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Outdoor Photography I
Outdoor Photography I
Dates: 08/24/2015 - 08/28/2015
Outdoor photography is all about turning passion into profession. Instructor Michael DeYoung has done exactly that, and during this eye-opening course he'll show you how equal parts technical know-how, business acumen, energy, and patience can lead to a successful career as an outdoor photographer.
Contrary to the title of the profession, being a professional outdoor photographer means significant amounts of your time will be spent indoors handling all of the non-shooting aspects of your job. This course, geared toward the aspiring professional, is no exception. Approximately one third of this class will be spent photographing on location. The other two thirds are spent in the classroom environment where Michael's lectures will cover the current state of the outdoor photo industry, what it takes to break into the business, equipment and techniques used in landscape photography, balancing what you are passionate about with creating salable images, do's and don'ts within this niche, editing, finding your style and more.
DeYoung breaks down the strategies for creating successful photographs and the challenges that can make or break a shoot. From his vast professional experience, he discusses how to compose images in the field for use as publication covers, spreads, and banners, as well as how to choose and place the best colors to make your images pop. You learn DeYoung's methods for selecting locations, identifying a need for a specific market, as well as what to think about during a shoot to simplify the post-production process. He also shares valuable business nuggets on bidding for jobs, writing proposals, understanding contracts, and keeping yourself in front of buyers through well-thought-out self-marketing campaigns.
Shooting scenarios throughout the week include time with "models" from Animal Wonders, a local animal outreach group, an evening visit to Holland Falls above Holland Lake in the Swan Mountains north of Missoula, as well as quick demos at locations near the classroom. Images created at each shoot are critiqued in the classroom, which gives you a chance to hear Michael's advice while also seeing the work of others in your group.
Meeting Space
This class begins Monday at 9 a.m. and ends Friday at 5 p.m. Your class will meet at the following location for the workshop:
Missoula has numerous hotels from which to choose with varying accommodations at different price ranges and locations. There are many other hotels in Missoula to choose from; however, the two hotels listed below extend a special discounted rate to Rocky Mountain School of Photography students.
- Holiday Inn Missoula Downtown200 South Pattee StreetMissoula, MT 59802406-721-8550
Additional Information
The Holiday Inn is a full-service hotel located just 2 blocks from RMSP. A complimentary airport shuttle service is available for those in need of transportation to and from the airport. *Discounted rate available on a limited number of rooms.
2016 Rates:
September 1 – December 31: $99 per night + tax
2017 Rates:
January 1 – March 14:
$102 per night + tax (weeknights)
$112 per night + tax (weekends)
March 15 – June 30:
$112 per night + tax (weeknights)
$129 per night + tax (weekends)
July 1 – August 31:
$139 per night + tax (weeknights)
$159 per night + tax (weekends)
September 1 – October 31:
$112 per night + tax (weeknights)
$129 per night + tax (weekends)
November 1 – December 30:
$102 per night + tax (weeknights)
$112 per night + tax (weekends)
Reservations: To receive the discounted rate, contact the hotel directly at the local number above and let them know you are with Rocky Mountain School of Photography. Our Preferred Corporate Rate code is 3-RMP.
- Staybridge Suites Missoula120 ExpresswayMissoula, MT 59808(406) 830-3900(800) 315-2621
Additional Information
The Staybridge Suites Missoula is located approximately 5 miles from RMSP. The hotel offers a complimentary hot breakfast and suites with fully equipped kitchens.
2016 Rates: September-May: $99 per night + tax (Studio Suite), $104 per night + tax (One Bedroom Suite), $149 per night + tax (Two Bedroom Suite).
June-August: $109 per night + tax (Studio Suite), $119 per night + tax (One Bedroom Suite), $209 per night + tax (Two Bedroom Suite).
2017 Rates: January-May and October-December: $99 per night + tax (Studio Suite), $109 per night + tax (One Bedroom Suite), $179 per night + tax (Two Bedroom Suite).
June-September: $129 per night + tax (Studio Suite), $139 per night + tax (One Bedroom Suite), $209 per night + tax (Two Bedroom Suite).
Reservations: To receive the RMSP rate, please make your reservation at the link below:
Parking downtown is metered Monday-Friday. There are two convenient parking garages located within one block of the school (www.ci.missoula.mt.us/parking). Parking downtown on Saturdays and Sundays is free.
Free parking is available at Holiday Inn Missoula Downtown for participants staying at the hotel.
Air Transportation
Car Rental
Most major car rental companies are available in Missoula and have counters at Missoula International Airport. Please visit the airport website for more details: www.flymissoula.com/Ground_Transportation.
Missoula's locally-owned Dollar Rent A Car franchise offers a special discounted rate to Rocky Mountain School of Photography students. To take advantage of this rate, contact them directly and mention that you are an RMSP student.
Dollar Rent-A-Car
1905 W. Broadway
Missoula, MT 59808
(406) 542-2311
Travel During Workshop
You are responsible for your own transportation during the workshop. For transportation to and from field shoots, we suggest that you carpool to get to know fellow students. Your final email will include a car share list of interested participants.
You are responsible for your own meals during the workshop. Your instructor will allow plenty of breaks in the schedule. There are many convenient and affordable options for breakfast, lunch and dinner within walking distance of RMSP.
Any additional fees and/or supplies will be the responsibility of the participant.
Missoula Chamber of Commerce
(406) 543-6623
Missoula Downtown Association
(406) 543-4238
Michael DeYoung
Michael DeYoung, a former Air Force meteorologist, has been a working professional photographer since 1992. He has broad and diverse photographic interests and successes, but he is best known as an Alaskan landscape, wildlife and adventure sports photographer. A prolific stock shooter, Michael often puts together his own stock productions that involve assembling and working with a team of assistants, other creatives and with people and/or animal talent. His images are represented by four agencies worldwide and he is one of the largest contributors to Alaska Stock, a prominent Anchorage stock photo agency. Michael's images are widely published across a broad spectrum of magazines, calendars, cards, catalogs, brochures and advertisements. In addition to corporate clients in the outdoor gear, apparel and adventure sports industries, he's worked for the State of Alaska Vacation Planner and other tourism industry clients. And Michael is the sole photographer for two award-winning books on fly-fishing. He spent eight years as a photojournalist for the Alaska Air National Guard, retiring in 2001. A sought-after teacher and speaker, he has given lectures and taught workshops for NANPA and for local photography organizations in Alaska.
Michael and Lauri—his wife, business partner and assistant—along with their Lab-Great Dane mix dog, Kyia, divide their time between Alaska and northern New Mexico. The DeYoungs often weave photography with their other interests that include backpacking, whitewater paddling, skiing and snowshoeing, wilderness travel, birding and wildlife viewing.
View other courses taught by Michael DeYoung.
Who should attend Professional Studies courses?These courses are designed for skilled photographers who want a concentrated education in a particular field of photography, and an opportunity to learn from nationally recognized professional photographers in that area of interest.
What are the entrance requirements for Professional Studies?Professional Studies courses are taught on an advanced level and will not cover basic photographic techniques. For this reason, you must be able to confidently operate your camera in manual mode. You must be competent in the areas of digital capture, image processing and management, and working with artificial lighting. SI graduates are accepted into any Professional Studies course upon submission of an application.
Should I take more than one Professional Studies course?Any Professional Studies course can stand alone, but most students take multiple Pro Studies courses. We've structured the courses to allow students to design his or her own individual curriculum from a variety of offerings. Four weeks of Professional Studies courses give students flexibility in setting up a personalized line-up. Please keep in mind that enrollment in all classes is strictly limited. Classes are filled on a first come, first served basis and typically fill early.
Do I need to be a Summer Intensive graduate to attend Professional Studies?Most Professional Studies students have graduated from Summer Intensive, while others have photographic training and experience that allows them to meet our entrance requirements. For applicants wanting to take Pro Studies courses without having completed SI, it is necessary to go through an additional application process. This process begins by an interested student applying for classes on our website. Please contact our office for more information.
How does Professional Studies differ from your workshops?Professional Studies courses are a totally different animal than our workshops. The course content, student population, and expectations differ tremendously from one to the other. The Professional Studies classes are designed for the professional level photography student who wants to make at least a part time income photographing. The content is directed toward giving the student as much information as possible in a short amount of time about how to operate professionally in a particular field. Students are on a more advanced level and they come with the expectation of strengthening their professional style and techniques. Critiques are more directed and focused on marketability.
What is the cutoff date for enrollment?We accept applications on a first come, first served basis until a course is full. We recommend that students enroll early due to the enrollment limit. Although classes typically fill very quickly, we will accept enrollment up to the start of class if space is available.
How many students are in the Professional Studies courses?In order to provide an excellent educational experience, we limit our enrollment to 16 students in each class.
Cancellation PolicyAll courses have a limited number of seats available. Enrollment, along with payment of appropriate deposit(s), reserves a seat in a course. Demand for course placement is high, due to limited enrollment. Withdrawal from a Career Training course is a serious matter. When a student accepts a position in a course, other students are denied that position. If a student withdraws after a course begins, another person cannot take his or her place. Payment of the deposit(s) for Pro Studies courses is due at the time of enrollment. Tuition balances are due 60 days before the course start date. Applications occurring after this date require full payment at the time of enrollment. If payment has not been paid by the deadline, the student will be dropped from that course for non-payment and the first student on the waitlist will be offered the spot. A student who has been dropped due to non-payment may apply again for the course if there is an available seat or he/she may ask to be placed on the waitlist. A student on a waitlist will be contacted via email or phone when an available seat opens up. The student will have until the close of the next business day to inform the RMSP office if he/she would like to take the spot. If the student does not respond in that timeframe, the spot will be offered to the next person on the waitlist.
- A full refund of all money paid will be made to any applicant that cancels the Enrollment Agreement within 72 hours (until midnight of the third day, excluding Saturdays, Sundays, and legal holidays) after the Enrollment Agreement is accepted by the applicant.
- A full refund of all money paid will be made to any applicant who is not accepted by the school.
- A full refund of all money paid will be made to any applicant in the event that educational services are discontinued by RMSP.
- For cancellations received in our office at least 60 days prior to the start of the course, RMSP refunds any tuition paid, less a $50 processing fee.
- For cancellations received in our office 30 to 60 days prior to the start of the course, RMSP refunds any tuition paid, less the $300 tuition deposit.
- For cancellations received in our office within 30 days prior to the start of the course, no tuition refund is due to the student.


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Katana Some Famous Katana Smiths
A selection of articles related to katana some famous katana smiths.
Original articles from our library related to the Katana Some Famous Katana Smiths. See Table of Contents for further available material (downloadable resources) on Katana Some Famous Katana Smiths.
- What is hypnotic trance? Does it provide unusual physical or mental capacities?
- 2.1 'Trance;' descriptive or misleading? Most of the classical notions of hypnosis have long held that hypnosis was special in some way from other types of interpersonal communication and that an induction (preparatory process considered by some to be...
Parapsychology >> Hypnosis
- Hypnosis, volition, and mind control.
- 5.1. Is the hypnotist in control of me? The exact nature of what we experience as 'will' or volition is anage-old philosophical problem that has yet to be resolved by brain scientistsor psychologists. Some aspects of hypnotic responding point out weaknesses...
Parapsychology >> Hypnosis
- Astral Beings and Wildlife
- The astral dimension contains a wide variety of what could be called non-physical subtle energy life-forms; or as Carlos Castenada so aptly calls them: inorganic beings. Some of these have a positive nature (nice) and some seem have a negative nature (not so...
Parapsychology >> Astral Projection
- Can You Bhoga All Night Long? An Introduction to Tantra, East and West
- When you hear the word Tantra, what images come to mind? Turbans and Sitar music? Mind-blowing sex? Most people in the Western world have heard the word Tantra, but few know anything in detail about what it means. The situation in India isn't much different....
Body Mysteries >> Yoga
- Why are some experts skeptical about subliminal influence?
- There was once a legitimate scientific controversy over whether subliminal perception really occurs or not. The question was whether someone can perceive something unconsciously. All kinds of experiments were performed to try to prove that we were...
Parapsychology >> Subliminal Persuasion
- Harding, Deborah
- Deborah Harding began gardening alongside her parents when she was just able to walk. She lives in Ohio with her husband and two daughters. She writes articles on herbal concerns for magazines and web-zines, and gives lectures and workshops on growing herbs...
Real Interviews >> Authors
Katana Some Famous Katana Smiths is described in multiple online sources, as addition to our editors' articles, see section below for printable documents, Katana Some Famous Katana Smiths books and related discussion.
Suggested News Resources
- 'Suicide Squad' Gets a Sweet Poster, Harley's SXSW Tattoo Parlor Announced
- It isn't known if more designs will be revealed soon for other characters like Will Smith's Deadshot and Jared Leto's The Joker, but we'll have to wait and see. ...
- Coquille swordsmith Michael Bell is known for katanas
- Since 1987, Bell has made authentic Japanese swords from scratch in his own Dragonfly Forge - he calls it a "smithy" - from scrap metal he gets from Oregon Pacific in North Bend. His swords are all across the globe and don't come cheap.
- Apple Has Already Won. Now It Should Crack the San Bernadino iPhone
- Among them are companies such as Access Data, Cellebrite, Compelson, ElcomSoft, Final Data, Katana, Logicube, MicroSystemation, Oxygen, Paraben, Radio Tactics, and Susteen. The tools developed by these companies are tested by the National ...
- DC Needs To Stop Assassinating Its Own TV Characters For 'Suicide Squad'
- What I'm wondering is if DC will hunt down all of these characters, Katana included, or if the reason they're doing it is because they want to give only their A-list characters some breathing room.
Great care has been taken to prepare the information on this page. Elements of the content come from factual and lexical knowledge databases, realmagick.com library and third-party sources. We appreciate your suggestions and comments on further improvements of the site.
Katana Some Famous Katana Smiths Topics
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subset: commoncrawl


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Hotels in Lecco, Italy
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Hotels in Lecco
- Most bookedNH Lecco Pontevecchio
115 people looked at this hotel in the last hour
Most recent review
"On arrival hotel staff helpful, especially with parking, even when all spaces (around 20 car spaces) were taken, they helped with free road parking. Booking experience was easy and quick. The room was very comfortable, with adequate space, room was clean & tidy and plenty of storage space. The ro..."
P, Sep 2016, GB
15 people looked at this hotel in the last hour
Most recent review
"The hotel was good,the staff were very helpful and the breakfast was very nice.However the description 'balcony' is somewhat misleading. The room did have a half balcony but it only had room for 2 people standing up. The term 'lakeview' is also misleading as the trees in front of the hotel are ta..."
A Traveller, Oct 2016, GB
13 people looked at this hotel in the last hour
Most recent review
"Great family run hotel. Excellent location facing a small square on the river. Two restaurants nearby. Cycleway along the river. Only downside is parking, but I had no trouble finding a free street parking site around the corner."
A Traveller, Jun 2016, AU
12 people looked at this hotel in the last hour
Most recent review
"Up high on a hill this place is breathtaking if you are a lover of nature. The facility is really feels fresh, new and confortable. It would be a great place to accommodate a large family traveling together. Definity need a car to reach it. Good place to base for Lake Como location day trips, hik..."
A Traveller, Jun 2016, US
- Be Happy ResidenceNo Guest Reviews yet
10 people looked at this hotel in the last hour
10 people looked at this hotel in the last hour
9 people looked at this hotel in the last hour
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"The hotel is lovely with a pool, but the rooms do not have A/C. It was very hot, our room had a balcony and a fan. There is parking. The other problem was- no lights to get in at night. You have to enter a code into a keypad, and you could not see it. The owner is very nice and friendly. Breakfas..."
A Traveller, Jul 2015, US
9 people looked at this hotel in the last hour
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"Hotel very closed to centre! Recently all renovated!! The entrance and reception not very nice and a bit confused but the room are clean and modern No lift bit only 2 floors Breakfast nice but not amazing! The only negative point is the noise from the road! You have to keep the Windows closed..."
A Traveller, Aug 2016, GB
8 people looked at this hotel in the last hour
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"It's a big flat with all its rooms rented, there is one bathroom for 2 flats, and a central breakfast room on the first floor. The host was very welcoming (don't forget it's a B&B so you have to call prior to arrival to agree a check-in time, but that's not problematic), the rooms look very new a..."
A Traveller, Jan 2015, IE
Hotels within 5 miles of Lecco
21 people looked at this hotel in the last hour
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"Fabulous views from restaurant and Large balconies overlooking lake. Rooms were dated but very comfortable and clean. Some rooms have been newly renovated. Service at restaurant was exceptional. Waited on hand and foot. Breakfast wonderful although we only made it one of 3 days! Breakfast is als..."
A Traveller, Sep 2016, CA
Best hotels in Lecco
If you are looking for Lecco hotels in a particular area, you can use the search feature at the top of the page to search by neighborhood, landmark, address or zip code, or you can search by using the built-in map feature. You can also browse hotels in Lecco by type, amenities, and star-rating so that you can find the best hotel. Currently, top rated hotels in Lecco are:
- Agriturismo Deviscio
- NH Lecco Pontevecchio
- B&B Montebello
- Hotel Alberi
- Hotel Lungolago Lecco
The location of your Lecco hotel is important. If you are traveling to Lecco, &StateorCountry for business, you may want to consider getting a hotel close to the airport or near your meeting venue. By doing so, you can really cut down on transportation costs and time. You may also want to book a hotel that offers free wifi just in case you need to get some work done.
If you are traveling for vacation, figure out which attractions or landmarks you want to see and book a hotel that is within close proximity. Although hotels near attractions might cost a little more, you may find that spending those extra few dollars is worth the convenience. You can even find hotels that align with your interests. For example, if you are looking for a relaxing vacation, a spa hotel may be the perfect choice for you.
You'll also want to determine which type of accommodations will suit your needs before booking a hotel in Lecco. If you're traveling with the kiddos, a family friendly hotel will offer larger rooms and more sleeping arrangements. For those traveling for an extended period of time, booking a hotel suite with a kitchenette is a smart move and will feel a little more like home. If you are budget conscience and just need a place to rest your head, a hostel or motel may be all you need.
If you are looking to score the best discounts and deals, use the filter to sort by price from low to high. You can book a hotel in Lecco for as low as $44 per night. If you are looking to cut down on expenses, look for hotels that include free breakfast and parking. Some hotels even offer free shuttle service to and from nearby places. You can also sort by star rating, proximity, and guest rating.
Before you book, check out user reviews. Hotels.com has 412 reviews in Lecco. We show reviews from Expedia and TripAdvisor so you know that you are reading genuine, reliable reviews. Be sure to download the Hotels.com app so you can book your reservations on the go, view amenities, and save the hotels you want to view and compare later.


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Rogue Foundation is socially conscious organization whose goal is to empower children in conflict zones and challenged environments around the world through art and creativity.
Each project brings art supplies to children in need, giving them an opportunity to create, to express, to share and to heal. Their works are exhibited at Rogue Space | Chelsea and all funds are returned to further their ongoing education and development.
Rogue Foundation was founded by Rogue Space | Chelsea gallery owner and documentary filmmaker Kevin O'Hanlon.
Upcoming Rogue Foundation projects are planned for Bosnia, Burma and Cambodia.
Current Projects
I Am Nepal
Benefit Exhibition
I Am Nepal Children's Empowerment Art Project
Benefit Exhibition and Auction
Thursday, April 21
I am Nepal is the seventh in a series of exhibitions by Rogue Foundation featuring the work of children in conflict zones around the world, expanding on I Am Haiti, I Am Afghanistan, I Am New York, I Am Syria, I Am Congo and I Am Palestine.
In February we brought the project to support the children of the Mother and Children Art Foundation at the Jyoti Public School, Kathmandu, the Hillside School in Lapsephedi and to the children of Artudio in the Dolackha region of Nepal, which was very severely damaged by the earthquake.
The concept of the art projects is to give children, who usually are painting for the very first time, the opportunity to create and express themselves in color and to imagine and manifest what they want to occur in their lives.
From this process the children experience the definite positive outcome in the form of an exhibition and sale of their work in Chelsea which is a dream of established artists around the world. The hope is this experience will encourage them to try more creative ventures in their lives and within their communities.
For information on how to purchase the paintings in this exhibition please contact us at at firstname.lastname@example.com or at 212-751-2210. Your purchase will be helping a child in need reach their goals in life.
Rogue Foundation projects are 100% funded by events at Rogue Space | Chelsea event and exhibition space.
Past Project
I Am Palestine
I Am Palestine was the sixth in a series of exhibitions by Rogue Foundation featuring the work of children in conflict zones around the world, expanding on I Am Haiti, I Am Afghanistan and I Am Syria, I am New York and I Am Congo.
In February we completed the I Am Palestine art project with the children of the Dheisheh refugee camp in collaboration with Laylac Center, a progressive community-based organization supporting children though creativity projects.
The children of Deheisheh in Palestine's West Bank have never seen the Sea, even though it is only an hour drive away.
Never having painted before, the children were invited invited to express themselves for the first time with colors and paint what they imagined the sea looks like.
Their artwork will be exhibited at Rogue Space | Chelsea with 100% of proceeds being returned to Laylac Center to fund an art program in the hope that the children will experience one day in reality what they created in their paintings.
Beyond the Armor is a non-profit organization created by a group of artists and activists who are passionate about spreading the message of world peace through art, creating communication and acceptance by removing cultural biases one at the time.
Check out this video recap of our return to Palestine with the art supplies purchased from the proceeds of the "I Am Palestine" exhibition
I Am Congo
Continuing its mission working with children in conflict zones, Rogue Foundation competed an art in Goma, Democratic Republic of Congo in October to support CAMME, a local organization specifically helping children who have not found help in more traditional rehabilitation centers.
The project brought art supplies for the children to paint and express, and was a week of creativity away from their daily struggles and concerns.
Children coming to CAMME have often been the victims of traumatic events that are too horrible for most of us to imagine – forced conscription as child soldiers, sexual assault, starvation, begging on the street, and more.
The project in Congo follows the same format as Rogue Foundation's previous in Haiti, Afghanistan, Syria and in New York's homeless shelters with an exhibition of the children's work planned at Rogue Space | Chelsea in December. All proceeds being returned to the children to further support their educational and lifeskill programs.
Not only is Goma located in the midst of a Congo's red zone, where civilians are routinely slaughtered or raped by soldiers and rebels, but it is also the most volcano-threatened city on earth and commonly regarded as the most dangerous city in the world. The conflict in Congo has claimed in excess of 5 million casualties, more than any war since WWII.
At CAMME, the children are offered a variety of vocational training opportunities, psychosocial assistance, and nutritional support.
As part of the lifeskill training program and to support their further education the children of Camme sew amazing handbags. We brought back a series to offer as part of the Children's Art Exhibition.
Art supplies for the project were sponsored by the Christopher Art Foundation.
read more…
I Am Syria
Rogue Foundation completed an art project with boys and girls at refugee camps on the Syrian-Lebanese border at the end of November, collaborating with NGO Relief and Reconciliation for Syria.
The I Am Syria project specifically assisted R&R Syria's program of trauma support for children who have been affected by the conflict. A benefit exhibition took place at Rogue Space | Chelsea in March.
Each Rogue Foundation project's intent is to provide children with the materials, venue and encouragement to paint, and an outlet to express at a critical time in their lives and to support their further education. read more…
I Am Afghanistan
Rogue Foundation traveled to Afghanistan to Le Pelican School in Kabul, a bastion to Hazarra children. The Hazarra are the the most persecuted ethnic group in that region and simply attending school can be a threatening experience, especially for girls.
The paintings the children created for the show depict the lands and homes they were forced to leave behind. Other paintings conjure new homes they wish they could inhabit someday.
For Hazara children, an education, especially for women, is considered an impossible dream. The proceeds from the I Am Afghanistan exhibition helped fund Le Pelican's mission of helping Afghan children in need.
I Am Haiti
Our initial project focused on Haiti, following the devastating earthquake in 2010. There, children of the Maranatha School and Orphanage were invited to paint their hopes for the future. The 200+ images inspired the "I Am Haiti" exhibition.
Sales from the exhibition funded the rebuilding of their school, destroyed in the disaster. The children's artwork was then commissioned to be made into luxury cashmere scarves as the annual corporate gift presented by Conde Nast to their executives and top clients.
Today Maranatha has 295 full time students and is the best school in north Port-Au-Prince with students routinely scoring at the top of national averages. We have since made five trips back to visit the children at Marantha and are delighted they are now doing so well. Some have even gone on to work as professional artists!
I am Haiti Fashion Scarves Project
I Am Home, New York
RF collaborated with Art Start in working with children living in homeless shelters in New York. Artists from around the world were invited to donate works created around the theme of Home. We supplied art supplies for the Art Start family of children to paint their vision of home. The ensuing exhibition at Rogue Space | Chelsea benefited a series of workshops for the children with established Chelsea artists.
Documentary Series – Drawing Hope
Reporting back from the frontiers of creativity
Drawing Hope is a new documentary series focusing on creativity as a positive response in some of the world's most challenging environments. Directed by filmmaker Kevin O'Hanlon, the series introduces us to political climates around the world through the daily personal experience of a selected creative. Each episode reveals their creative inclinations and processes and how they are shaped by the conflict they witness. Creative resilience is constantly reinforced as a message that hope endures.
The series intends to illuminate the politics of conflict from a grassroots, personal perspective and cultivate an awareness that in the midst of great upheaval and challenge there is also a constant stream of creative innovation which empowers us and future generations.
Upcoming projects take place in Democratic Republic of Congo, Gaza, Burma and Bangladesh.


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Well Played, Mr. Bond
There are plenty of reasons James Bond is cool: He drives fast, fights hard, and lives large. Men want to be him; women want to be with him. The coolest moments in Bond films, though, take place in Monte Carlo. Bond puts on a natty tux, strolls into the casino, and sits down at a baccarat table to gather intelligence, win some martini money, and meet bedmates with names like Pussy Galore, Honey Ryder, and Plenty OToole.
This Saturday night, the Mosaic Theatre (12200 W. Broward Blvd, Plantation) gives you a chance to step out of your boring, not-a-movie life and into the world of Bond when it hosts Monte Carlo Night from 7 to 10 p.m. Blackjack, roulette, craps, and poker give you plenty of opportunity to win a billfold full of cash and prove youre the baddest pseudo-Bond (or Bond girl) in South Florida. No, you wont actually be in Monaco, but youll save a bundle in airfare, and the table buy-in wont cost you a cool half mil. Fifty dollars gets you cocktails (shaken or stirred), hors doeuvres, and enough chips to try to take out the local Goldfinger. The suave accent and double-entendres youll have to provide yourself.
The dress code specifies Monte Carlo Chic, so whether youre looking to meet Xenia Onatopp or want to dress like her, you finally have an excuse to bust out the duds you impulse-bought for your last trip to Vegas. Call 954-577-8243, or visit mosaictheatre.com.
Sat., Jan. 16, 7 p.m., 2010
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Hardcore punk rocker Jennifer's been exiled from her safe, far away college back to her small town. The trouble started when she was caught having sex with her college adviser, Paul-by the Dean of Students. All she wants to do is damn the man and the trouble has just kept coming. She's forced by her socialite parents to work the night shift in her local grocery store while feigning off come-on's from customers and a circa 1950's boss.
Read alsoPower Games
An Xcite Books collection of five erotic stories with mixed themes including m/f, m/m and BDSM. Power Games by Roxy Martin Sexy Vincent Carlton calls Kirsten's boyfriend into the office with free tickets to the theatre, Chris is oblivious to the price he will have to pay for them. Kirsten though, isn't so dumb; with Chris away,…
But things get more complicated when Paul comes back into town for a little stop-and-shop. Jennifer is forced to confront their growing master/slave relationship and the mounting feelings she's been harboring all summer. Meanwhile, Paul the good ol' boy whose grown up playing football and exuding charm is ready to put Jennifer's smart little mouth to work. All she wants is for him to stay. But he won't take anything from her without a price.
Warnings: This title contains graphic m/f/m sexual situations, spanking, a high level of dominance, and submission play.
AlexJouJou, Manic Readers Reviews, 4/5 STARS
"It's a good thing those counters are Formica as the heat from the characters would melt nearly anything else! If you enjoy books with some spunk and the word "sub" has you intrigued then there is a sexy little story here for you…"
Stacey, Dark Diva Reviews, 4/5 STARS
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What is an a apology these days? We are all guilty of cheapening the phrase "I'm sorry." We say it a lot. A lot a lot.
So what does it mean to be really sorry for something? And how do we go about in reconciling the wrong that was made? Some of us would tend to try to sweep our past mistakes under a rug and have them forgotten. But truth-be-told, they have to be dealt with. This is not just that that humans can reconcile with each other, but it's so that it shows a much greater story of forgiveness. Namely forgiveness found in God showing grace and mercy to wretched humans. Showing forgiveness.
But the question remains. How do we apologize to each other? How do we seek forgiveness in the relationships that we have? Derek Webb is attempting to answer these questions and many more. His new album, I Was Wrong, I'm Sorry & I Love You shows a vulnerable side to this man. For many would call him a cynic, or a stone-thrower, or a I'm-going-to-make-my-art-and-I-don't-care-who-I-hurt-or-step-on-or-push-in-the-process type of artist.
I sat down with Mr. Webb over a cup of coffee after we enjoyed a great meal. I mention this because it's important to point out that a meal was shared. This meeting was intentional. Not just for an interview with a large retailer, but truly to make a statement on Derek's part. A statement that says "I'm sorry" or "I was wrong" or "I really do love you guys."
[Spaced throughout this blog post, there are live, acoustic version of the songs from I Was Wrong, I'm Sorry & I Love You]
John: I think the biggest question that we need to start with, Derek, is: What are you sorry for?
Derek: What am I sorry for? I need to start by saying that growing up, I always heard that the three things you had to learn to say to anybody to keep a relationship going were, "I was wrong, I'm sorry, and I love you." Those were the three things you had to learn how to say in a marriage, in a church, in a family, in a business relationship. Coming out of the last five years for me, creatively, from Stockholm Syndrome to Feedback to SOLA-MI to Ctrl, It's been a really experimental, very abstract, three, four, or five years that I think have been pretty challenging to my people.
It just felt like here at the 10-year mark for my solo career, it felt like the right moment, not to restate anything, but to clarify. I've never felt the burden of having to restate anything I've said previously to justify saying new things. I think that's been challenging for some people, because they'll hear me say things that seem in contradiction with things I've said previously. So they assume I don't believe those things anymore.
The rule should be that I'm always building upon whatever I've said previously. I started with She Must and Shall Go Free and I've moved out from there. Unless you hear me clearly recant something I have said previously, assume I still believe it, even if it seems complicated in light of what I'm saying currently.
I realize you can't only agitate people. You have to also make sure that you're resonating with people, too. I feel like I have been really erring on the side of doing the part of my job that involves trying to find creative ways to disrupt peoples' ideas. I have to balance that with saying things that resonate with them, not just poking at people and not just questioning. I need to allow myself a moment for some encouragement and for some hope. There's been a lack of that for the last five years or so.
I don't like to go back. I like to go forward. But this did feel like a moment to clarify and say, "Whatever it is you've heard me say over the last 10 years, 20 years even, let me clarify and give you the context of why I was saying it or what I would hope to have communicated." The posture from which I've tried to say it is being open to being wrong, asking for forgiveness, and communicating love and care.
That is the motivation behind anything I've ever done. It's less of a specific apology and more the modeling of a posture of this is how we do this, this is how we, as diverse members of one body, survive in a room together and build a kingdom together. We have to learn how to tell each other that we're sorry and that we're wrong and that we love each other. That's hard work, but that's what it is.
John: When you left Caedmon's Call, do you think you set out to start poking fingers?
Derek: I don't feel like I knew enough about myself as an artist to have been terribly intentional about that. When I left Caedmon's, the band was putting out a record maybe every 18 months or 2 years. I was writing half of every one of those records, five or six songs every eighteen months. That's just not enough to really find your voice yet. It was enough to educate myself in the craft a little bit in terms of songwriting, but I didn't know who I was as an artist.
That's why I've been so grateful for my first record. We've just crossed the 10-year anniversary of that album, and I toured as a celebration of it. I realized what a kind of prophetic statement that record was for the rest of my career. It had songs like "Wedding Dress" on it, which made it a really complicated fit into the market. But for me, it was really honest and felt really important and it was hyper-confessional.
My conscience was very clear in terms of putting the song on that album. I had the support of my pastor, who knows me, my wife, my friends. I asked questions like, "Is this cavalier, or could this be helpful? This is a hard word, but do you think it's worth it?" Everybody resoundingly said, "Yes. We support you. We think you should. We know it's going to be hard, but you should do this."
I could not have known the trajectory of my career was that I was going to become known for that. I didn't know I was going to find myself as one that was really wired to do that: looking for the bits that need discussion I didn't know I would be in this fortunate position, coming out of 10 years in a really successful band, bringing support with me. It gave me a really unlikely strength as a debut artist.
She Must and Shall Go Free is an unlikely debut record. Any debut artist's first record out of the gate would have gotten dropped after that. But because I had this incredible support coming out of Caedmon's, I was able to push it through. Then I was able to move on from there.
Caedmon's started that way. We wanted to be disruptive. We wanted to say hard things to people and challenge the status quo. We were young, but that's what we were in it for. After a few years, as we started to get successful at it, we became our own worst enemies.
The two worst things for an artist are success and failure, and especially in that order. For us, we did really well really early. Then the things we never wanted in the first place, we weren't getting anymore in terms of industry accolades. It made it really hard to not want to put our hands on the controls and start to tinker with it, manipulate it a little bit.
What happens is, as you get further into it and you have that success at it, the platform just gets higher. You're out in front of more people and the platform gets higher. After a while, your full-time job is working on the platform, strengthening it, being careful with it, and making sure it is steady. You're either working on your platform or you're standing on it, and you just can't do both. For us, we wound up getting off the platform, securing it, working on it, building on it and trying to make it steady.
The higher it gets, the higher the stakes get, and the less likely it gets that you're ever going to get up on top of it. For me, the trajectory for my career has been like a cycle of self-sabotage. I have tried to protect my career against big moments of success. I don't want them. When the label says, "Go do this thing, because it's going to open it up, and you're going to get discovered, and it's going to be this thing, you're going to sell a million records," I will not do it. I will do everything I can to sabotage it.
Any time the label has thought I had a big song for radio, I will produce it in a way that sabotages it to make sure they cannot put it on the radio, because I don't want that. I've had that and I know what happens. My goal is to stay low to the ground. I don't want to get very high, not in front of very many people. I want to stay low to the ground so that if I get knocked off, I can get back on fast.
The platform exists so I can build it back really fast. I want to be tenacious and I want to be able to be faithful. Success and faithfulness are two different things, and it's good to learn the distinction. For me, I don't want to have the high platform. I want the low platform. If I sold a half-million records next year, my career would be over. I'd be miserable. I want to find who resonates with my particular point of view, and how can I really faithfully provide language for them to confess things they wish to believe?
John: What if you found a half-million people that resonated with that?
Derek: There could be a half-million people out there who resonate with what I do, but I don't want them if they come in any less than 10 years. I want it to take me 10 years to find them. If they all come in overnight, then that's not good news. That's bad. I've seen it too many times.
John: On She Must and Shall Go Free, the song "Wedding Dress" uses the word "whore." You would not necessarily attach that word to the church, although in honesty, that is who we are.
Derek: That's who we are told we are in Ezekiel and Isaiah.
John: Absolutely.
Derek: With much harsher language than what's in "Wedding Dress."
John: So you were being very kind to us?
Derek: I can make people blush with "Wedding Dress," but I can clear a room with Ezekiel 16.
John: Were you not setting yourself up to be within the four walls of the church, saying, "Hey, there are issues here."
Derek: Yes.
John: You're essentially saying, "You're looking at some sort of lofty expression of who you think you will become one day, or you're turning into this bubblegum Christian." How did you decide to start moving within that realm, but yet at the same time, attempt to reach out to those outside of the four walls of the church?
Derek: In Caedmon's, I was always the least comfortable one out of the seven of us when we would play at a church. I was always the one that was like, "Man, isn't there a neutral venue in this town? Do we have to play in place where the building itself alienates people? Why can't we be in a normal place where people come and hear music that has no worldview prerequisite to walk in the door, that has no physical structure to it that draws in memories for people of ways they've been wounded?"
I never imagined being a solo artist. All through my life, I've been playing music. And I have always loved collaborating. I've always loved being in bands. I've always loved being somebody's guitar player or somebody's background singer. If I ever did think about what I'd do, I definitely thought I would escape, I'd move out of the ghetto, like I don't want to stay in Christian music or whatever.
I don't believe in Christian music. The word Christian, when it applied to anything other than a human being, is a marketing term. But when I was writing the songs that led to my first record, I realized I had a lot of questions about if church was necessary. Do I have to go to church? Is church a necessary part of this experience? If it is, what's my role in the church, and what's the church's role in this culture? How does all this work?
I have a lot of questions after 10 years in Caedmon's. I think we had been really careful not to bite down too hard on the hand that was feeding us for a lot of those years. I think what finally turned the corner was when I got married and felt a little stronger, a little braver. I started to write songs that really were going after what I was seeing, thinking, "Why is nobody talking about this? Everybody knows about this and nobody's talking about this. Why?"
The band's reputation couldn't bear that at that point, and they were rightfully protective, I think, of what they were building. But they also thought my new songs were important. They wanted me to play and record them. They knew that there's no way I could do it and still be in Caedmon's. That was too demanding.
It felt more like them sending me out. It wasn't like a nasty division. They're still some of my dearest friends in my life. They always have been. I was surprised as anybody when that batch of songs I had at that moment were all very much about the church.
I had always imagined that if I got a record deal on my own, I would go and do it with a normal mainstream company. Then here I am, sitting on a record full of songs about the church. I thought, "This is exactly what some people call Christian record labels do best." It didn't make sense to go outside of the Christian world and then market it back in.
I wanted to be a voice from the inside. I had spent 10 years in Caedmon's, so that seemed subversive to me in a way that I thought was good. That's when I started my relationship with (then INO Records and now) Fair Trade.
I've seen my friends, who have really good, healthy, disruptive things to say—I've seen them push too hard, too fast, for too long and get relegated to having to do that from the outside. I'm not interested in that. I would like to stay, because I am in this community. I am a member of the church.
Even though I feel like over the years I've had things to say that didn't squarely speak to that community only, the fingerprints of my worldview are all over the art that I make regardless of my intention. It's the grid through which I'm looking at the world. My faith in Jesus is on everything, regardless of whether it's an intentionally Christian record or not.
John: Going back to what you were talking about earlier: You would then say there's never been a point in time where you regretted what you said previously.
Derek: No. Not at all. I'm really proud of all the work that I've done, and I'm really proud of all the risks that I've taken.
John: Do you think, within the context of what you've done in the last 10 years as a solo artist, that you have stayed within the four walls of the church because there have been alliances with individuals or organizations that are loosely related to mainstream Christendom?
Derek: Yes.
John: Do you feel that even during those times, you were still within the very core of what being a follower of Jesus is?
Derek: I personally do, but I have a unique perspective on this.
John: I'm sure you do. (Laughs)
Derek: I feel very much like a double agent in that regard. I think what people wouldn't guess about me is that I am probably more theologically conservative than the most conservative of my crowd. I've also wanted to err on the side of recklessly over-loving than fearfully under-loving people. For that reason, I think I have appeared very much on the exterior like some one of these Christian liberals, one of these Christian hipsters. I don't know what you call these people now.
John: I don't know, either.
Derek: Whatever it is, I've been called it all. I don't identify at all with that. I understand how they get there. I just know it's not true. But I'm also more than willing to be misunderstood if it means doing my job well. My job is not to be perceived correctly by some anonymous group of people on the Internet who demand answers from me and want me to clarify my beliefs on things to justify statements that I made. I am not beholden to them. It's not that I don't care in a way that's unfeeling; it just does not influence the decisions I make when I know what the important decisions are.
I'm not interested in drawing lines and speaking in categories, but if people are going to do it, I want to find myself standing where I believe Jesus would have stood. That is on the side of the disenfranchised, the alienated, the oppressed, the under-loved, the complicated.
Jesus recklessly over-loved people with no regard for His reputation. That is a model I'm trying to follow. As a result, I think I've gotten broadly painted a handful of different ways, and none of it really bothers me. It actually kind of makes me feel like I'm doing my job. When I go to particular festivals or conferences, the people who are bringing me don't know that they have secretly invited a staunch theological conservative. I'm happy to be the sheep in wolves' clothing, but I think there's been a real disconnect, mostly because these are no conversations. I'm not willing to try and give a simple answer to a question for which there's no simple answer. That is very much against the grain at this point in culture. Everybody wants simple answers. They want something you can sum up in 140 characters. They want you to give an answer publicly for things that don't have good public answers because of the way information is taken out of context and spread around.
If anybody wants to stay after a show, talk to me for an hour and question me on things they heard me say that they don't think squares with things I've said previously or things that they think that I believe, I will stay for that hour. But I will not make those statements on the Internet, for instance.
I have no responsibility to those people who demand answers, these nameless, faceless people on the Internet, who demand an answer because what I'm saying makes them uncomfortable. I don't have to give them one, and I'm not going to, not if it takes me out of the role of being able to do my job well.
John: Someone once told me that a good artist is a stubborn artist. Are you stubborn?
Derek: Oh, yeah. Do you have that sense yet? I'm tenacious and I'm stubborn.
I barely got out of high school, so I've always had a chip on my shoulder about my education. I've put myself through seminary over the years with a lot of mentors and a lot of books. I used to love to debate after shows. I loved it too much. My most dense years of theological study were also my most dramatically unloving years. I loved really poorly during those years when I was so closely studying the Bible. I don't do that anymore. There are much more important things to me.
If what you believe about God and about people does not eventually inform how you love and treat people in God, then it's doing you a real disservice. You're probably a ringing cymbal or a clanging gong if your theology does not ever become ethics. For a long time, my belief was not informing my behavior. I was being really unloving and loving the fight, because I'm a fighter. But I don't love the fight anymore. People have to be more important than ideas at the end of the day.
Yes, I'm stubborn, but I'm much more interested in the points of unity now than I am over the points of division. I used to really have an eye for those points of division. I wanted to get all into that, get all into the history of it, and get into why I know more about what you're saying than you do. Now I have a lot of grief and regret about who I was for a lot of years and how I treated people and what an unbelievably confusing witness it was to the things that I was trying to convince them of at the time.
John: Does that then correlate with the apology side of it?
Derek: Yeah, but only to some extent, because I feel like I've been trying to say that for a long time. I could take you through every record and show you.
John: Is that what these last four records have been?
Derek: For example, a song like, "I Don't Want to Fight" on The Ringing Bell was basically the result of this experience. I played a show one time, and a group of guys came up to me and said something about, "Yeah, man, we've seen concerts at this church before, and these people are crazy and their theology is this, that, and the other, and we came here just to see you get up there and give it to them." They were really disappointed that I didn't "give it to them," that I actually just did my thing. They were almost acting like when somebody's upset when you had an opportunity to share Jesus with someone and you didn't do it.
John: You didn't have an altar call?
Derek: I didn't have a theological altar call. I hadn't done whatever they were expecting, and as a result, they were mad. They were like, "Dude, what was that?" They actually wound up wanting to fight me about it. And I remember being in the car on the way to the hotel that night writing the song "I Don't Want To Fight."
Following the Prince of Peace, living in peace with people around you is not something you do suddenly. You do it preemptively, you plan for it. If I'm serious about living in peace with people, it has to start right here. I just didn't want to fight anymore. It seemed like a bad mechanism by which to talk about the love of God while being violent to people, which is essentially what I was doing intellectually for a long time.
I think the last four or five years, I've been experimenting with and leaning into the creative side of my job, loving that side of it, but I have been making statements that were starting to get so nuanced and shrouded in poetry and extraction that it got to where people couldn't really find me on the records anymore.
John: You mentioned earlier that both in Caedmon's and as a solo artist, you felt like your art has always been a disruption. That has been the goal, right? You want people to stop and grapple with what's being presented in front of them and then have them process through that.
Derek: Yes.
John: When you look at the definition of a prophet in the Old Testament, they had that same type of mindset, whether they would use that or their ideology behind that. Would you say for the last 10 years, 15 years, Derek Webb has been a prophet to the church?
Derek: When I think about the word "prophet," what that means to me is a radical truth teller. I think artists, in general, have a real prophetic office. They can have a real responsibility for being radical truth tellers. There's almost no other role where you can do it the way you can in the arts. You can do it, but you can soften the blow with a melody. I've always taken that really seriously.
I've had no master plan. I have been, if anything, following coordinates along the way. I don't have them in advance. I'm always as surprised as anybody at what I do next, what the records are, what their content is, what the sound of it is. My records have proved to be more prophetic to me than they have proved to be anything else. Songs that I did not know how much I needed to hear I have to sing.
That is nowhere truer than on my new record. My new record is so particularly prophetic for me where I am in my life right now. That makes those songs really hard to sing. I'm really grateful to have them, because ultimately, that's the role that art can play. That's what I love about old hymns. That's what I love, in a broader sense, about the liturgy and about responsive reading and creeds and confessions.
Every week at my church we recite the Nicene Creed. It's good to do it because I forget it in the week that elapses between then and the last time I said it. What I love about hymns and liturgy is that they provide for me a language with which to confess things that I wish to believe. I don't walk in the door believing the various bits of the Nicene or Apostles' Creeds. I don't walk in believing the contents of our readings from the Bible. I don't walk in believing any of that stuff, and a lot of times, I don't believe the contents of my own music.
I don't believe the things that I'm saying, but I wish to. It's no wonder they're the songs that I have to sing. You might have to listen to them a couple times. You might have friends that make you listen to them, or you might spend a few weeks with my record and listen to it and then not listen to it. I have to sing these songs every night, so apparently I need it more than anybody else does. That's where I've been grateful. They provide language to confess things that I wish to believe.
I would not try to tell you that you could listen to any of my records and find my system of beliefs holding steady, even at this moment, as much as you will find the things that I long to believe.
John: Last question. What's the epitaph at the end of your life?
Derek: This is not an answer to your question. Charlie Peacock, who is a legend in this business and a mentor to me, we have discovered we're wired very much the same way in terms of how we see the world. He said to me one time that he imagines his gravestone saying, "Here lies Charlie Peacock, the man who saw too much." I feel very much the same way. I feel like I have just a hyper-intense eye for justice and for detail. I'm not wired like an artist in that way. I'm not a big, broad thinker. I just see things all over the place, a lot of which I wish I didn't.
I wish I couldn't tell you the contents of the three conversations that were going on at all the tables around where I was sitting at lunch today. My brain can't not hear and see everything. It's part of how I'm wired. I think it's informed much of what I've done in my job. Maybe that's the reason I see the things people don't see or refuse to see. I see it and I can't pretend like I don't—just like I can't pretend that I can't imagine every dangerous scenario when my kid is about to climb up on a bookcase or stand on the back of a couch. I can immediately see all 10 scenarios of everything that can happen.
I can't pretend like I don't see the church, when we are saying things in the culture and we are treating groups of people a particular way, when we are fumbling with the words of Jesus and being a very bad advertisement for Him.
Maybe some people just don't have that perspective. They don't see it, but I do and I go make art about it.
So is Derek sorry? Listen to the album. Watch the video (above) and see for yourself. I think so. For more on Derek and his albums, click here.


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- Those were the words on a sign that was hung from the coat rack in the vestibule of the 45-member Harvest Assembly of God Church on Brownsdale Road in Penn Township, Pennsylvania. 40 members of the church, led by Rev. George Bender, held a book and video...
Paganism & Wicca >> True Stories
Super Smash Bros Melee Toad is described in multiple online sources, as addition to our editors' articles, see section below for printable documents, Super Smash Bros Melee Toad books and related discussion.
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- "This tournament called B.I.N, or Best in New York, was the first Super Smash Bros.
- The full 3/3 Nintendo Direct recap: Star Fox Zero, Metroid Prime damage
- A Super Expert Mode is also being introduced, which challenges players to complete six Super Expert levels with 100 Marios, with 12 new Mystery Mushrooms as the reward. This latest update ... lost all of its color.
- Paper Mario: Color Splash Gives Mario A Paint Hammer
- This can be done with inanimate objects, like flowers or Toad houses, but will also allow him to restore color to Toads to revive them as well. People can also use the Paint Hammer to paint ... Thousand Year Door is now the new Super Smash Bros.
- Are the DLC fighters in Super Smash Bros. worth it?
- The first few fighters to be released were returning characters from previous iterations of Smash Bros., with Pokémon's bad boy science experiment having previously appeared in Super Smash Bros. Melee on the GameCube.
- The genesis of a rivalry: Mango and Armada
- The greatest rivalry in Super Smash Bros. Melee did not begin ... As easy as Mango made it look at times, the hard road that Mango had to traverse to get to grand finals has echoed some of his difficulties against the competition recently.
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CDBG Razing List Has 20 Sites
WHEELING – There are 20 buildings on Wheeling's list of structures to be demolished using federal Community Development Block Grant money, half of which have been under raze orders for three years or longer.
Two of the buildings on that list – one in East Wheeling and one on Wheeling Island – have been under raze orders for more than five years. And six others, including three on Wheeling Island, have been condemned since 2009, according to a recent status report.
According to city Community Development Specialist Gary Lange, the city uses CDBG funds for demolition as a last resort, after exhausting all its options to get the buildings taken down without spending taxpayer money.
"It takes a long time while we go through the process. … By the time the properties reach my desk, they are condemned. They are economically unfeasible to rehabilitate," Lange said.
Most buildings that fall to the CDBG program are smaller, single-family houses that typically cost between $6,000 and $8,000 to demolish, so Lange believes the $200,000 City Council allocated from the current fiscal year CDBG budget will be sufficient to clear the current list. But council only allocated half that amount for demolition out of the CDBG money the city expects to receive for the upcoming fiscal year, and Lange said building inspectors are constantly identifying more structures that need to be torn down.
There are multiple reasons why the process takes so long, from the availability of funds to cutting through the red tape that goes along with using federal funds for demolition.
"We've taken the people to court. We've determined that they don't have the resources to tear them down. Sometimes we can't find the last owner of record," Lange said.
Also, the U.S. Department of Housing and Urban Development requires the city to consult with the State Historic Preservation Office before using any federal funds to demolish a building. And when a property is located in a historic district, as is the case with all seven buildings on the list from Wheeling Island, the city almost always is required to enter a "memorandum of agreement" with the SHPO that ensures detailed record keeping about a building's history to mitigate the loss of the structure itself.
After tearing a building down, the city places a lien against the property for all costs incurred, proceeds from which go back into the demolition budget if ever collected. But that almost never happens, Lange acknowledged.
"Maybe twice in the last 10 years I can remember someone actually paying for the property," he said.
Following is the city's complete CDBG demolition list, by years in which raze orders were issued for the properties:
– Issued in 2008: 326 N. Huron St. and 1170 Grandview St.
– Issued in 2009: 444 Main St., 622 Grandview St., 425 N. Wabash St., 432 S. Penn St., 411 S. York St. and 328 Highland Ave.
– Issued in 2010: 88 New Jersey St., 312 S. Huron St., 1710 Wetzel St. and 845 McColloch St.
– Issued in 2011: 3111 McColloch St. and 400 Highland Ave.
– Issued in 2012: 48 E. First St., 179 Lane 15, 9 S. Penn St., 2414 Jacob St., 2232 Highland Ave. and 426 Warwood Ave.


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text: Home / daily_quote-02-5-13 Follow AthlonSports By Charlie Miller, 2/5/13, 3:33 PM EST " Guys are still getting contracts after 50-game suspensions...I think if you get caught twice, you should never get to play again." St. Louis Cardinals outfielder on the penalties for positive PED tests being too lenient. Section: MLB


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If you've ever tried to cook from an American recipe book, it's clear that the weights and measures used vary quite a bit from the metric measurements we use in the UK.
Wondering how many grams in a cup? Or whether a cup of flour converts to the same amount in grams as a cup of milk? These are all questions we've asked time and time again ourselves so we've decided to create this handy weight conversion tool to help you convert cups to grams in a flash.
US Cup Converter
Make sense of our US recipes by converting the cup measurements below...
Make a little more sense? Now check out our great American recipes. Traditional US recipes use cups not grams, but don't worry - you can find a version of this tool on every page where you need to make a US to UK weight conversion. Happy cooking!
It's more exact to use our tool above to convert your cups to grams, but here is a rough guide for you to print out if you'd prefer.
1 tsp = 6ml
1 tbsp = 15ml
1/8 cup = 30ml
1/4 cup = 60ml
1/2 cup = 120ml
1 cup = 240ml
Dried ingredients
1 tsp = 5g
1 tbsp = 15g
1oz = 28g
1 cup flour = 150g
1 cup caster sugar = 225g
1 cup icing sugar = 115g
1 cup brown sugar = 175g
1 cup sultanas = 200g
1/8 cup = 30g
1/4 cup = 55g
1/3 cup = 75g
1/2 cup = 115g
2/3 cup = 150g
3/4 cup = 170g
1 cup = 225g
Oven temperatures
275°F = 140°C or Gas Mark 1
300°F = 150°C or Gas Mark 2
325°F = 165°C or Gas Mark 3
350°F = 180°C or Gas Mark 4
375°F = 190°C or Gas Mark 5
400°F = 200°C or Gas Mark 6
425°F = 220°C or Gas Mark 7
450°F = 230°C or Gas Mark 8


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A win for Arsenal on Monday night would not just give the Gunners the Premier League lead for Christmas, it would also secure Arsene Wenger's first ever victory - in all competitions - over his old rival Jose Mourinho.
In total, Wenger's record against Mourinho's Chelsea reads:
But Wenger's want for a win is not as much a necessity this weekend as it is for the club, after back-to-back defeats to Napoli and Manchester City. Defeat could see Liverpool overtake the Gunners at the top of the league, but should Wenger finally get a win against his long-time rival he will look on fondly as his side reach Christmas Day in top spot.
Chelsea can also overtake Arsenal with a win and should the Reds slip up against managerial crisis-stricken Cardiff, they could very open their presents on the 25th sitting pretty ahead of the rest of the pack.
Chelsea v Arsenal: Will Arsene Wenger finally get his first victory over Jose Mourinho?
Chelsea v Arsenal: Will Arsene Wenger finally get his first victory over Jose Mourinho?
1/11 Arsenal 2 Chelsea 2 (Premier League, 12 Dec 2004)
Eidur Gudjohnsen scored just after the break to equalise after Thierry Henry had netted twice for the Premier League champions. John Terry was also on target for Chelsea. The draw maintained the Blues five-point lead over Arsenal
2/11 Chelsea 0 Arsenal 0 (Premier League, 20 April 2005)
Jose Mourinho's side were held at Stamford Bridge, but it was soon celebration time; they won their first league title in 50 years 10 days later at Bolton
3/11 Chelsea 2 Arsenal 1 (Community Shield, 7 Aug 2005)
Didier Drogba scored twice to begin his terrorising campaign against Arsenal. Cesc Fabregas later pulled one back for Arsenal
4/11 Chelsea 1 Arsenal 0 (Premier League, 21 Aug 2005)
That man Drogba scored against Arsenal again, giving Philippe Senderos an afternoon to forget
5/11 Arsenal 0 Chelsea 2 (Premier League, 18 Dec 2005)
Arjen Robben and Joe Cole scored as the Blues swept the Gunners aside at Highbury, leaving Arsene Wenger's side a mammoth 20 points off the top of the table
6/11 Chelsea 1 Arsenal 1 (Premier League, 10 Dec 2006)
Mathieu Flamini's 78th-minute strike looked to give Wenger his first victory over Mourinho...until Michael Essien smashed the ball in with six minutes remaining
7/11 Chelsea 2 Arsenal 1 (League Cup Final, 25 Feb 2007)
Theo Walcott's first goal for Arsenal sparked pandemonium in one half of the Millennium Stadium, but then the Gunners' old nemesis Drogba scored a double to secure the trophy for Chelsea. During a melee at the final whistle, John Obi Mikel was sent off for the Blues, while Kolo Toure and Emmanuel Adebayor were dismissed for Arsenal
8/11 Arsenal 1 Chelsea 1 (Premier League, 6 May 2007)
Arsenal holding Chelsea to draw at the Emirates Stadium only benefited one team - Manchester United, who were crowned Premier League champions for the first time since 2003. Gilberto Silva opened the scoring from the penalty spot after Khalid Boulahrouz was sent off for Chelsea, before Essien equalised against Arsenal again. Jose Mourinho implored Blues' supporters to keep their chin up (pictured) after the match after they lost their title after successive seasons as champions
9/11 Arsenal 0 Chelsea 2 (League Cup fourth round, 29 October 2013)
Six years after their last face-off, Mourinho and Wenger renewed their rivalry in the Capital One Cup. Despite home advantage, and a number of first team members starting the match compared to the Blues' impressive second-string, the Gunners succumbed to a two goal defeat thanks to a goal from Cesar Azpilicueta and the genius of Juan Mata
10/11 Arsenal 0 Chelsea 0 (Premier League, 23 December 2013)
The match ended a dour stalemate at the Emirates. Olivier Giroud missing the best chance of the game. Arsenal missed the chance to leapfrog to the top of the Premier League after the draw
11/11 Chelsea 6 Arsenal 0 (Premier League, 22 March 2014)
Wenger's 1,000th game in charge of the Gunners ended in this devastating defeat
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St.John Flynn speaks with Kevin Riehle and Helga Aurisch.
The Front Row
Hear the Art! Cantare Houston's Walking Concert at the MFAH
We preview Cantare Houston's next "Walking Concert" at the Museum of Fine Arts Houston, which features choral works performed alongside a guided tour through the museum's galleries. Cantare Artistic Director, Kevin Riehle, and Museum Curator, Helga Aurisch, chat about pairing Italian Renaissance vocal works with the major exhibition, Titian and the Golden Age of Venetian Painting.