary of Defense (Austin Willis, 1917-2004)."
A delightful Cold War satire
Michael J. Mazza | Pittsburgh, PA USA | 10/23/2005
(5 out of 5 stars)
""The Mouse That Roared," directed by Jack Arnold, is an entertaining satire about the fictional Duchy of Grand Fenwick, a tiny European monarchy which may remind viewers of such real countries as Liechtenstein or Monaco. With his country facing bankruptcy, the prime minister of Grand Fenwick announces his clever plan to declare war on the United States of America; his intent is to lose the absurdly uneven contest and reap the benefits of post-war American aid. But things don't go quite as expected.
"Mouse" opens with a whimsical animated title sequence that effectively sets the tone for the rest of the picture. This is followed by a funny faux-documentary sequence about the fictional duchy, and then by the actual story. The film is a splendid showcase for the great Peter Sellers, who plays three characters, all citizens of Grand Fenwick: the scheming prime minister, the venerable duchess, and the mild-mannered commander of the duchy's pitiable army. Sellers is absolutely brilliant; he creates three wonderfully distinct characters, and it's especially fun to see the scenes where these characters interact with each other. His performance(s) alone make the film a classic in my reckoning.
I found "Mouse" to be an enchanting and enjoyable film, full of absurd images and amusing lines. The marvelous sets, costumes, and props are full of wonderful details that make the film a delight for the eye from start to finish. And despite its comic tone, the film touches on some very serious issues that remain timely. I think of "Mouse" as a gentler cousin to the classic "Dr. Strangelove," another military satire that stars Peter Sellers in three different roles; together I think the films would make a great double feature."


text:
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Hiking the Appalachian Trail typically doesn't lead to having one of the most popular booths at the People's Choice Festival of Pennsylvania Arts and Crafts, but that's what happened to Georgie Lehoop.
The Saint Claire, Pennsylvania native was hiking along the trail 15 years ago when an idea came to him: painting with drumsticks instead of brushes. A drummer for 50 years, Lehoop knows how to swing a stick with confidence, but it took 8 years of planning and 7 years of practice before he was ready to show his art to the public.
"I paint on all kinds of things – canvas, clothing, old cymbals, drum heads, vinyl records," Lehoop says. "Anything I can drum on."
This is Lehoop's second year at the annual arts festival in Boalsburg, and he says it's one the best of the 40 festivals he attends every year. He says he always receives strong positive reaction to his uniquely abstract, percussive paintings.
State College couple Derek Kalp and Kelly Keefe took Saturday morning as an opportunity to do some early Christmas shopping while enjoying the wide range of art on display, which included painting, photography, sculpture, leatherworking and other mediums from artists from across the state.
"There's a lot of talent in this area, and it deserves recognition," Keefe says. She says the People's Choice festival helps to highlight the work of people all over the state who "maybe don't get as much recognition as they deserve, or would get in a big city."
Roland Paronish, who brings his metalworking to 32 events per year, says the Boalsburg festival is easily in his top three. Unlike some other fairs, Paronish says the local culture appreciates art for what it is, rather than viewing his work as mere souvenirs.
"The attitude of the buyers here really set this apart," the Hastings, Pa. resident says. "They make you feel good about your work here."
Paronish got his start painting murals for children's rooms, but took a job in a steel mill when he started his family. He describes his current work, which ranges from small sculptures made of railroad spikes to massive dragons and mooseheads, as "just what you get when you mix those two jobs together."
Boalsburg resident Elli Groninger also accidentally stumbled into metalworking art some years ago, having combined her knowledge of welding with her experience as a toy designer in Los Angeles. Her booth on the Pennsylvania Military Museum lawn featured sculptures and ornaments ranging from the cute and whimsical to the dark and grotesque, all made of metal recycled from cars, appliances and filing cabinets.
"When I was a toy designer, they would give the monsters I designed to an ex-Disney guy to make them more kid-friendly," she says. "Living in the Mojave Desert, I learned to weld and took my crazy designs and started making them out of steel."
Though she sells and displays her art at only a handful of shows and events each year, she says she loves being a part of the "living museum" of the People's Choice Festival.
"It's just wonderful to be here," Groninger says. "It's like a museum where you can stroll through, touch things and take home them with you."
Penn State Football: Five Star Settle Eying Nittany Lions
Beaver Stadium Tours Available Arts Fest Weekend
Chance of Storms Through Arts Fest, 'Polar Vortex' to Bring Cooler Days
Penn State Trustees Approve Tuition Increase and Annual Budget
Newly Elected Trustee Proposes Board 'Finish' Investigation Freeh Started


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Celebration for two more new JBLM schools set for Wednesday
The public is invited to help Clover Park School District celebrate Wednesday's grand opening of two new elementary schools new this fall on Joint Base Lewis-McChord.
The celebration for Meriwether and Rainier elementary schools will take place from 4 p.m. to 5:30 p.m. Wednesday at 10285 Compass Ave. on JBLM-Lewis North.
Special guests include U.S. Sen. Patty Murray; former U.S. Rep. Norm Dicks; JBLM Joint Base Commander Col. Charles Hodges Jr.; and Col. David Kumashiro, commander of the base's 62nd Airlift Wing.
The event will include a ribbon-cutting ceremony and self-guided tours of Meriwether.
Two other elementary campuses on the military base, Carter Lake and Hillside, were the first two schools in the U.S. to be completed as a result of the federal Military Child Education Initiative. They opened last year.
Meriwether and Rainier are the third and fourth new Clover Park schools to receive funding from the Department of Defense and Washington state's school construction assistance program. They replaced the old Greenwood and Clarkmoor elementary schools.
Both Meriwether, with a capacity of 450 students, and Rainier, built for 650 students, were constructed in new locations. Integrus was the architect, and Tacoma-based Korsmo Construction was the general contractor and construction manager.
Both schools are designed for collaborative learning, and both have new sports fields. Each facility was built with sustainability and energy efficiency as priorities.
Another JBLM elementary school, Beachwood, is currently under construction. Funding for Evergreen Elementary, which will be Clover Park's sixth elementary school at the base south of Tacoma, is pending.
Parking for Wednesday's event is limited, and carpooling is encouraged. Visitors can obtain passes at the JBLM-Lewis main visitors center, Interstate 5 exit 120. The visitor pass process may take longer on busy days, so plan accordingly.
For more information on the celebration, call the Clover Park School District community relations office at 253-583-5040.


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grade point averages and the love letters sent by the wind and rain, the snow and moon
by worriedteacher
i picked up a tweet earlier today from @mike_rat concerning the possible/probable introduction of GPA (Grade Point Average) scores. this emanates from the UK's Higher Education Academy facilitating a discussion on the introduction of GPA in the UK.
alongside this a number of UK universities are considering introducing GPA unilaterally (i think).
i am not sure why this particular item caught my attention, and why it 'troubled' me. i paused, and tried to locate where the feeling for this piece of news resided. i felt my heart pounding – like a flight/fight response. for a moment i wondered whether this was just an effect of the viral flu i have been suffering and/or the tinnitus.
for reasons i am still unsure of (and mike was very accommodating to my strange intervention) i tweeted these lines from the Tao Te Ching:
"Fill your bowl to the brim and it will spill. Keep sharpening your knife and it will blunt." Lao Tzu, Tao Te Ching
what on earth did i mean? more properly, what on earth did these words mean to me and how did i think they related to the introduction of GPA?
the tweet appeared just after i had sent a student a very strongly worded email detailing how their draft dissertation would not pass the grade. all the way through reading and commenting on their work i struggled with what we 'scientifically' call formative and summative evaluation. how NEUTRAL these words appear.
i wanted to ENCOURAGE the student's efforts, enthusiasm for the topic, commitment to social justice. i wanted to coach her in skills and tricks of the trade that could enable her to communicate her meaning more clearly. i still hold to what i said, to those nurturing comments in bold. as i wrote those comments, thought those thoughts, offered my own experience, i thought of what this degree might mean for her. i thought about the personal-emotional-financial investment, how this could be more than a private act as much as a family and communal act. i thought about my responsibility in enabling her to SUCCEED.
and then i thought about the network of texts into which she was now inserted – application forms, grade sheets, dissertation cover sheets, applications for extension, student progress reports, etc. i felt the weight of this. i knew she would be judged harshly and that i had better get in first so that she had some chance to get through with something that would affirm her.
so, she was attempting to pour nourishment into her bowl.
i contemplated grading her according to our 100 point scale, index her successes and failures according to percentage points against each descriptor.
i contemplated, in other words, to dehumanise what was an absolutely human endeavour.
i contemplated reducing her fears and hopes, anxieties and dreams to mere numbers.
i contemplated asking her to fill her bowl to the brim rather than choose carefully the food that nourishes, because filling to overflow appears more valued than the wisdom that might arise from her educational engagement.
and the knife that is blunted? the GAP perhaps; every technology of division and discrimination.
i know how students (i am one now myself) may welcome the detailed gradation offered by GPA systems. i know for myself how attracted i am to the descriptors and 100 point scale offered by our masters courses compared to the pass/fail on our professional doctorates. i know how as a teacher they help me direct attention to specific areas for development and to make my job of commenting easier when i am tired and find 'creating' hard. but surely these things come AFTER.
they come AFTER the relationship that is at the core of learning (relationship between teacher and student, between student and knowledge collectively produced over millennia).
they come AFTER the creation of knowledge that is the product of the uncertainty inherent in those relationships, the fact that we come to KNOW because we realise we don't know, or see things as new, or come to KNOW what was formerly FELT.
they come AFTER we contemplate the WHY. why is this (degree, topic, writing, etc.) of value to THIS PERSON in the fulness of their living. all else is simply the games we play or are inclined to play in the context of 'globalisation of higher education'. we know that the GPA will not change the basic discriminatory structure of global higher education.
"Every day, priests minutely examine the Law
And endlessly chant complicated sutras.
Before doing that, though, they should learn
How to read the love letters sent by the wind and rain,
the snow and moon.
Ikkyu, "Rain, the Snow, and Moon"
before we get caught up in how best to grade we should consider how we read the love letters!


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Discovering the Scientist Within offers an utterly unique approach to the research methods course. Rather than taking students through statistical methods one at a time, the authors provide a series of realistic and engaging case studies with each design-focused chapter presenting a single study start to finish. View More
In the article and video, Michael Specter makes the case for why it is so important for people to embrace science, rather than become denialists who ''replace the open-minded skepticism of science with the inflexible certainty of ideological commitment.''
Author: Thanks to Brent Mattingly for sharing the link.


text:
Focus on SEO, Local Listings, and Pay Per Click.
Work Phone: 512.773.9085work Work Email: email@example.com Website: Net Visual Tours
Net Visual Tours focuses on SEO, Local Listings and Pay Per Click. We provide a FREE Market Analysis to determine the best strategy for your success. Net Visual Tours is focused on helping you create a professional impression for your Business or your Professional Photography needs. Let us showcase you at your best for a lasting impression!


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Students pursuing the AAS diploma in Early Childhood Schooling should full 15 credit of Normal Training necessities, 39 credit of core necessities, and 6 credit of electives. I have a Grasp's diploma and about 13 years in the past I began teaching online and it was easy to get in and the work stored coming and coming. You possibly can apply anytime for a web based instructing job nonetheless as colleges are all the time recruiting.
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William and the Black Hole
Deep under the bustling streets of Karachi, hundreds of sanitation workers toil away in toxic fumes with only a rope to help them up to keep our sewerage systems running smoothly, making it one of the filthiest professions of all time.
Walking past an uncovered gutter one day, I found myself thinking what a day in the life of a sanitation worker would be like. We often complain about the state of the city, how monsoon rains wreak havoc each year, how potholes have become a nuisance and how the stench and sight of overflowing sewerage holes take away from the 'refined' posh neighbourhoods. But we spend little time, if at all, to appreciate the things we have and to give a thought to those working under harsh conditions to make our lives easier.
I ventured into Karachi's streets in hopes of capturing the harsh realities of the life of sanitation workers and face the things we often turn a blind eye to.
This photo feature, titled William and the black hole, follows the life of sanitation worker William Javaid, giving us a glimpse into a world that exists below our streets. This series of photographs shows a day in the life of William, an employee of the Clifton Cantonment Board (CBC), a freelancer and a family man.
William Javaid, 36, has been working as a sewerage cleaner for 10 years. He quit his job as a Rickshaw driver in Karachi so he could be applicable for pension.
William is one of the few sewerage cleaners at Cantonment Board Clifton (CBC) who can fully submerge themselves in sewerage water, often necessary for clearing deeply-choked gutters. In this image, his assistant standing with a safety rope watches on.
William enjoys a smoke while working on one of the main roads of the posh residential area of Defence, Karachi.
William uses only his hands and feet to dislodge and scoop the sludge which is then pulled up in a bucket.
In this image, William works as his assistant stands by with a safety rope. Poisonous and often fatal gases can immerse unexpectedly while clearing the gutters. Some of William's colleagues have choked to death as a result of not being pulled out in time. With no masks or protective gloves, a thin jute rope simply tied to the waist is their only 'safety' harness.
William smokes hashish before going inside the gutter. "I can't bear the smell inside the gutter unless I am completely numb."
Sanitation workers relax in between work at Cantonment Board Clifton (CBC), Khayban-e-Ghazi, Defence, as their supervisor (left) looks on.
William is caked with muck by the time he reaches Cantonment Board Clifton (CBC) after a job.
William showers after work at the CBC office.
Sewerage cleaners place their belongings in the sun as it helps reduce the bad odour.
The changing room at CBC.
Every Sunday (on his day off) William works for 'Tao', an Asian cuisine restaurant located in Clifton, Karachi.
William is pictured with his daughter and aunts outside his home in Eesa Nagri, Gulshan Town, Karachi. His aunts run a small pan/cigarette cabin to support her family.
William returns exhausted after work to his one-bedroom apartment in Eesa Nagri. He dreams of owning a 'Shehzor' truck from which he can start a transport business.
William lives with his wife (not pictured) and children in a small one-bedroom apartment in Eesa Nagri. He sends his children to school despite earning as low as Rs12,000 ($120) a month. "It hurts when my children have to reveal my job to their friends and teachers at school," he says.
William's most prized possessions are displayed on the wall of his one bedroom apartment in Eesa Nagri, including personal and religious picture frames, crockery and his children's trophies from school.
William displays his Facebook profile. People often contact him through the social platform whenever they need their gutter lines cleared.
"We are all in the gutter, but some of us are looking at the stars"
– Oscar Wilde
This story was edited by Ibriz Sheikh
If you would like to help William achieve his dream of running a transport business, get in touch with our social media editor [email protected], or send your donations to the following bank account:
Account title: Express Helpline Trust
Account no.: 0056-7900-2713-03
Swift code: HABBPKKA
Bank: Habib Bank Limited


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Beginners Warm / Intro Class
Curious about hot yoga but something still holding you back? Brand new to the practice of yoga in general? Or, have you been coming to the hot class but would like to move at a slower pace while you focus on correct alignment, breathing techniques, and learning the sequence? Join us every Sunday afternoon from 4:00 – 5:00 pm for our Warm / Intro class, a great introduction to a yoga practice as well as a great class to focus on foundations.
Great for those new to yoga or first time hot yoga students, the Intro class serves as a great introduction to the key 26 postures and 2 breathing exercises in our traditional Bikram-style Hot classes. In a more informal class setting, moving at a slower pace with slightly less heat, the intro class provides more time for hands-on corrections and demonstration, so that you can join into our regular Hot classes with more confidence and ease. If you are brand new to hot yoga, or feel you would benefit from an introductory look at the hot series, this class is for you!
New Students: Jump-Start your practice with a 30 minute introductory private session and get your Intro Special Free! (10 Consecutive Days of Yoga)
Sign up here for the Beginners Class, every Sunday afternoon at 4:00 pm.


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by Martin Macisso
This blog is aimed at keeping Maine citizens in their homes, especially when they may be victims of predatory lenders who charged excessively high interest rates, unaffordable loan terms or flat out lied to them at closing. The list of such scumbag "pretender-lenders" is long and class-action legal suits have sprung up accross the Nation on behalf of borrowers who were victimized.
Unfortunately, 98% of foreclosures go through the foreclosure process in both Judicial and Non-Judical states, simply because the Homeowner does not challenge the allegations of these so-called "Lenders". Typically, if a Lender/Servicer/Entity claiming lawful title of the Promissory Note begins the foreclosure process, the homeowner retreats into a pitiful submition of their rights to Due Process.
In States like Maine, the Foreclosure is an actual Civil lawsuit filed, and if a homeowner does not provide a Written Answer (a simple Admition or Denial of the allegation they defaulted on the debt) then the Court issues a Default Judgment against the homeowner and after roughly 90 days the Bank/Pretender Lender or Servicer excersies the Foreclosure clause of the Note and Mortgage and the homeowner is ultimately booted out of their home – rightly or wrongly, lawfully or illegally.
This is a tragedy of the American system of leveraged banking, there's no arguing that fact, but is there a silver lining to this problem? Maybe. In my humble opinion, many middle-class Americans have been victims of another less talked about problem: The High Cost of Living.
Inflation is nobody's friend, unless of course, the inflation is in the form of skyrocketing home prices such as we have seen over the latter decade. Obviously, for current homeowners, sellers and investors this inflation or "Market appreciation" was a Godsend and created Trillions of dollars for the Banking and Real Estate sector during the "Boom times".
However, there has been one segment that has been shut out and actually has suffered in this prosperous economy of the near past: Low income Renters and Home-buyers. Basically, the cost of living in many states and especially in urban areas has ballooned out of control because of inflated real estate because the pace of inflation has outpaced the rate of increase in Wages and Salaries of the average American. Most Americans and especially those of us in Maine, live paycheck to paycheck and have no tangible savings. In fact, for the first time in history the average savings rates for Americans is negative.
So how can the Foreclosure Crisis provide any positive impact to this economy? When a property is foreclosed by a bank and it does not sell at the auction, it becomes a Bank Owned Property also known as Real Estate Owned(REO). The prices of REO's are typically very discounted to sometimes 50% to 70% of current market value. It is estimated by many academics that over half of the 5 million home sales in the US in 2009 will be a foreclosure or short sale. As the majority of home sales become Foreclosure sales the downward pressure continues.
The prices of real estate are dropping like a rock because of this vicous cycle, leaving many house-less, many underwater on their mortgages and many investors waiting on the sidelines. The one saving grace might be the return of affordability to the renter and prospective 1st time home buyer and cash investor. Even after a decade of capitalist Wall Street leveraged banking over-exuberance, the "numbers are beginning to make sense" again when factoring in record low mortgage rates, tax incentives and the emergance of sensible and low down payment home buyer programs.
The very familiar real estate adage, "Why rent when you can own?" might have some legitimacy once again…"when the numbers make sense".
Filed under: Uncategorized | Tagged: foreclosure maine short sale real estate bottom of market reo bank owned properties | 1 Comment »


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On today's podcast, I host an intimate discussion between myself, Colleen Patrick-Goudreau, Honey LaBronx and MikeyPod! We host a big "nelly fit," as we discuss topics such as animal welfare vs. abolition, palm oil, and LGBTQ equality. Please visit their respective sites below!
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@PatrickGoudreau on Twitter
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@HoneyLaBronx on Twitter
Michael Harren:
Subscribe by email!


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It was an extremely low-volatility day in the markets.
First, the scoreboard:
- Dow: 16,504.2 (+25.8, +0.1%)
- Nasdaq: 4,154.2 (-2.4, -0.0%)
And now the top stories:
- Stocks traded in a pretty tight range. Still, it's worth noting that the Dow closed at an all-time high and the S&P 500 remains near its all-time high. In fact, the year-end rally has been so strong that Wall Street's strategists are rethinking their 2014 forecasts. In a new note to clients, Citi's Tobias Levkovich said his mid-2014 targets were basically pulled forward into 2013. "The good news from credit conditions, hiring intentions and capital spending plans on the economy and likely earnings growth can provide upside appreciation potential while sentiment, intra-stock correlation and even valuation suggest concern," he wrote. "Overall, we can get to a 1,975 kind of outcome, but we may also see choppier markets and early indicators on volatility also intimate reasons to be worried." Previously, Levkovich estimated that the S&P 500 would only go to 1,900.
- Pending home sales climbed by just 0.2% month-over-month in November, missing economists' expectation for a 1.0% gain. "Although the final months of 2013 are finishing on a soft note, the year as a whole will end with the best sales total in seven years," said Lawrence Yun of the National Association of Realtors.
- The Dallas Federal Reserve's manufacturing survey index rose to 3.1 in December, which was lower than the 4.0 level expected by economists. From the report:"The production index, a key measure of state manufacturing conditions, fell from 16.9 to 7.1, indicating output grew at a slower pace than in November. Other measures of current manufacturing activity reflected slower or no growth. The new orders index came in near zero, suggesting demand was largely unchanged from November after seven months of increases. The shipments index also fell to around zero, coming in at 0.7, after rising to 14.8 last month. The capacity utilization index declined 8 points to 8.6."
- Shares of Crocs spiked after private equity giant Blackstone said it was making a $200 million investment in the company. The proceeds will finance a $350 million stock repurchase program that will reduce the publicly traded shares by 30%.
- Don't Miss: 36 Crazy Things That Only Happen In China »


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festivals and events
raves and reviews
the sweet scoop
the sweet scoop
Get Sweet On MarieBelle's New Frangelico GanacheSaturday, November 12, 2011 at 11:11 AM - Posted by Megan - (0) comments
Rich dark chocolate ganache gets kissed by hazelnut liqueur. The result? Decadence at it's finest.
Celebrated chocolatier MarieBelle has paired up with Frangelico to unveil an indulgent new truffle flavor just in time for the holidays—the Frangelico Ganache. Blending creamy dark chocolate with luscious hazelnut, this melt-in-your-mouth confection also reveals notes of vanilla, coffee and almond. And it's quite stunning. MarieBelle founder, chef and chocolate artist, Maribel Lieberman, incorporated hues from the Frangelico bottle into the beautiful sunset-colored mosaic design on each truffle.
Last week, I attended an intimate media gathering at MarieBelle, to celebrate the new flavor. The boutique itself is gorgeous. A luxurious chocolate haven, evoking European sophistication and old-world charm, nestled into SoHo's Broome Street. Attendees settled into the shop's darling Cacao Bar—a cozy cafe offering sweet nibbles and hot cocoas—to experience the Frangelico Ganache.
Maribel warmly greeted guests and excitedly debuted her latest creation. "These artisanal holiday truffles embody the flavors of the season, blending the hazelnut flavor of Frangelico with the gourmet taste of high-quality dark chocolate." And to perfectly complement the flavor nuances in the confection, Master Mixologist James Moreland was on hand to stir up three Frangelico-based dessert cocktails (recipes below).
Beginning November 15th, Frangelico Ganache truffles will be available at the MarieBelle retail location in New York City, online at MarieBelle.com and at select department stores nationwide. They come packaged in a variety of sizes, each wrapped in an exquisite ribboned box that is uniquely Mariebelle.
Life is always sweeter with chocolate, and these truffles make a delightful gift that any chocolate lover will enjoy. And to sip while you sweet, try these tasty dessert cocktails from James Moreland:
Frangelico Truffle Cocktail
1 oz Frangelico
1 oz SKYY Vodka
¾ oz cold espresso
Shake with ice and serve up in a cocktail or martini glass. Dust with dark chocolate shavings.
Frangelico Supreme
1 ¼ oz Frangelico
1 ¼ oz Flor de Caña 7 Year Grand Reserve Rum
1 ¼ oz sweet vermouth
Shake with ice and pour over ice into rocks glass.
Cherries Flambé
1 ¼ oz Frangelico
2 spoonfuls sour cherry macerate
¾ oz cherry brandy
Shake hard and strain over rocks in a Collins glass.
The Meatball Factory Rolls Onto The SceneMonday, October 24, 2011 at 10:10 AM - Posted by Megan - (0) comments
Chef Dave Martin knows how to play ball. As demonstrated when the Top Chef alum debuted his meatball-centric menu to an eager crowd during this weekend's preview of The Meatball Factory, which officially opens on Tuesday, October 25th.
Commanding the corner of East 14th Street and 2nd Avenue, this warm, rustic bistro boasts a cozy interior with dark wooden tables, exposed brick walls, floor to ceiling windows and a sizable bar area. The menu of upscale comfort food centers around an extensive selection of house-ground gourmet meatballs, including flavorful rounds of braised pork, short ribs, chorizo, duck, lamb, turkey and veggie. Proteins pair up with eight savory sauces, such as green curry peanut, black truffle cream, spiced up vodka and fire roasted marinara, and fully customizable combos allow diners to curb any meaty craving—you can have your balls on a challah roll, over housemade pasta or crispy, thin-crust pizza, or poutine-style atop fresh cut Idaho fries coated in melted cheese.
So, what makes The Meatball Factory stand out? "Simple, high quality, fun food that's affordable," Martin shared. Nothing on the menu is over $15 and no bottle of wine is priced over $40. Yet, the quality and flavors are top notch. Take the Turducken meatball, made from a house blend of La Frieda turkey, Bell & Evans chicken, Hudson Valley Farms duck confit, sage & allspice. Martin prides himself on prime sourcing and uses his own line of handcrafted rubs, sauces and seasonings to tastefully elevate each dish.
While meatballs are the star here, you'll also find dairy-free and gluten-free options, seasonal salads, vegetable sides, and a tempting array of sweet treats and ice cream sundaes to round out the menu. The 'Thai This' pizza—a mouthwatering medley of ground Turducken, luscious green curry peanut sauce, Thai chiles and Grana Padano sprinkled over delicate cracker dough—is a must-try. For the ultimate indulgence, order up Dave's World Famous Black Truffle Mac 'n' Cheese—a decadent breadcrumb-topped infusion of slow cooked cream, shallots, brandy, sherry, truffles, fontina, thyme and oregano. And make sure not to overlook the shaker of red chili spiced agave on your table. When splashed onto entrées, it adds complexity, depth and quickly becomes addicting. To wash it all down, belly up to the bar for reasonably priced vino, along with 18 taps and 20 bottles of craft beer.
With an evident passion for his craft, chef Martin masterfully pairs new flavors with comfort food staples, creating dishes that you'll want to savor again and again. And since The Meatball Factory rolls out endless choices and combinations aplenty, be sure to come hungry and prepare to have a ball.
The Meatball Factory, 231 Second Avenue at 14th Street, 212.260.8015


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G.K. Chesterton - Orthodoxy
Carolyn's Notes
I invited Justine Olawsky to review this book for us.
Orthodoxy Review by guest critic Justine Olawsky
There are books you keep and books you give away. And then, there are the books you buy over and over, because they manage to be both.
Orthodoxy is one of those.
Some books draw a line in the sand that, once crossed, leaves you changed forever. I can count on one hand the books that measure my life in terms of "before and after." Orthodoxy is one of those. And, lastly, there are those rarest of books that can be picked up, opened to any page, and are so immediately engrossing that you wander off, nose to paper, and lose track of – well, of just about everything.
Orthodoxy is one of those.
Who wants to read a book by an early 20th century Englishman with such an intimidating title as Orthodoxy? Well, you do. Believe me, you do.
Never has so much been packed into such a slender volume – my edition weighs in at a scant 230 pages, with rather large type, to boot.
G.K. Chesterton wrote in 1903 for the Sunday Times that, "[I]f Christianity should happen to be true – then defending it may mean talking about anything or everything.
Things can be irrelevant to the proposition that Christianity is false, but nothing can be irrelevant to the proposition that Christianity is true." Orthodoxy is faithful to this vision – a sometimes wild, sometimes meandering journey that skewers the idols of the age (his and, remarkably, ours) with wit, sense, and charitable good humor.
This book is many things – a spiritual memoir, a philosophical manifesto, a reply to all forms of "modernism," a theological meditation – but, it is never pedantic, preachy, or picayune.
In fact, it is the largeness of Orthodoxy that most astounds. This is a book of the big ideas so often disguised in trivialities.
When a friend asked me to explain what I loved most about Orthodoxy, I could not answer at the time. I loved it too immediately and viscerally to ponder the whys. After a period of reflection, I wrote to her that it was his sense of wonder and use of paradox that most stuck with me. He uses these two tools repeatedly to extrapolate the large from the small.
For instance, in response to the ideas of Calvinism and scientific fatalism – that Nature runs in a fixed, pre-determined course – Chesterton uses the illustration of a child happily kicking his legs rhythmically, interminably for no reason other than his pure, energetic enjoyment of it. And what has this to do with refuting material and spiritual fatalism?
Chesterton goes on to say, "Because children have abounding vitality, because they are in spirit fierce and free, therefore they want things repeated and unchanged. They always say, 'Do it again;' and the grown-up person does it again until he is nearly dead.
For grown-up people are not strong enough to exult in monotony. But, perhaps God is strong enough to exult in monotony. It is possible that God says every morning, 'Do it again' to the sun; and every evening, 'Do it again' to the moon. . .
It may be that He has the eternal appetite of infancy; for we have sinned and grown old, and our Father is younger than we." Wonder-filled, with a twist of paradox at the end. Signature Chesterton.
There is, perhaps, no other writer so completely comfortable with paradox – both as an expository device and a doctrinal reality. Orthodoxy so abounds in these gloriously reconciled irreconcilables that Chesterton titled an entire chapter, "The Paradoxes of Christianity." And this is why Orthodoxy was a revelation. Never before had I been made so aware of the profound mystery of Christianity's tenets.
No writer had ever set before me so many things I thought I knew, and then made them new. The greatest gift was a new level of peace in my faith – that sense that, while I had been turned upside-down and shaken a little, I was finally closer to right-side-up. While many Christian writers toil to produce reams that attempt to explain or tame the Creator of Heaven and Earth, G.K. Chesterton happily concluded that He was unexplainable and wild and invited me to share his wonderment and joy. "Joy," he avers in the last chapter, "which was the small publicity of the pagan, is the gigantic secret of the Christian." It gets even more beautiful and scalp-prickling-goose-bumpy from there, but you'll have to read Orthodoxy to find out why.


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Editor's Message
Marc Jason Gilbert
In June 2007, World History Connected (vol. 4, no.3) featured a set of articles introduced by Merry Wiesner-Hanks and Linda Black examining the history of women and gender. This issue revisits these many-faceted subjects in the first of a series of planned forums and featured articles that offer a globalized case studies approach. Why such an approach is useful in terms of both scholarship and pedagogy is made clear in Forum guest editor Timothy May's introduction, which doubles as a guide to the classroom applications of each essay.
The Forum is well supported by John Maunu's guide to web resources on women in world history which leads off the Featured Articles section of this issue. This guide is followed by an essay by Richard Byers on German Cinema in World History that explores various world history contexts for the discussion of a cinematic heritage that begins with film such as Metropolis (1927), bears witness to the Triumph of the Will (1935), closely observers the antics of Männer/Men (1986), and explores the nature of political radicalism in the Der Baader Meinhof Complex (2008). This essay is followed by a new and hopefully regular feature: an essay addressing scholarly books and articles that are "essential reading" or at least vitally useful resources in world history which some instructors may be too hard-pressed otherwise identify and engage. The section closes with two essays that have the classroom as their sole focus. Jason Webster and Grady Long offer an activity based on the American NCAA "March Madness" sports competition brackets, that will work even in those regions of the world that do not engage in such elaborate contests; from the test-drive I conducted, is very quickly embraced by students. James Diskant offers more than one classroom exercise that his own experience suggests students everywhere will find equally enticing.
The Book Review section of World History Connected also exhibits a new feature, or rather an old feature long absent from the journal made new again: a list of books on hand available for review. In our last issue, WHC's Book Review editor, William Everdell, helped launch a new occasional segment, the Featured Book Review. This issue, Alan Rosenfeld, WHC's new section sub-editor, has been joined by Mary Jane Maxwell (whose past contributions to WHC are manifold) in an effort to expand our book review offerings without any loss of quality. They have managed to assign many worthy titles for future review, so many that the shortlist provided here merely represents what is left in our cupboard. We hope our readers will submit reviews or write us to suggest other titles for review that suit their particular interests. In the meantime, watch as this section, and list of books available for review, grows.
Our next issue opens with a Forum, guest edited by William Ziegler, which will address the recent revision of the Advanced Placement World History course and the implications of that revision both for teachers and also for the field. It will also feature an essay by Craig Lockard on the place of Bob Marley in world history, and much more.
Marc Jason Gilbert can be contacted at email@example.com.
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Content in World History Connected is intended for personal, noncommercial use only. You may not reproduce, publish, distribute, transmit, participate in the transfer or sale of, modify, create derivative works from, display, or in any way exploit the World History Connected database in whole or in part without the written permission of the copyright holder.


text: Bag Skyerne (Behind the clouds) is Anne's latest single, released on 6 May, 2013. The song is a message to her mother who had died 3 years earlier, when Anne was 18 years old. In the video Anne appears nude in a few scenes to indicate her feelings of vulnerability. You can buy Bag