Mymusicfolders com hits highest note with u s coast guard marching band

title:MyMusicFolders. com Hits Highest Note with U. S. Coast Guard Marching Band!

author:Elisabeth Lawrence

source_url:http://www. essayabc. com/articles/music_and_movies/article_287.shtml

date_saved:2007-07-25 12:30:14



“We Americans are singing our hearts out in over a quarter of a million choral groups all across the U. S.,” explains Jon Rose, owner of MyMusicFolders, a company which now is even providing folders for the U. S. Coast Guard Marching Band!

According to a recent study, over 28 million American adults and children perform in professional and community choruses, school choruses, and church choirs, making choral groups the leader among performing arts in the country. Jon and Robbin Rose are typical choral group members and leaders, although they have taken their avocation one step further and developed a line of choir and band folders (www. MyMusicFolders. com) that have been embraced by groups ranging from church choirs to Vince Giordano & The Nighthawks big band, as well as the U. S. Coast Guard Marching Band.

“Robbin and I have been involved in music all of our lives,” says Jon Rose. “We met each other 25 years ago at the University of Montana, where we were both music majors.” Today, Robbin is the executive director of the Missoula Community Chorus, and Jon is a member of the Board of Directors. It was their experience in choral singing that led the couple to design choir folders, band folders, and classroom folders that are an octave above the competition, and rated the most desirable of all music folders available by choral groups around the country.

MyMusicFolders. com offers three types of music folders, with a fourth to be added shortly. The Deluxe Choir Folder features a hand strap along the spine and a detachable strap along the bottom to allow choir members to hold the folder with one hand. According to Jon, “The hand strap is crucial to choir and choral group members. When groups buy binders from office supply stores, members need to hold the binders with both hands. When it comes time to turn the page, they don’t have a free hand.” The Deluxe Choir Folder also has a three-ring binder and elastic cords to securely hold sheet music, and clear pockets to hold program notes and a name card. The folder’s accordion pocket holds loose music, while its pencil holder allows choir members to easily take notes.

The practical Band and Orchestra Folder features reinforced metal corners, a pencil holder, and expandable accordion pockets sized for band and orchestra scores. The Classroom Choir Folder is a simple and value priced alternative for choirs that perform from memory, and feature expandable pockets, a pencil holder, and a pocket for a name tag.

MyMusicFolders. com has recently been named the official supplier of marching band folios for the U. S. Coast Guard Marching Band, and will soon offer the same folios for sale to civilians. “We are proud to have been able to help the servicemen and women in the U. S. Coast Guard Marching Band,” says Jon. The small, lightweight weatherproof music holders replaced those dating back to the 1930s. “We not only recreated the marching band folios, but we made a new and improved version,” notes Jon.

By adding the marching band folios to the MyMusicFolders. com product line, Jon and Robbin continue to fulfill their mission of financially supporting the Missoula Community Chorus through the proceeds from sales generated by the website.

Their commitment to their community reflects trends among members of choral groups around the country. A recent study found that choral group members were more than three times as likely to give charitable contributions to other arts organizations and almost twice as likely to engage in volunteer activities than the general public.

That same study reported that the skills developed through participating in choral groups – teambuilding, listening and following, creativity, discipline, and social interaction – serve to enrich both the individuals and society as a whole. With Jon and Robbin Rose serving as role models, American society is developing a perfect pitch.

Five fingers same position notes reading method

title:Five Fingers Same Position Notes Reading Method

author:Sujanti Djuanda

source_url:http://www. essayabc. com/articles/music_and_movies/article_104.shtml

date_saved:2007-07-25 12:30:14



There are beginner piano books begin by introducing five notes i. e. CDEFG in right hand (RH) and CBAGF in left (LH) by using the same fingers position such as on RH note C played by thumb, D played by index finger, etc. On LH note C played by thumb, B played by index finger, so on. I called as "five fingers same position".

The benefit is before added the new note, beginners have practiced some similar exercises so they, especially kids will not confused by rhythm, names and positions of notes.

Because of many exercises that using the same fingers position, mostly kids tend to read the fingers numbers as notes positions. For instance, they mean no. 1 on RH is C - always played by thumb, no. 2 is D - always played by index finger and so on, likewise on LH.

In early lessons, students seem fluently in notes reading but the problem comes when start playing pieces with no "five fingers same position".

If students have to use "five fingers same position" books, as teachers, we have to explain from the first lesson that one note can be played by any fingers and fingers numbers are never changed such as on RH no.1 always for thumb, no. 2 always for index finger and so on, likewise on LH.

To make students remember the fingers numbers quickly, we can ask them to play as fast as they can such as "Play C with finger number 1 …. Now play C with finger number 2 and so on". The kids will love this fun game! Then ask them play the same piece with any fingers by writing a new fingering on their book. For instance, for RH play C with finger number 2, D with finger number 3 and so on.

There is no perfect method in notes reading, as teachers, we can only find the suitable one for each student by merging one method with another. I prefer using "five fingers same position" book at first lesson by using any kinds of fingers positions, not just as written in book.

It is much benefit and easier to learn right at first than re-learn after made mistakes. However, if students have made misunderstandings on notes reading, no matter with our ‘own’ students that have been taking lessons with us since their first day on piano lesson or transferred ones, just do not ever blame them, their old teachers (for transferred ones) and ourselves especially beginner teachers. It will not make notes reading of students better.

The solution is re-teaching them as first lesson. Of course, it needs much time, patiently and often rather difficult to train ‘a new habit’. The students could be frustrate and complain but with fun game as I mentioned above, kids usually enjoy the lesson again. If happens on teens or adults (so far, I never found yet), we can support them by positive words so that they have ‘new spirit’ to continue their lesson. Moreover, as teachers, we should not ever stop learning.

Do you have spinning watches yet

title:Do You Have Spinning Watches, Yet?

author:Brent Wilson

source_url:http://www. essayabc. com/articles/music_and_movies/article_149.shtml

date_saved:2007-07-25 12:30:14



If you don’t you are out of the loop! Spinning watches are part of every hip hop jewelry lover’s collection. With so many options in them, you will have to own more than one. In fact, you may want to be prepared with several. For all of those out there that do not know what they are, we’ll explain. These really cool watches offer a feature on their dial that spins creating the illusion of movement. They often look like rims from a car that are turning but there are many other types out there as well.

Spinning watches are part of the hip hop jewelry fad. People love this stuff and it’s because it looks so glamorous and so rich. On top of that, all of their favorite bands are wearing it as well as some of the hottest actors and actresses as well. As we said, there are many different types of them from chrome spinners to iced out spinning watches. Those with dollar signs are also a popular choice.

Spinning is also used in a number of different hip hop jewelry pieces as well. Some are offered as pendants while others are even on rings. Whatever you like is what you should have. Many of the spinning watches are done in silver, but gold can be found as well. Some are just metallic while others are encrusted with gems of all sorts.

Having the bling bling that you want doesn’t have to cost you too much. Many people are all over purchasing the great looking yet inexpensive hip hop jewelry that is available right here on the web. For these individuals, having the jewelry that looks just like the stuff around the necks of their favorite hip hop band is the all important aspect. Whatever makes it great for you is why you have to have it. And, simply put, you should load up on the bling bling that you are after. There are some excellent pieces out there to own. Spinning watches are just one of them.

Can t find your favorite movie poster

title:Can’t Find Your Favorite Movie Poster?

author:Mark McCallister

source_url:http://www. essayabc. com/articles/music_and_movies/article_117.shtml

date_saved:2007-07-25 12:30:14



Many of us have that one special film we can’t quite get out of our heads. More likely there are several movies that have taken their turn in your “favorites” category. These could include an epic feature like Gone with the Wind. Or they might number a children’s classic like The Lion, the Witch, and the Wardrobe. Perhaps you have a favorite film or two starring a beloved cinema idol. Souvenirs and keepsakes abound, including knick-knacks and paperweights, but they can take up needed tabletop space or end up broken and discarded. That’s why so many movie fans enjoy hanging up film posters.

Easily hung on a bedroom or family room wall, the posters are lightweight and maneuverable. They don’t take up other usable space. Posters can be changed when you find a new favorite film or are ready to redecorate a room. They can be moved when cleaning the wall, and rolled up for storage as a keepsake for when kids are grown. Moreover, posters are inexpensive, realistic, and fun, capturing exciting moments from a celluloid experience that we can live all over again each time we glance at the poster.

You can buy posters from many department stores and bookstores, of course, but you may want to shop easier and faster online. That’s when Websites like All Movies Posters (www. allmoviesposters. com) comes in handy. You simply click on your “Favorites” links, click the Website title, and you’re ready to select photograph or art posters of your favorite flicks and actors. Many are inexpensively priced, and shipping may be free with certain types of orders, for example, depending on the quantity you purchase or the total amount you spend.

Or you can go to a broader site like All Posters (www. allposters. com) and click on your favorites to browse great photos captured in poster format. You also may want to visit Art. com (www. art. com). Framed prints, themed images, and other artistic renderings offer guests the best in wall decoration and design choices. Posters at sites like these are no doubt copyrighted, so any attempt to duplicate them for sales to other people would be considered a criminal act. But since buying posters is so easy and affordable online, there’s no reason to try and copy them for others’ use. The quality is sure to be poor, and it’s so much easier to inexpensively purchase new ones anyway.

Most sites of this type that let you purchase items by credit card are secure, so you probably don’t need to worry about anyone misusing your Visa or MasterCard. If in doubt, though, contact the site’s customer assistance area to see if you can give the card number over the telephone or mail a check. Chances are you will find poster shopping online so convenient that you will return again and again to check out the latest in movie posters.

Hip hop pendants a must have in the hip hop jewelry collection

title:Hip Hop Pendants, A Must Have In The Hip Hop Jewelry Collection

author:Brent Wilson

source_url:http://www. essayabc. com/articles/music_and_movies/article_139.shtml

date_saved:2007-07-25 12:30:14



Hip hop pendants are one of the core pieces of jewelry in the hip hop jewels. These pendants can represent just about any aspect of hip hop that the customer wants them to wear. And, because they are offered in some very unique styles, there are sure to be enough options out there to fit everyone’s needs. Having a few great hip hop pendants shows off a love for the music, the bands, and the people in the hip hop world. A little bling bling never hurt anyone!

Hip hop pendants are offered in a number of various styles. Many of them represent a specific band or a specific group, but others show off dollar signs and various other hip hop elements. They can be quite flashy or they can be simple pieces. Really, there is a large selection of objects that they can represent. Many of the individuals who purchase hip hop pendants are looking for a unique look or one that they are copying from their favorite hip hop star.

In fact, the concept as well as the look of these hip hop pendants has come from many of the hottest hip hop bands and groups out there today. These stars have some of the most awesome pieces of hip hop jewelry that are out there. These often larger than life pieces of jewelry are then represented to fans. Who doesn’t want to look like their favorite singer? And, it doesn’t stop there because there are a number of stars that aren’t singing that are showing off some bling bling. Everyone has to have it!

There are a number of different things that hip hop pendants can represent. Many of those who are wearing them are sporting their favorite singers and bands. 50 cent and G Unit are some of the largest and hottest stars out there. There are a number of great pieces that people can purchase available right online. They don’t have to spend a ton of money on them either. They can have the hip hop pendants that they want at great prices right here on the web.

Learn to play guitar pinch harmonics and making your guitar scream

title:Learn to Play Guitar - Pinch Harmonics and Making your Guitar Scream

author:Todd Arsenault

source_url:http://www. essayabc. com/articles/music_and_movies/article_223.shtml

date_saved:2007-07-25 12:30:14



In this article I'll explain how to make your guitar squeal with Pinch Harmonics. A lot of guitarists have trouble learning how to do these, but it's really a simple technique.

I'm going to touch on all types of harmonics in an effort to explain how Pinch Harmonics work when your playing the guitar.

If your like me you like to add a little expression when playing your guitar, by adding some harmonics and pinch harmonics.

To get this started we're going to go into a little detail about how the guitar strings actually work. Now I'm not going to be all technical, as that's not who I am :o)

Basically the guitar string vibrates between the nut and the bridge. If you look closely you can see the string vibrating like a sine wave.

Natural harmonics happen at the spaces along the string where the "wave" stops and starts a new one. (Not technically correct but makes sense to me this way).

This normally happens just above the 5th fret, the 7th fret, and the 12th fret wires. If you take a minute in a well lit room you can see the spots where the vibration along the string actually seems to be stopped. When you lightly touch a ringing string on these points you will get a natural harmonic chime.

Tap harmonics are simply fretting a string and moving the natural harmonic spot up accordingly. For example: If you fret the Low E String at the 3rd fret and pluck the string, your "natural harmonics" would no longer be at the 5th, 7th, and 12th frets. You would Tap the string above the 8th, 10th, and 15th fret wire to sound the harmonic. Hence the name....Tap Harmonic. the meat of this...the all powerful Pinch Harmonic!! I say all powerful just because I love the extra expression and sound you can get from them.

To do a Pinch Harmonic you basically "Pinch" the string between your Pick and the side of your thumb that's holding the pick. This is the way I do them and have had excellent luck with this technique.

When you strike the string you let your thumb sound the harmonic you want. It takes a bit of trial and error to find the right areas above the pickups that sound the harmonics you want, but only a little.

The best way to learn the placement is to crank up your distortion (easier to sound them), and on put your fret hand on the Low E or A String on the 5th or 7th fret as if you were playing A note or D note.

Start with your pick in about the middle of the Neck and Bridge pickups and "Pinch" the string so that when your pick sounds it your thumb immediately touches the string. This should sound a Pinch Harmonic. The motion is similar to turning the ignition in a car, just not as's a slight "Turn" or "Pinch" on the string.

You may have to move your hand slightly higher or lower on the string to find the "sweet spots". Keep trying different areas until you get it just right.

Once you've found the spots that give the sounds you want, make a mental note of where they are. When you move your fret hand higher or lower on the neck...the places you can hit the harmonics will move slightly. This falls in line with the way a Tap Harmonic works, so keep that in mind.

Keep practicing finding the "Sweet Spot" until you can do it each time you try. This part does take a little time and practice.

Just as a note: When you change to a different guitar, be prepared to relearn where the Pinch Harmonics sound. Every guitar I've played on has them in slightly different places. Differences in neck length, bridge placement, manufacturing tolerances all come into play.

So, that's all there is to it...Keep practicing till you get the feel for it, try adding bends and sound another one, you'll make that guitar scream like a wounded banshee in no time.

If you want to really increase your skill with Pinch harmonics after you get the feel for them, try practicing them with a clean sound. They can still be sounded and your accuracy will increase exponentially!

Make a game of your guitar practice and surprise yourself

title:Make a Game of Your Guitar Practice and Surprise Yourself

author:Jeremiah Thompson

source_url:http://www. essayabc. com/articles/music_and_movies/article_35.shtml

date_saved:2007-07-25 12:30:14



So you want to be improve your guitar playing?

Well, like any thing, guitar skill progress takes time and practice, but many of us have much difficulty practicing regularly because it is so easy to let other things take priority over our guitar lessons.

First, you need to absolutely make up your mind that you want to improve your guitar playing and then make sure that your progress is truly is a priority for you.

Make a list of the most important things that you need to focus on in your life right now and honestly assess where guitar fits into your list.

Ideally, you want to be engaged in a guitar lesson for at least an hour a day in order to make any significant progress.

However, you may have to conclude that at this point you are not going to be able to devote even an hour a week to the task.

If that is the case, try to spend some casual time reading guitar-related publications or listening to your favorite guitarists to nurture your love of the music. When your priorities change and you have more time, you will then at least still have a strong interest in becoming as good a guitarist as you can. Listening to Eric Clapton or other greats will only kindle your interest and may even cause you to reprioritize your guitar lessons.

Once you see where your guitar practice fits in with the rest of your life, make a true appointment with yourself. Put your practice into your schedule. Get it in your planner or it won't get done!

Okay, now that you are regularly spending time with your beloved guitar, what should you do?

First, make sure it is quality time. Don't have the television on or be hanging out with friends. Then, make sure you are working on skills that you need to sharpen.

If you spend time strumming popular solos and cranking up your amplifier, you may have some fun, but you will not improve your skills.

Think about the chords and scales that you struggle with. Grade yourself on them on a scale (no pun intended) of 1 to 10 and then re-evaluate every week or so. Re-grading every practice or guitar lesson is not appropriate because it is unfair to measure progress that frequently.

No one improves in a straight line. You may hit a certain chord great one day and then have two of the strings sound very unclear the next day. However, if you work diligently you will make progress when measured every couple weeks or so.

Do the same thing with scales and even notes depending on your current skill level.

Once you have a way of measuring your progress, you will be inspired to continue with your regular practice regimen and guitar lessons.

As an advanced step, after you have made progress with a certain group of chords and scales, you should find a song you like that uses many of those elements and work on that as a way of applying your improved ability.

This can be very rewarding.

You may even want to start with the song and work backwards, but make sure that you do spend a great deal of time on the fundamentals before you get serious about the song.

The key to all this is regular consistent work and a measurement of results. Achieve this, and you will enjoy your practice time more and more. Challenge yourself to be at a certain grade by a specific time.

Make a game of your practice efforts and you will surprise yourself!

Chihuahuas get a solid yes from paula abdul

title:Chihuahuas Get a Solid ‘YES’ From Paula Abdul

author:Bill Knell

source_url:http://www. essayabc. com/articles/music_and_movies/article_175.shtml

date_saved:2007-07-25 12:30:14



She may not be able to put up with Simon Cowell and his sharp-tongued criticisms on American Idol, but Paula Abdul can’t get enough of her three Chihuahuas - Thumbelina, Tulip and Tinkerbell. There’s no doubt that if there were an American Canine Idol contest for dog breeds, Chihuahuas would receive a solid ’YES’ from Paula when it comes to cuteness, intelligence and hug-ability! When it comes to celebrities, Paula is certainly not alone in her adoration of Chihuahuas.

Marilyn Monroe grew up in Los Angeles. As a child, she had a black and white dog that followed her to school. She named the dog Tippy and played with it during recess. A neighbor shot the dog dead in 1932 claiming that Tippy had repeatedly damaged his garden. After that incident, Marilyn seemed to have cooled to the idea of pet ownership. She shared a spaniel while staying with the Goddard Family in 1940, but didn’t actually adopt her own pet until after she signed with Columbia Pictures about eight years later. While making movies at Columbia, Marilyn adopted a Chihuahua she named ’Choo Choo’ in 1948. One story says that Marilyn saw a few grips and camera operators playing with a Chihuahua while on a break and instantly fell in love with the Breed. Another version claims that the studio encouraged Marilyn to adopt a tiny puppy for the sake of publicity. It is more likely that she choose the pup for her own reasons.

Marilyn became a bit of a trendsetter by adopting a Chihuahua during a time when glamour dogs like toy and full-sized Poodles were considered more chic. Looking back, it was a terrific move that immediately separated her from most other Starlets of the day. The more Marilyn and her Chihuahua were seen and photographed together in public, the more interest people began to have in the Breed. Another sexy, bleached blond film goddess soon followed Marilyn’s example.

Jayne Mansfield owned at least two Chihuahuas and was said to have been an animal lover. One of her dogs died in the car accident that took her life in 1967. The following year saw the release of The Wild, Wild World of Jayne Mansfield. Perhaps the campiest semi-documentary of all time, this film had four directors and was obviously a vehicle designed to make money off her death. Filled with nude scenes and real life weirdoes, the best actor in the movie was said to have been Jayne’s Chihuahua.

Today, Paris Hilton seems to be the trendsetter when it comes to Chihuahua popularity. While it is doubtful that Paula Abdul was inspired to adopt her Chihuahuas by Paris, the two celebrities both have females named Tinkerbell. Although we haven’t seen Paula’s pets on American Idol, Paris has made her tiny toy dog a canine superstar by appearing with Tinkerbell on magazine covers and featuring her in episodes of The Simple Life series on Fox TV.

Paris once told reporters that she was inspired to adopt a Chihuahua after seeing Legally Blond, starring Reese Witherspoon and the unstoppable Bruiser. Film inspired dog adoptions are nothing new. Films like Benji, 101 Dalmatians and Beethoven had moviegoers scrambling to find look-a-likes for themselves or their children. This wasn’t always a good thing for the dogs or breed in question.

Most people who wanted a ‘Benji’ for themselves chose Yorkies, Silkies and Terrier mixes that just love to chew on anything they can find. Contrary to what was portrayed in the film, those who adopted a Dalmatian probably made the unfortunate discovery that this breed can be very temperamental and downright mean with children. As for Saint Bernard’s, few people have the space for them. Those who do may not want the huge feeding and veterinarian bills that come with such a large breed of dog.

Those who saw Legally Blond and decided they wanted a Chihuahua were pleasantly surprised. Chi’s are generally sweet animals that do not have a tendency toward destructive behavior and love to be with people. They may well be the easiest of all dog breeds to care for. One of the big advantages to owning a Chihuahua is that they love to go everywhere and are easy to transport because of their size. That suits the lifestyle of most celebrities who always seem to be on the go. It’s no wonder that so many have chosen a Chihuahua as their canine companion.

Anne Heche loves her Chihuahua and has been known to spend big bucks on all kinds of goodies for her pet. It’s been reported that Anne likes to shop at high fashion doggie stores like the pricey Fifi and Romeo which is based in Los Angeles (where else?). The Osbournes, the world’s most famous four-letter word family, also have a thing for Chihuahuas. Ozzie probably appreciates having a small dog breed that hasn’t turned his home into one large litter box as some of their bigger dogs have. Despite all the advantages of Chihuahua ownership, these canines have not always enjoyed the amount of popularity they do now.

Nasty rumors about the use of Chihuahuas in traditional Aztec ceremonies many centuries ago once left a bad taste in the mouths of small dog breed enthusiasts. Many archeologists and historians believed that Chihuahuas were eaten as part of religious ceremonies! Some still believe it. This incorrect interpretation of history was based on notes taken by conquistadors and missionary priests. They failed to understand the symbolic nature of rituals depicted on stone carvings and were likely the victims of native propaganda offered up to make the Aztecs appear even fiercer then they already were. Such stories were probably the result of the outgunned Aztecs attempting to instill fear in an enemy that possessed superior weaponry.

We now know that the Aztecs believed Chihuahuas could be used as spirit guides to help the dead find their way through the underworld. As a result, many were probably killed for the sole purpose of assisting nobles and royalty on their journey through death. They were not eaten! These ideas may have come from religious ceremonies practiced over a thousand years ago by the Toltecs. After their conquest by the Aztecs, Toltec ceremonies and rituals were adopted by their conquerors. However, there is sufficient evidence to prove that many of these rites had already been changed or abandoned by the time the conquistadors arrived.

Montezuma II, the last emperor of the Aztecs, had hundreds of Chihuahuas. Each dog had its own keeper and these animals were given royal protection. The Emperor’s love for the Breed is said to have been handed down to him by several of his predecessors who may have outlawed the killing of Chihuahuas and changed their part in religious ceremonies. By the time the Conquistadors arrived, these dogs were more pets and living good luck charms of the Emperor and Aztec nobility then anything else.

Chihuahuas have always had an almost supernatural appeal to humans. Their ability to warm the hearts of people is legendary. When you add to this the fact that Chihuahuas are the world’s smallest dogs and longest lived, is it any wonder why celebrities like Rosie O’Donnell, George Lopez, Noah Wylie and others can’t get enough of them? The votes are in. It's Chihuahuas that have caused celebrities to go to the dogs! Read more about Chihuahuas or find the perfect pup at http://www. ArizonaPups. com

Overcoming fear at an audition

title:Overcoming Fear at an Audition

author:Ronald K. Armstrong

source_url:http://www. essayabc. com/articles/music_and_movies/article_212.shtml

date_saved:2007-07-25 12:30:14



I am about to present to you the ultimate secret to successfully audition for any role. In fact after doing so I am certain you will send me emails thanking me for practically saving your career. Now before I give you this secret let me tell you the most common problem among actors. Many call or email me before an important audition on the verge of a nervous breakdown. That’s right, the most common problem and the one that ruins their chances of getting the role is nervousness.

So how do you beat it? How do you walk into an audition so cool, calm and collected that you focus 100% on your lines and character? The key is so simple that many have not even thought about it. But let me warn you first. Any acting coach or teacher that promises you a quick fix to eliminate nervousness, anxiety and fear is full of it. Run for the hills. Over the years I’ve worked with a lot of techniques to deal with these emotions that many face. I sometimes prescribe homeopathic remedies but this is not a long-term fix. Now before I get into it let me tell you about what happened to my friend. It started out when I got a call from her in France. She was a noted producer and happened to be on the lecture circuit. Right before she was to make an important speech in front of hundreds of people she called me in a panic. She asked what could she do to calm herself down. Immediately I sprang into action and give her some techniques. However, I warned her that the general emotions would still be present. After the lecture, which went well, I began to counsel her on more in-depth ways to address the fear.

See we are emotionally conditioned not stand out. It is a survival mechanism. We are programmed to stay with the herd because there is power in numbers. This is where cultural norms come from. Some societies even ostracize people as a form of criminal punishment. Being cast out or expelled from your clan could cut one off from valuable resources such as food, protection and the ability to procreate. Let’s face it. If you are not part of the group whom will you find as a mate? Your genes will be wiped out of existence. In response, your spirit accepts a program which says that anytime you stand out or do something different from the established norm you will experience an enormous amount of fear. Since we are no longer living in that paradigm that protective mechanism is no longer needed.

As someone who lectures across the country I must confess I used to be nervous as wreck. In fact, I used to become physically ill in front of a large crowd. But when I started studying the Kamitic Acting System all that changed. In our Tree of Life there is a sphere called Maat. One of Maat’s principles is living according to truth. In other words taking the truth of what you’ve learned and applying it to your daily routine. Now here’s the secret. Are you ready? When an actor comes to me and asks me how to get rid of the nervousness I respond by asking them one question. How many auditions have you done? Usually they’ll say something like 10 or 20. At that point I’ll smile and say you are just a baby. Listen, in order to get good at auditions you need two things: good techniques and hundreds of auditions under your belt. If you’ve only been to 20 or 30 auditions in your lifetime then you’re still new to this game. In short to get really good you need experience.

Going to one or two auditions every now and then is not going to do the trick. Study great athletes. Tennis pros will practice a swing thousands of times. A great baseball players will practice that one shot hundreds of thousands of times. They do so to program their spirits. When you repeat something over and over again you create a program. Once it is imbedded within you then it becomes your default way of operating. You will no longer feel that fear or anxiety because your spirit will accept it and act on it without you even having to think about it. And that’s one of the key secrets. The thought process is what gets actors in trouble. We call it the Sebek sphere.

Sebek, which is the mind, will throw thoughts up at you and create self-doubt. He’ll even bring up things from the past going as far back as your childhood. This can literally cripple you during an important audition. But when you make it a point to audition as much as possible even stacking up as many as 500 auditions you bypass the thought process and engage the program. In essence, you will be acting without thinking. You will just be flowing and the casting director will feel it. It will almost appear as if you are a natural. But the bottom line is you have to audition for roles as much and as often as possible. So when my friend from France told me how nervous she was I knew she didn’t have much experience. I told her that she should continue to lecture as much as possible and eventually the nervousness would go away.

Some actors approach an audition as if it will make or break their careers. This creates all kinds of anxieties. Throw that thinking away. Every audition is a learning experience. See it as the testing grounds. You are just practicing your craft. Stop caring about the outcome. To be a great actor you must accumulate failures. That’s right… you must fail and more often. This will lead you to success. In a way it’s a numbers game. The more you audition the better your odds are of getting a role. The more you audition the better you become at it. Understand what I am saying? Some of you may have heard me talking about using mediation or trance as a means to eliminate fear and nervousness. Yes, that’s also a very effective method. But it’s simply another weapon in your arsenal which we can address in future articles. So stack up those auditions.

This year make it your goal to do one thousand of them. Don’t worry because even if you don’t achieve that mark just think of how good you will be if you only make it to 500. Image the experience and knowledge you will have. Of course there are some winning techniques to focus on in the audition itself. I would never advise you to just walk in unprepared. This is where a good coach can help. But just keep in mind that no one is going to force you to do the work. You must be disciplined and want it more than anything. It is going to take courage to face the fear and rejection you’ll experience. Yes, it’s going to hurt. But know that there will be a day when you’ll wake up and those fears will be gone. It will be easy and almost effortless. That’s when the real fun begins. God bless!

Les paul vintage gibson guitars a history

title:Les Paul Vintage Gibson Guitars - A History

author:Jeremy Hier

source_url:http://www. essayabc. com/articles/music_and_movies/article_10.shtml

date_saved:2007-07-25 12:30:14



Les Paul vintage Gibson guitars were first produced in 1952. These guitars were the first solid body electric that Gibson had made. The 1952 version of the Les Paul vintage guitar has a gold top nitro-cellulose lacquer finish, and no serial number. This Gibson was designed by Les and included Kluson tuners, a pair of P90 pickups, and retailed for $210.

These Gibson vintage guitars were simply called 'Les Paul' models, and later became known as Gold Tops because of the finish. Most Les Paul Gibson vintage Gold Tops have a gold colored maple top with natural back, a few guitars were made that had the gold finished all over.

In 1954 Gibson launched the Les Paul Custom vintage guitar. The Les Paul Custom has an ebony fretboard, with elaborate bindings on the guitar body and headstock. Among some guitarists this Gibson vintage acquired the name 'black beauty' because of its gold plated hardware and black finish. The Custom was the first fitted with a tune-o-matic bridge and tailpiece.

The Les Paul Junior has a flat, uncarved mahogany body with no binding. The Junior guitar is equipped with a single P90 pickup, along with an old wraparound combined bridge/tailpiece. Some Les Paul Juniors were referred to as Les Paul TV models because of their blond/yellow finish instead of a sunburst.

Takamine guitar reviews ec132sc

title:Takamine Guitar Reviews EC132SC

author:Steve Morgan

source_url:http://www. essayabc. com/articles/music_and_movies/article_157.shtml

date_saved:2007-07-25 12:30:14



Reading Takamine guitar reviews is a great way to find out what you are getting before you buy. Of the many Takamine guitar reviews available this one discusses the ec132sc. This instrument will give you a very classical sound. If you like mellow, you got it, plus the tone is well defined.

One guitarist when asked to submit some Takamine guitar reviews described the ec132sc as very simple to play. The neck and overall weight are balanced. The tone of the ec132sc when unplugged is balanced all along the neck, also from one string to another. The chords sound great without distortions when plugged in.

Our Takamine guitar reviews went through the construction of the ec132sc. It was found to be put together very well. A classical cutaway is the bodies shape, with the top solid cedar, rosewood back and sides. There is a rosewood fingerboard with no inlays.

This guitar is equipped with an under-saddle piezo pickup and a CT-4B pickup preamp. The preamp has a 3-band equalizer, volume, and chromatic tuner. This is an instrument to bring home.

Enhanced healing through music

title:Enhanced Healing Through Music

author:Dr Harry Henshaw

source_url:http://www. essayabc. com/articles/music_and_movies/article_124.shtml

date_saved:2007-07-25 12:30:14



Music has always been a very important part of our lives, from childhood to our being an adult. As a part of our experience, music can have both a physiological and psychological affect upon us as human beings. In addition to the influence that it has on our life, music also has many therapeutic qualities and has been utilized in promoting a variety of healings throughout the ages. As we know further, music can be a very powerful medium for altering our state, of changing how we actually feel. More specifically music can be very effective in producing a very deep and healing state of relaxation and in the process, reduce stress and even promote sleep. Music can also be used to assist one in improving his or her self-esteem and furthering an individual’s personal growth and development, transformation.

As a therapist I have always used relaxation music in my clinical and counseling work with others. I have found that when I use relaxation music during both an individual and group counseling session that my clients do more productive work, are able to focus more effectively on themselves and the issues that they are becoming present to because they are more relaxed, focused and centered and as a result, better able to concentrate. Being relaxed during the counseling process always tends to generate more productive results for the individual being counseled. Relaxation music can be a very effective and powerful aid for assisting a client to reach resolution with respect to that which he or she is working on with their counselor.

The relaxation music that I now utilize during both my individual and group counseling sessions with others is that which is found on the CD, Prescription for Stress. The musical patterns that are on Prescription for Stress were originally developed for my work in counseling and especially in my hypnotic work with clients. In addition to its application for a traditional counseling session, the musical patterns on Prescription for Stress are excellent for assisting in the induction of a hypnotic state in that this music helps the client enter into a very relaxed state of hypnosis more easily. In the past I have used a variety of other musical compositions in my counseling practice but was very dissatisfied with the results that my clients and I achieved with them. As a musician I eventually decided to compose my own music and have found the results of my compositions with the clients that I work with to be excellent. After using the relaxation music that I composed for my work in counseling, I also discovered that the music had another application as well, that is, to assist anyone in achieving a very deep state of relaxation and as a result to effectively and efficiently reduce the stress in their lives.

Managing our stress is very important if not crucial to our overall well being. Prescription for Stress is an audio product specially designed to assist an individual in managing and reducing the stress that he or she may experience on a daily basis. This audio health care product utilizes two components to assist an individual in effectively experiencing a very deep state of relaxation, reducing stress and also in promoting a peaceful, restful sleep. The first component is the musical pattern itself. I have found that musical compositions that are harmonically slow, repetitious, with sustained voices, which are rhythmically, random in tempo assists an individual in experiencing a very deep state of relaxation. The second component of this product is the binaural audio tones that are interwoven into the music. The binaural tones, through a process referred to as entrainment or frequency following, gently guides or directs the mind/body to generate more of the targeted frequency of brain wave activity whether it be for either profound relaxation or sleep. The first CD contains binaural audio tones within the alpha and theta range, which induces a very relaxed state. The second CD contains binaural audio tones within the delta range and thereby assists one in experiencing a peaceful, restful sleep.

Anyone can experience the technology and effect of Prescription for Stress by merely playing it on their home audio system. Use of this powerful relaxation music can be accomplished by listening to it with ones stereo speakers or with headphones, the latter being the more effective way to listen to his product. Listening to Prescription for Stress with headphones allows one to experience the full effect of the technology, the uniquely designed music compositions combined with the binaural audio tones and thereby gain a deeper state of relaxation. Those who practice meditation, self-hypnosis or yoga will find that their practice is even more enhanced while listening to this audio product. I now also recommend that mental health and addiction counselors use this product when conducting counseling sessions with their clients whether it is in a group or individual setting. While many counselors are not present to the power of this type of relaxation music when utilized within a counseling context, those who do employ it find that their sessions with a client to be more effective and productive due to the reason stated above.

Self-esteem is also extremely essential to ones well-being. Enhancing My Self Esteem is an audio health care product uniquely designed to assist an individual in improving his or her self esteem, supporting the development of a positive self-image and promoting the individual’s personal growth and development, transformation. Enhancing My Self Esteem will assist a person in changing negative and possibly even destructive thought patterns to positive and empowering beliefs about him or herself. Utilizing the same combination of original musical compositions and binaural audio tones as Prescription for Stress, Enhancing My Self Esteem is an audio health care product that creates a very profound and relaxing auditory environment, a space for the individual to become open or highly suggestible to a series of very positive affirmations. Within a conversation of transformation, the thoughts that we think and say or commit to word are very important, very powerful for improving our self-image and transforming our lives. Enhancing My Self Esteem is an audio product that creates a very relaxed auditory environment for the person to listen to, begin to practice and eventually accept 50 positive affirmations, affirmations designed to improve a person’s self esteem and begin the process of transforming his or her life.

To fully experience the beneficial effects of Enhancing My Self Esteem it is recommended that a person listen to both tracks once a day for a minimum of 90 days. The first track has been designed for use with your stereo system’s speakers and should be listened to during the morning or afternoon hours. Track One provides a person the opportunity to consciously practice all of the positive affirmations, to commit them to word, to make them real. Track two has been developed exclusively for use with headphones and should be listened to during the evening hours preferably before the individual goes to sleep. The second track has been developed for a person’s unconscious mind and will be that which the individual takes into his or her dream state. Each listening should be done when the individual will be completely free of any distractions. After the first ninety days of use, it is recommended that the person listen to both tracks two times a week for another 90 days to further enhance the beneficial effects.

In addition to anyone wanting to improve their self esteem and further his or her personal transformation, I also recommend that mental health and addiction-oriented counselors utilize Enhancing My Self Esteem with their clients. Most of the clients that mental health and addiction counselors see in treatment in either an individual or group setting have an impaired self-image and are continuously experiencing extremely low self-esteem. For whatever reason the clients that are seen by mental health and addiction oriented counselors tend to have many negative thoughts and beliefs about themselves, many negative affirmations about who they think they are. Assigning Enhancing My Self Esteem as homework for a client to listen to outside of the counseling session allows that client the opportunity to begin a process of improving his or her self-esteem and as a result to be more productive within the counseling session.

I am currently using Enhancing My Self Esteem with all of the clients at the Holistic Addiction Treatment Program, a residential and outpatient program in North Miami Beach, Florida. The Holistic Addiction Treatment Program is an agency that treats individuals who suffer from alcohol or drug dependency. The vast majority of clients of this agency experience chronic relapse. Within Transformational Counseling, Enhancing My Self Esteem is assigned as homework for all of my clients, as a way of continuing the work that is presented in my individual and group counseling sessions, as a way of transforming the thoughts and words of the client. The prescription for use of this product is the same as mentioned above. After the assignment is made I always ask the clients about their use of this product, about what they are becoming present to as they listen. In addition to assisting the individual in eventually feeling better about themselves and increasing their motivation with their recovery, I have also found that Enhancing My Self Esteem tends to elicit important thoughts and memories from the past, thoughts and memories that are then processed in the preceding counseling session.

Enhancing My Self Esteem is a very powerful, healing product. With continued use, clients tend to always report that they feel better about themselves and are more motivated, especially with respect to their recovery. When utilized in conjunction with Transformational Counseling, the effects can be extraordinary for a client. As Transformational Counseling is about an individual altering his or her very thoughts and words, that which has defined their very being in the past, Enhancing My Self Esteem is a product that allows a client to powerfully practice their transformation on a daily basis. While the basis or foundation for the actual transformation is in an individual’s language, the thoughts that he or she thinks and the very words that they say, the environment from which this takes place is one that is initially created through the power of music.

Harry Henshaw, Ed. D., LMHC

http://www. enhancedhealing. com

Review of the rivera knucklehead guitar amp

title:Review of the Rivera Knucklehead Guitar Amp

author:Brandon Drury

source_url:http://www. essayabc. com/articles/music_and_movies/article_98.shtml

date_saved:2007-07-25 12:30:14



Not surprising, Rivera is owned by some guy named Paul Rivera. I guess it's a little surprising that his name is Paul, but that's about it. While I hate to spread rumors about facts I don't know, this is press, and that's that the press is all about. The rumor on the street is that Paul Rivera worked for both Marshall and Fender for years modifying guitar amplifiers for the rock stars that could afford to have them modified. If this is true, it will explain a lot about the Rivera Knucklehead.

The Rivera Knucklehead is a 100 watt, all tube, 2 – channel guitar head. Each channel has a gain boost. Both channel switching and the gain boosts can be controlled by the footswitch. As with every 100 watt head, this thing is ferociously loud. It contains an effects loop with control of input and output for effects and whatnot. The Knucklehead uses 5 12ax7 tubes for the preamps and 4 EL 34 power tubes. Each channel contains tone controls and a Focus and a Presence knob are global, which means they effect both channels. It would have been nice to have a spring reverb on the Rivera. That's the only feature that it's lacking.

American Channel (Clean Channel)

First off, I must say that the clean channel isn't so much like a clean channel, necessarily. It's more like a Fender channel. I mean that if you crank up the gain on the clean channel, you will have a very distorted sound in the way that a Fender distorts. This sound is not going to be what you want for metal in most cases, although it might pull off an Iron Maiden type of sound. Turning the “Ninja Boost” off and backing the gain down brings you back down into Fender territory. It's not an exact clone of the Fender sound, necessarily. The tubes used are not typically found in Fenders and even if you had the same tubes, the Fender sound is quite different from amp to amp. You have tremendous options in your tone. I mean TREMENDOUS!!! You have the typical bass, mids, and treble. By pulling out the treble pot you engage the “bright boost” and when you pull out the mids you engage the “mid scoop”. The tone controls are the most sensitive that I've ever seen on a guitar amplifier. In fact, the tone knobs can be too sensitive.

Plugging a strat or tele gives you the real deal tone. It's pretty much a Fender amplifier. Plugging a Les Paul or PRS is a different ball game. The tones are absurd on this channel. You should be able to get anything you want out of this Fender side that you would expect a Fender to do. This amp is very sensitive to different guitars and it's tone will change more drastically than other amps.

Distortion Channel (Marshall Channel)

Alright, I called this side of the amp the Marshall channel. The tone is not exactly a Marshall. I own a 1971 Marshall Super Lead. It's sound is quite a bit different than what you hear in the Rivera. I wouldn't say the tone is necessarily better or worse, but different. When you get to this caliber of guitar amplifiers, they are all good, it's just a matter or preference.

The distortion channel has a gain boost, bass, mids, and treble. Once again, these tone controls are as sensitive as you will ever find in a guitar amp. It's stupid how much control you have over your tone. This amp has too much gain, if you want too much gain. With a Les Paul, I don't think I've put the gain past 12 O Clock, ever. You would not believe how different this amp sounds when you take the mids to 0 and then up to 10. It's a night and day difference.

With the gain boost turned off, this thing feels like a good medium to low gain distorted amplifier. As I said, choosing the right guitar and tone settings can be time consuming, but getting whatever you want is a possibility. It's worth trying all your guitars with this amp. There will be some that obviously shine more than others. In this setting, it's no problem at all pulling off tones such as AC/DC and other 70s tones. I'd probably go with my 1971 Superlead first for this application though, just because of the tone differences, but I could make a guitar player looking for that tone very happy as well.

When you engage the gain boost, this thing is all out death. I'm talking deathmetal death, if that's what you are looking for. In my opinion turning up the gain to a stupid amount, cranking the lows and highs, and scooping out all the mids is tremendous overkill. I'd say it's unusable. The kid down the street may totally love it, though. I guess that's the great thing about this amp. You can make the sound too thin or too thick....too bright or too dull. It's up to your playing, your guitar, and your tone settings.

With the gain boost on and the all settings on 7, this amp is a full blown rock machine The tones inside this amp are impressive. You will find a sound that you like. It just takes some time to find that perfect combination. This takes more time than a Marshall does. Sometimes the mids on 5 are too much when the lows are on 6. But lowering the lows down to 5 might require a little more mids, for example. I'm saying that the tone controls are high dependent on each other.

This amp would always be my first choice playing out live. It's a mammoth sound if I want and gives me 4 great sounds with the footswitch. Going from mega gain to dirty clean is just a step away. Going from pretty clean to low gain distortion is also just a click away. I'd say it's one of the best live amps you can buy.

In the studio.... well, this thing gets used on just about every project I do. I haven't found a project that it didn't work well on. I've recorded country, rock, and death metal with this amp and every single one of them was very happy with it.

In conclusion, I wouldn't change a thing about the Rivera. It is worth every penny.

900 number and text message voting decide figure skating challenge

title:900 Number and Text Message Voting Decide Figure Skating Challenge

author:Mike Lieberman

source_url:http://www. essayabc. com/articles/music_and_movies/article_166.shtml

date_saved:2007-07-25 12:30:14



If you don’t like the new scoring system recently introduced into the world of figure skating, you could make up your own on Sunday and help choose the winner of the Marshall’s Figure Skating Challenge.

Presented by ABC television, fans from all over the country were able to pick the winners during the first-ever live, interactive, fan voting during a nationally-televised ice skating event. Fans were able to vote via a 900 number, cell phone text message, or online voting at The US Figure Skating Association web site. The 900 number and cell phone text message costs were .75 per vote.

In addition, 2000 fans at Boston University’s Agganis Arena were able to vote from their seats with a handheld device. But, the Marshall’s Figure Skating Challenge did not totally abandon traditional judging. The ABC panel of experts—Peggy Fleming, Dick Button, and Peter Carruthers—were there to offer their expert commentary based on more than just who wore the cutest outfit.

In the men’s preliminary, Michael Weiss thrilled the crowd with a back flip he dubbed a “tornado” and advanced to the championship round. Favorite Johnny Weir, whose 900 number message indicated a vote for him was a vote for the fact that he was “hot,” also advanced to the final round. Interestingly, however, the panel did not agree with the public. It unanimously named Matt Savoie, a late replacement for the injured Evan Lysaceck, as the overall best. Savoie finished last in the public voting just behind third place Tim Goebel.

On the women’s side, Sasha Cohen and Michelle Kwan advanced to the final round by easily outdistancing Alissa Czisny and Emily Hughes. The panel of judges voted Cohen the best, although she finished behind the veteran Kwan who was skating for the first time since a September injury sidelined her.

In the men’s championship round skate-off, Weir overcame a fall in the first round to receive 64% of the vote over Weiss. For the ABC panel of experts, it was the only time that it agreed with the 900 number, text message, and internet voters who also gave Weir the title and $50,000 in prize money.

The ending of the show seemed similar to most of the women’s figure skating competitions that we’ve witnessed over the past decade when Kwan has copped nine national titles. Kwan won the event, but it was bittersweet, because the panel of experts all voted for Cohen who is still looking for her first national title.

In all, according to the New York Times, 104,418 votes were cast via the 900 number, text message, and the web site. Advanced Telecom Services (Wayne, PA) handled the 900 number voting. Spark Network Services (Des Plaines, IL) provided the text message voting through its PromoTXT. com system. WinnerComm (Tulsa, OK) tabulated the online voting.

One thing is for sure, with over 100,000 votes, each costing .75, it was pretty difficult to rig the judges.

Hip hop message forums talk about it

title:Hip Hop Message Forums, Talk About It

author:Brent Wilson

source_url:http://www. essayabc. com/articles/music_and_movies/article_136.shtml

date_saved:2007-07-25 12:30:14



Hip hop message forums are out there for you. If you have a love of hip hop, you probably want to shout about it. Well do it! Talk about your favorite artists and what they are up to on hip hop message forums. Throughout the web, you will find various places to do this. There are often great websites out there that you can express your feelings, talk about your thoughts or just find out what is up with your favorite bands.

Hip hop message forums are a great place to stop and talk. Like the lyrics to a certain song? Want to find out the inside scoop on what your favorite hip hop artist is up to? The message forums are the places to go to find this. All sorts of various artists are out there and every once in a while you may just find one stopping in for a chat or a message about them. Hey, that’s worth it!

Of course, you can also use hip hop message forums to get in touch with others out there that love hip hop as much as you do. This is a great place to make some friends and talk some music. Get in touch with them in a safe place where you can just chat without worrying about anyone preying on you. Make some great friends and talk to others that love what you love, hip hop.

Hip hop message forums are out there and available to anyone who is looking for them. Some of the hottest hip hop sensations have their own chats and message forums. There are also a number of great websites that you can get online with others about hip hop in general. There are a million fans out there just like you who are looking to find someone to connect to. Get in touch with others and show off your knowledge of all that has to do with hip hop. Hip hop message forums are just the right place to do it

Strongly recommend movie i am david available on dvd

title:Strongly Recommend movie “I Am David” available on DVD

author:Michael A. S. Guth

source_url:http://www. essayabc. com/articles/music_and_movies/article_178.shtml

date_saved:2007-07-25 12:30:14



When the movie “I am David” became available on DVD in the fall of 2005, I did not rent it, because the movie reviewers gave it a rating of 2.5 stars or approximately a B-. They could not have been more wrong. “I am David” is one of the best films I have seen in the past five years. When I rented it recently, I ended up watching it a total of three times from start to finish. The movie is very powerful without having graphic violence or graphic language or anything graphic. Instead, “I am David” has a powerful religious message about sacrifice without any religious references per se. It is an inspiring and life-affirming film that I would recommend as five stars out of five stars, or even a 10 out of 10 points. The movie contains no extra, wasted footage that is unnecessary. I will remember seeing this movie for the rest of my life. How many movies have you seen in the past couple years that you will remember for the rest of your life? Most Hollywood output is almost mindless entertainment with very little of lasting value. Against this backdrop comes an astounding movie that seems to have hit the theaters and video stores under the radar screen.

“I am David” tells a fictional story of a family in Bulgaria who are perceived to be anti-Communist, and the father, mother, and little boy age 5 are all sent to separate hard labor camps. The mother escapes through the help of a guard. The father is killed, and the boy spends years doing hard labor and is treated like a prison inmate by the guards at the work camp. The young boy is practically ready to give up on life and willing to try to escape, even if it means he will be shot in the process. Fortunately, he receives assistance from another labor camp inmate in his mid 30s and is able to escape. The labor camp inmate is played by none other than Jim Caviezel, fresh from his portrayal of Christ in the movie “Passion of the Christ.”

Nearly every character in “I am David” is perfectly typecast and memorable. Joan Plowright, the widow of Laurence Olivier, is cast as a Swiss amateur painter that David meets along his journey. Her character is so warm and appealing and comforting that it boosts the morale of the viewer just to know David has come in contact with her. The actor paying the villainous labor camp commandant is cruelly perfect for the role, the young actor who plays David is excellent and appealing to watch on screen, the actor who plays the prison guard does a wonderful job of showing us the complexity of that character. But no one stands out as more perfectly type cast than Jim Caviezel in his support actor role. For a variety of reasons, anyone who sees this movie will never forget Jim Caviezel’s character.

The movie has some similarities to “Finding Neverland.” In both movies, there is a charming boy around age 10 in a leading actor role. Both movies have a religious message, although the one in “Finding Neverland” is slightly more obscure. The religious message in “Finding Neverland” is to give Kate Winslett’s dieing character a chance to glimpse Heaven before her death. In “I am David,” the religious message comes out in a scene at the end of the film that is called “The Truth” in the DVD scene selection guide. In that scene, David comes to realize how much people have sacrificed so that he might live, escape from the labor camp, and find a new life with freedom. I can’t tell you the content of that “The Truth” scene without giving away the ending of the story. But suffice it to say with Mozart’s Ave Verum Corpus being sung in the background, no viewer will ever hear that melody again (it is the same tune played by many of the network television news programs to begin and end their coverage of Pope John Paul II’s funeral each day) without thinking of “I am David” and the everlasting beauty of the greatest sacrifice known to man.

http://michaelguth. com/lawnews. htm

Why netflix is right for you

title:Why Netflix Is Right For You

author:Josh Nelson

source_url:http://www. essayabc. com/articles/music_and_movies/article_191.shtml

date_saved:2007-07-25 12:30:14



Going out every time you want a DVD rental can be a gigantic pain in the butt, thank goodness that there are now amazing direct to you services like Netflix. These guys take all of the hassle out of DVD rental, I will never go to the movie store again.

The most annoying thing about brick and mortar DVD rental stores is not even the convenience factor but the late fees. I don't know about you but I am sick and tired of paying late fees when I am only an hour late bringing back my DVD rental. I know, I know, it is supposed to be back at a certain time but sometimes we are running late, or god forbid, we forget. Well, now that I use Netflix I never have to worry about late fees again.

When you are a member of Netflix you will be able to rent as many movies as you want each month and you can send them back whenever you feel like it. There is no deadline for your DVD rental to be back. If you forget or something comes up and you did not get to watch your DVD rental, who cares? Netflix sure don't. You can take your time and that is why Netflix is getting more and more popular all of the time.

And besides, Blockbuster and those other regular DVD rental stores are not going to deliver your DVD rental to your door like Netflix will. These guys don't make you drive who knows how far to get to their store. You get to rent all of DVD rentals from home and have them delivered directly to your mailbox. Aaahhhh, the internet it has changed the way we live completely. Isn't it great?

Whether you like to get the odd DVD rental or you are a DVD rental aficionado you need to start thinking about getting a subscription to Netflix today. These DVD rental services will change your life and make it a whole lot simpler. You can even give a membership as a gift to someone that you care about.

The chronicles of narnia the lion the witch and the wardrobe review

title:The Chronicles of Narnia - The Lion, The Witch and The Wardrobe Review

author:Alice Flegel

source_url:http://www. essayabc. com/articles/music_and_movies/article_195.shtml

date_saved:2007-07-25 12:30:14



One of the great children's classics by C. S. Lewis, is brought to the screen in The Lion, the Witch and the Wardrobe. Set in wartime England, its plot has the four Pevensie children sent out of London for their safety. They end up in the country house of the eccentric Prof. Digory Kirke, and like all children removed from their usual source of fun and amusement, they're bored, bored, bored.

Then one day, Lucy begins poking into things, and one of them is the very odd wardrobe of the professor's. What she sees inside, is not the professor's clothes, but a world encased in snow. The others of course, don't believe her, since they haven't found anything half so interesting. But eventually they give in to their own curiosity, and all enter the wardrobe to find themselves transported to the world of Narnia, where an evil White Witch has created an eternal winter, that will never see a Christmas.

Meeting up with the kind and caring lion Aslan who rules the strange land, the children begin their trek towards defeating the witch. But along the way, one will fall behind and join the very forces of evil they are trying to defeat. Amongst the mysteries of talking animals, mythical creatures and magic spells, the children must free Narnia from the perilous cold, and one of their own, from dangers that could destroy them.

This movie was extremely engaging from beginning to end, even at a long 2 hour and 20 minute running time. Perhaps, it's because it was one of my favorite novels growing up, but the young actors were quite engaging and Tilda Swinton was superb as the White Witch.

Just one note of caution to parents: The movie was rated “Parental Guidance Suggested” and parents should be aware. The movie definitely has numerous violent scenes and it’s certainly not for little ones.

Director: Andrew Adamson

Producers: Perry Moore, Philip Steuer, Andrew Adamson

Starring: Tilda Swinton, James McAvoy, James Cosmo, Jim Broadbent, Elizabeth Hawthorne

Xm radio host interviews alfonzo blackwell

title:XM Radio Host Interviews Alfonzo Blackwell

author:Maria Goldstein

source_url:http://www. essayabc. com/articles/music_and_movies/article_235.shtml

date_saved:2007-07-25 12:30:14



Alfonzo Blackwell is an incredible force in the internet radio industry. He has begun this year in classic style that is surely a stunning and rare commodity. Mr. Blackwell has forged ahead of the pack in the internet radio-smooth jazz/chill and classic soul and R&B formats to deliver stellar musical content and much more. Through his superb musical direction and great leadership at SoulfulSmoothJazz. com Radio and SoulfulClassics. com Radio, he has garnered considerable praise and accolades for fostering a refreshing new platform for artists of today as well as for legendary artists.

Recently, XM Satellite Radio’s The Power 169 conducted an exclusive interview with Mr. Blackwell. He had a great discussion with host, Alvin Jones. He noted that this year will prove to very demanding for the team at SoulfulSmoothJazz. com Radio. Music lovers will enjoy every moment that they spend listening to these fantastic internet radio stations.

With Mr. Blackwell’s close attention to detail and hard work, our favorite smooth jazz artists such as Dave Koz, Brian Culbertson, Acoustic Alchemy and many others have supported SoulfulSmoothJazz. com Radio and participated in exclusive interviews with the fastest growing station of its kind. Please visit the illustrious websites to tune-in to the smooth and soulful blends of music and you will come away with so much more than you ever imagined.

Visit: www. soulfulsmoothjazz. com and www. soulfulclassics. com.

Music making with your pc

title:Music Making With Your PC

author:Robert Fischer

source_url:http://www. essayabc. com/articles/music_and_movies/article_239.shtml

date_saved:2007-07-25 12:30:14



Up until a few years ago, making music meant a massive investment in time and money. Those days are fortunately gone now, you can use your computer to record and edit your vocals or instruments, and burn a CD of your work afterwards, ready to be played on your CD player.

In order to make music with your computer, the minimum you need is a soundcard and good software. Modern computers usually ship with a built-in soundcard already, which is sufficient to start with - just connect an amplifier or headphones to it. Nearly all soundcards have Mic In/Line in connectors as well, so if you wish to record vocals or instruments, you only need to purchase a microphone and connect that. Although some soundcards come bundled with a microphone already, those are usually of poor quality and not suitable for decent music production. Thus a good idea here is to seek advice in your local music store.

Next you need to find good music software. Fortunately there is a lot of applications available for all common computer platforms, no matter if you are using Windows, Linux or Mac OS X. To find good applications for your platform, type something like "Music Software for PC" into your favourite search engine.

A good idea is to start with free software, then move on to commercial software once you got the hang of it and your requirements grow. You might also want to look at the applications that are given away for free on cover CDs of music magazines, or those that come bundled with your soundcard. Some music software developers give away older, discontinued or feature-limited versions of their software for free. Often such software is a lot more capable than software which has always been distributed freely.

Piano it is easy to compose piano sheet music

title:Piano: It Is Easy To Compose Piano Sheet Music

author:Peter Edvinsson

source_url:http://www. essayabc. com/articles/music_and_movies/article_159.shtml

date_saved:2007-07-25 12:30:14



Why is it easy to compose piano music?

Because you have to start from where you are. This should be fairly easy; otherwise you have not started from where you are. A suggestion is to start writing piano pieces for beginners in a progressive order. The idea is that as the pieces get more complicated for the player they will also become more complicated for you to notate and compose and you will subsequently learn as you write.

How is composing beneficial for your piano playing?

One important reason is that your compositional endeavours will make you more and more aware of intrinsic musical subtleties in the music of other composers. When you start to think and feel like a composer you will also become a better performer as well. Performing is also a creative process similar to composing.

Compose and become a better sight reader

I remember an assignment I had many years ago writing music to my first musical. It made me aware of many notational problems I had not taken the time to solve for myself before. When I started to play my piano music again I was astonished when realizing it was much easier for me to sight read complicated piano sheet music. The reason for this I concluded must have been my concentrated effort to notate my own piano music. The process to play something with my fingers and and then try to notate the music on manuscript paper was so to speak a reversed sight reading exercise.

What about manuscript paper?

Notating sheet music is very cheap or very expensive. You can buy a more or less expensive notation program as I have done or you can write on paper or use both approaches. I suggest that you start writing on paper the way that composers have done for centuries. It is cheap and it is an effective exercise to use a pencil and writing the various sheet music symbols by hand. Very often I jot down musical ideas on ordinary white paper after drawing five lines by hand. It works fine if you can't find your manuscript paper. You can buy manuscript paper for sheet music or print out your favorite format on the site http://www. blanksheetmusic. net

It's of course up to you but, composing piano sheet music can become a natural part of your daily practice routine. Spending half an hour a day composing your own sheet music can help you increase your musical knowledge and help you become an even better musician and most important; it is fun!

Fender 62 reissue telecaster reviewed

title:Fender 62 Reissue Telecaster Reviewed

author:Steve Morgan

source_url:http://www. essayabc. com/articles/music_and_movies/article_92.shtml

date_saved:2007-07-25 12:30:14



One guitarist who plays country, rock and roll, and even the blues, finds that the Fender 62 reissue Telecaster is a great instrument for all three. He uses the pickups of the bridge when playing country music, for blues the neck pickup. His Fender 62 reissue Telecaster was designed in 1983.

This same guitarist has been playing for around thirty years. He bought his Fender 62 reissue Telecaster in the UK. It is a unique color of cherry gray and lighter than a Les Paul. He started out using his Fender 62 reissue, using it with a Roland processor and two twins operating in stereo.

It's difficult to change the strings quickly, is the only thing negative this veteran guitarist had to say about his 62 Fender. The reason is because the tuners are factory vintage. This reviewer gave the 62 reissue Telecaster a ten out of ten for reliability and durability. For repair or support he has never had to call customer service.

Another guitarist who has been playing his 62 reissue Telecaster for 20 years says the reliability is great. He has never had a problem with it, and continues to keep playing it.

James bond rebuilt

title:James Bond Rebuilt

author:Edmond C. Summers

source_url:http://www. essayabc. com/articles/music_and_movies/article_123.shtml

date_saved:2007-07-25 12:30:14



Craig. Daniel Craig.

The new 007 -- call him James Blonde. I wrote in an earlier post (http://thepopcornbox. blogspot. com/2005/08/whatever-happened-to-james-bond. html) that I was throughly disgusted with the weak Bond actors to stink up the screen since Sean Connery. Actually, I shouldn't say that Roger Moore was weak, but he never stood up to the original. Connery was Bond and Bond was Connery. Everyone since him just hasn't cut it.

But now, I'm excited about shaken martinis, Aston Martins, atomic-blasting ballpoint pens, megalomaniacal villians and hot women with suggestive names like "Ashlee Poundcake." Why the sudden euphoria? Because Bond is starting over. With Brit Daniel Craig (best known in the U. S. for "Layer Cake" (2004) and "Road To Perdition" (2002)), we should get to see a different kind of Bond. Younger, less gimmicky, more energetic.

Craig is talented and I think he'll bring a charisma and toughness that Brosnan and Dalton could not muster with consistency. And yes, I believe Daniel Craig is a more convincing fighter than Roger Moore.

I also like the fact that they are going back to an earlier Ian Fleming work with "Casino Royale." This movie was done as a spoof before, but will be given the royal treatment this time. Also, Martin Campbell directed "The Mask of Zorro" and "Goldeneye" (the best Bond film since early "Roger Moore") so he should know what he is doing.

I know a lot of people are criticizing the Daniel Craig choice, but I would direct them to the fine work that Christian Bale did in "Batman Begins." The Batman movies were below mediocre when they were looking for "stars" to continue the Batman character that Michael Keaton brought into the modern age so well -- Val Kilmer was pretty bad and George Clooney was a disgrace. It was not until they decided to "start over" with younger Bale, was Batman born again. Now they probably have two to three good movies left with Bale in the lead. This is also what I suspect will happen with the new "Superman" series with its new blood.

The Batman and Bond characters are related in many ways. Both are mysterious, lead double-lives, rely on technology, charm, wealth and training to get their jobs done. They also appeal both to men and women at the same time for different reasons. This is why I like this direction and I can't wait till 2006 when "Casino Royale" opens with Daniel Craig in the title role.

Now, if we can just get the President working on that Daniel Craig clone now before it's too late.

Just for fun, here are my top five (printable) new Bond Girl names:

5. Poppy McButtons

4. Nina Jailbait

3. Mary Kate Ashley

2. Serena Sweetback

1. Ari Ola

You can find the original article and links to movie info at my blog "The Popcorn Box" at: http://thepopcornbox. blogspot. com/2005/11/james-bond-rebuilt. html

Iced out watches the fad of diamonds

title:Iced Out Watches: The Fad Of Diamonds

author:Brent Wilson

source_url:http://www. essayabc. com/articles/music_and_movies/article_145.shtml

date_saved:2007-07-25 12:30:14



Okay, let’s start with the basics. Iced out watches are watches that are gleaming with awesome sparkle from diamonds. They are often some of the most sought out in the hip hop fashion world. In today’s markets, there are all sorts of designs and features offered in iced out styles. There is no doubt that those who are after an iced out look can find it available to them right on the web. Let’s talk about iced out watches though.

Iced out watches are encrusted with gorgeous diamonds. They are literally lined with them. But, don’t worry. The watches that you see in your favorite videos and on your favorite stars are probably real, but you can get the same look for much less. That means that anyone that is looking for iced out watches can have them. They look just as cool, shine just as bright but they are easier on the wallet.

That is where it all started. The hip hop artists are known for wearing some of the most outrageous designs, jewelry and clothing. It is through their videos and their appearances that hip hop clothing got its name. What is good for you, though, is that these looks can be yours without all that much work.

Throughout the web, you are going to find a wide selection of awesome looking iced out watches. They glare with bling bling fashion. They gleam with bright light. And, they are designed in the most popular hip hop styles. Need something specific? Go ahead and have it custom made. Want something that says just what you are all about? You will find it. There are some excellent websites online right now where you can easily purchase the iced out watches that you have been waiting for. They are offered in just the look you want, to look just like what your favorite hip hop artist is wearing. Stop watching it happen on the television and get with it! Iced out watches are only the start of what you can own, at awesome prices on the web.

Hammered dulcimer an american tradition

title:Hammered Dulcimer: An American Tradition

author:Randy "Ardie" Davis

source_url:http://www. essayabc. com/articles/music_and_movies/article_50.shtml

date_saved:2007-07-25 12:30:14



A Little About Hammered Dulcimers

The hammered dulcimer in America is a traditional stringed instrument that been in revival over the last 30 years. It can now be heard in contemporary music, seen at folk festivals, and bought over the Internet. For those new to the instrument, it is typically trapezoidal in shape with many strings running over two long bridges, the treble bridge and the bass bridge. The instrument is mostly played with two small, wooden hammers that are used to strike the strings.

Someone once used the following poetic phrase to describe the magical sound of the hammered dulcimer:

"At once the flutter of Angel's wings and the crashing of symbols."

Indeed, the hammered dulcimer is a curious and ungainly combination of subtlety and brashness, of the outrageous and the sublime, of beautiful lines and an awkward shape. Yet, as a solo instrument, its emotive range is such that a hammered dulcimer can be played in celebration at a wedding and in sorrow at a funeral. It revels in the square dance and is somber in the dirge. Like its younger cousin, the piano, it can find a place in a choir-filled sanctuary, the modern recording studio, and the small, quiet parlor of a home. In short, as a musical instrument it is delightfully flexible and interestingly complex.

The dulcimer can also be played in a variety of ways: it can be gently plucked with the fingers, crudely dampened with duct tape, played with hammers that ring brightly or that soften the blow in bell-like tones.

A Little About Dulcimer Players

Dulcimer players themselves are sometimes an odd lot. As the world chases the newest fad in music, and pushes to the next extreme, dulcimer players sometimes look over their shoulders. They look for the value in a rich and deep tradition of a music that always tells a story - often with outrageous humor and a twinkle in the eye. In a sense, theirs is a path, in the words of folk musicians Aileen and Elkin Thomas, for those who can't walk straight, else why would they veer into a retro-culture of a century and more ago.

The dulcimer player is almost always a communal person because the dulcimer is such a communal instrument. And because the dulcimer is not usually amplified, it draws people unto itself, into a close circle of raucous and entertaining melody.

The dulcimer player celebrates that time in our American history, and in our world, when, from here at least, things looked simpler and happier and slower. While the dulcimer plays, things are even so.

The act of playing a dulcimer is a solid, experiential link to a time when people made their own, well, just about everything. The dulcimer enjoyed a good part of its history not as a factory instrument, but as an instrument crafted by the musician. The hands that played it made it.

Today, during its revival, the hammered dulcimer is still handcrafted around the country by a variety of luthiers; but it is also being manufactured by companies intent on making it lighter, smaller and more portable.

Hammered vs. Mountain

In America two instruments are called "dulcimer": the hammered dulcimer and the mountain dulcimer. They are two completely different instruments, but often found and played in the same circles. The hammered dulcimer, as previously stated, is trapezoidal with many strings, and is played with small, wooden "hammers." The mountain dulcimer is small, often hour-glass or tear-drop shaped, has four fretted strings, and is usually played on one's lap by strumming somewhat like a guitar.

The hammered dulcimer has a long tradition in American history. Here are some little-known but interesting facts about it.

Hammered Dulcimer Trivia

* The earliest record of a hammered dulcimer in America is from May 23, 1717 in Medford, Mass. where it was played in the home of the Rev. Aaron Porter, a graduate of Harvard College.

* Alexander Hamilton (not the statesman), playing the cello, accompanied the hammered dulcimer on November 21, 1752 at The Tuesday Club in Annapolis, MD.

* The first professional hammered dulcimer player (unnamed) mentioned in American history was promoted by one Richard Brickell in 1752 in New York.

* The word "dulcimer" was often spelled dulcimore, dulcemer, dolsemor.

* The oldest hammered dulcimer now existing in America may only date to 1800, and was probably made in Seneca, New York.

* Sometime in the 1830s or '40s, hammered dulcimer-maker Richard Vernon of Stokes County, North Carolina once shipped 75 dulcimers to New Orleans on a flatboat down the Ohio and Mississippi rivers. Early American hammered dulcimers were often rectangular.

* The earliest recorded value of a hammered dulcimer (1844) may have only been $1.00! It was part of the estate of one William Moon, Madison County, Alabama.

* The tuning pins of early hammered dulcimers were hand-forged.

* The first instruction book for the hammered dulcimer was published in 1848 by C. Haight under the title Complete System for the Dulcimer.

* In the Great Lakes Region the hammered dulcimer was sometimes called the "lumberjack's piano"!

* Montgomery Ward, in his 1894-1895 catalog, sold hammered dulcimers. Sears and Roebuck followed in 1897 and sold them for $24.90!

* Early hammered dulcimer soundboards were often made of common woods like pine or hemlock. Today they are usually made of Redwood, Western Red Cedar, Mahogany, or Sitka Spruce.

* Common configurations for 19-century hammered dulcimers were 9/0, 10/7, 11/6, 11/7, 12/3, and 12/11. (The left number indicates the number of treble courses; the right number indicates the number of bass courses. A "course" is a set of one or more strings tuned to the same note on the musical scale.)

* 19th-century hammers typically had whalebone shafts.

* Among the earliest recording of any variety of American vernacular music is that of the hammered dulcimer! Performed by Roy Gibson at the Edison studio in 1910.

* A hammered dulcimer was part of Henry Ford's orchestra in 1925!

If you have any questions about this wonderful musical instrument, please feel free to contact me at my Web site: http://www. ardiesdulcimers. com

An interview with angus young of acdc

title:An Interview with Angus Young of ACDC

author:Steven Rosen

source_url:http://www. essayabc. com/articles/music_and_movies/article_18.shtml

date_saved:2007-07-25 12:30:14



Discusses his Gibson SG and other Gear.

SR: Maybe more than any other guitarist ever, you’re inextricably linked to the Gibson SG? What was the evolution that brought you to this particular instrument? AY I started playing on banjos and re-strung them up with six strings. [But] an acoustic guitar, an old bang up little ten-dollar job, that was probably the first thing I started playing on. Me brother Malcolm got a Hofner off of one of me other brothers and he got a Gretsch and passed the Hofner on to me after much squabbling. It was semi-acoustic and had all been packed with cotton. But I never used to really take it as a serious thing; I just used to fool around with it. When I was about 14 was when I really started playing it seriously. I got an amplifier for about sixty bucks that used to distort all the time. It was a Phi-Sonic. After that I got out and got a Gibson SG that I played until it got wood rot because so much sweat and water got into it. The whole neck warped. I bought it second-hand, it was about a ’67. It had a real thin neck, really slim, like a Custom neck. It was dark brown. After about a year, you lose about half the power in the pickups so you either get them re-wired or put new ones in. Just ordinary Gibsons.

SR: Did these early instruments still have that tremolo arm attached?

AY: They did but I took it off. I used to fool around with them but you begin sounding like Hank Marvin.

SR: And why did you remain loyal to the Gibson SG for the remainder of your career?

AY: It was light [weight-wise]. I’d tried the other ones, Fenders, but you’ve really got to do a number on ‘em. They’re great for feel but the wiring just doesn’t got the balls. And I don’t like putting those DiMarzios and everything because everyone sounds the same. All the other sort of Gibsons I tried like the Les Paul was too heavy. Hip displacement.

When I first started playing with the SG there was nothing to think about. I don’t know how this came about but I think I had a lot thinner neck. Someone once said to me they [Gibson] make two sized necks, one was 1 Ѕ and one was 1 ј and this was like 1 ј, thin all the way up. Even now I still look all over and I still haven’t found one; I’ve been to a hundred guitar shops and I found the same guitar [model] but with different necks.

SR: Did you ever experiment with the Gibson SGs when they were called Les Pauls [Eric Clapton’s graphically appointed Cream-era guitar is probably the most famous representative of this model]?

AY: Yeah, I had a really old one I bought, a 1962. But it had a very fat neck; it was good to play but it felt heavier than all the other ones. That’s why I stopped using it. And when you’re running around a lot, it weighs you down.

SR: So from High Voltage on it’s always been the SG. Have you ever tried using more modern types of instruments?

AY: Yeah, I tried a Hamer but I wouldn’t buy an expensive guitar – especially in my case. It’s always getting beaten around. With the SG, you can do plenty of tricks with them.

SR: And you’ve been faithful to Marshall amplifiers as well?

AY: Ever since I’ve been in this band I’ve been using Marshalls. I’ve tried Ampeg and they weren’t too good for the sound I wanted.

On stage I have four stacks going, all hooked up with splitter boxes. 100-watt stacks … it’s good for your eardrums. I use a real lot of volume, I turn that up; I turn the treble and bass on about half and middle, the same. I don’t use any presence. If I don’t think it’s putting out enough top, I will kick up the presence.

With Marshalls, if you’re using a fair bit of volume, if you whack the treble and bass at half, that’s where they’re working. We get them from the factory, that’s what we do. We go down there and try them out and fool around with amps and tell them what we want and they doctor them up. At the moment, they’re all back to the old style of Marshalls, they’re very clean. They don’t have these master or preamp settings.

SR: You have entered the modern age of electronics in your use of a wireless system.

AY: Yeah, I use the Schaffer-Vega. I’ve been using that since ’77. On the receiver you’ve got like a monitor switch you can boost the signal and in the transmitter you’ve got the same sort of thing. You can really give a guitar hell with ‘em. I have used the remote in the studio and it worked really good. I don’t believe I’ve ever had a wah-wah or a fuzz box. It’s just the guitar and the amp and if I need anything, if someone says they want a different approach to the sound, then I’ll get it with the guitar.

What does chronicles of narnia richard pryor and brokeback mountain have to do with anonymous mind control author

title:What does "Chronicles of Narnia", Richard Pryor and "Brokeback Mountain" Have to do with Anonymous Mind Control Author?

author:JK Ellis

source_url:http://www. essayabc. com/articles/music_and_movies/article_177.shtml

date_saved:2007-07-25 12:30:14



That's right "Chronicles of Narnia", Richard Pryor and the new movie "Brokeback Mountain" posess an insidious link to, a controversial persuasion author, JK Ellis.

This is a conspiracy of implication.

JK Ellis and Richard Pryor - fearless in telling you whats on our minds.

JK Ellis and the movie "Chronicles of Narnia" - compelling in what we have to offer.

JK Ellis and the new movie "Brokeback Mountain" - willing to discuss things that everyone else wants to ignore or deny.

This is merely a demonstration of how one can persuade by association and implication. Simply by comparing the writer JK Ellis to three things in the popular culture it creates a fit in the mind s of the public.

JK Ellis points this out on his Mind Control blog http://mindcontrol101.blogspot. com as “not quite the same thing as name dropping to impress people but it's along the sames lines.”

How do the best PR people in the world use this strategy?

1) Quotes - telling people what other people have said about you. This is different than just stating it out right. "Quotes" provides distance.

2) Plant a story or press release that piggy backs something in the popular culture with your name. Example: "Controversial Mind Control Author warns of advance influence technology in Harry Potter movies".

3) Covertly drop a name. Meaning while you're on the phone you turn your back to the listener and whisper just loud enough for them to hear "Tell Mr. Tarantino that I can't work with him until his assistant clears his schedule for me. There's no way that.... Oops... I have to go."

4) Leaving a scratch pad on your desk with the words “Lindsay Lohan cell# 619-722-8099”

The key is to distance yourself as much as possible from actually dropping the name yourself.

None of this is new, of course. Planting credible evidence has been one keys to success since the time of Chinese General Sun Tzu.

For more information on covert persuasion and mind control you can read JK Ellis blog at http://mindcontrol101.blogspot. com.

Hip hop love stories and the construction of socially acceptable urban identities

title:Hip-Hop Love Stories and the Construction of Socially Acceptable Urban Identities

author:Nathaniel Long

source_url:http://www. essayabc. com/articles/music_and_movies/article_181.shtml

date_saved:2007-07-25 12:30:14



Hip-Hop has historically existed as a male-dominated industry. Being a reflection of urban life and struggle, past Hip-Hop artists have been forced to maintain a certain level of masculinity in order to be accepted by their urban communities. Old school rappers who talked about love were often viewed as soft or corny. Because of this perception, the existence of love in Hip-Hop is a fairly new concept.

As the movement has gained support and recognition throughout the world, love has become an increasingly common theme in Hip-Hop music and poetry. However, the taboo still exists. Even today, Hip-Hop artists and poets present their love stories in a manner that allows them to maintain socially acceptable identities. Hip-Hop stories about love must still meet the masculine ideology in which the movement is rooted in order to be perceived as real and true.

The purpose of this study is to analyze Hip-Hop love narratives and how artists present these love stories in order to construct socially acceptable identities. I believe personal narratives are closely tied to the construction of identities. It is through personal narratives that people can recount life-changing events, realize socially acceptable behavior and create individual identities.

I have researched and studied several Hip-Hop love songs and analyzed the lyrics as text and poetry. In my research, I have found five common narrative forms used by Hip-Hop poets to tell their love stories: contrasting, perceptual, spiritual, conversational and metaphoric. These five narrative forms are used not only to present the story correctly, but also to maintain positive perception among a society that might view this sensitivity as weak or disrespectable. I plan to demonstrate each of these narrative forms and show how the poets use them to tell their love stories while establishing acceptable identities.

The Contrasting Narrative

One of the most common forms of Hip-Hop love stories is the contrasting narrative. Many artists use Hip-Hop music and poetry to tell stories about the negativity surrounding their urban environments. The contrasting narrative allows the poet to express his or her love story as a contrast to this negativity while constructing an acceptable identity because that negativity is real and understood in urban communities.

A great introductory example to the contrasting narrative would be the following passage from Method Man’s “All I Need”:

Back when I was nothin’

You made a brother feel like he was somethin’

That's why I'm with you to this day boo no frontin’

Even when the skies were gray

You would rub me on my back and say "Baby it'll be okay"

In this song, the poet uses the contrasting narrative to show his love for someone who stood by him when “skies were gray.” He speaks of his love interest as someone who helped him get through troubled times, thus providing a positive contrast to his negative surroundings.

Another example of the contrasting love narrative can be seen in this passage from Guru’s “All I Said”:

This world is crazy, she's supposed to help me stay sane

Supposed to help with the pain, supposed to help me maintain

In this song, Guru uses the contrasting narrative to share his view of what love should be. He admits that his “world is crazy”, and that his love interest is the one person who can make it bearable.

In “She Tried”, Bubba Sparxx uses the contrasting narrative to tell a story that actually recalls his love being there for him when he was in trouble with the law:

A fly country girl, just workin’ them gifts

She's my queen, was a virgin I guess

But I ain't never ask and I ain't never tell

But Betty had the cash every time I went to jail

This song further illustrates the use of contrasting narratives to express love. Though the poet confesses spending a lot of time in jail, Betty was always there to bail him out, again acting as a positive contrast to his troubles.

The Perceptual Narrative

Another common narrative form of Hip-Hop love stories is the perceptual narrative. Like the contrasting narrative, the perceptual narrative is based around the negativity that surrounds the poet’s life. But instead of presenting this love as a contrast to that negativity, the poet uses this narrative to explain how that love changed his or her previously negative perceptions. This narrative form also allows the poet to construct a socially acceptable identity due to the acknowledgement of the negativity of urban life.

In “Jazzy Belle”, Andre of Outkast uses the perceptual narrative to tell of how his love changed his former perception of women:

Went from yellin’ crickets and crows, witches and hoes to queen thangs

Over the years I been up on my toes and yes I seen thangs …

Now I’m willin’ to go the extra kilo-

Meter just to see my senorita get her pillow

On the side of my bed where no girl ever stay

House and doctor was the games we used to play

But now it’s real Jazzy Belle...

In this song, Andre talks about a personal change of perception caused by love. He admits that at one time he thought of women as “witches and hoes.” But “now it’s real”, and he has a new perception of women as “queen thangs.”

Another great example of the perceptual narrative can be found in the following passage of Black Star’s “Brown Skin Lady”:

I don't get many compliments, but I am confident

Used to have a complex about, gettin’ too complex

You got me, willin’ to try, looked me in the eye

My head is still in the sky, since you walked on by

In this example, the poet admits to having relationship issues, but tells of how love helped him to overcome these issues. The poet’s love interest helped him to change his perception of love and fear of “gettin’ too complex”.

In “Ms. Fat Booty”, Mos Def further illustrates this point by demonstrating the perception of other men and speaking to his love on how he is different:

Yo, let me apologize for the other night

I know it wasn't right, but baby you know what it’s like

Some brothers don't be comin’ right

I understand, I'm feelin’ you

Besides, ‘Can I have a dance?' ain't really that original

In this song, the poet uses the perceptual narrative to acknowledge that some men “don’t be comin’ right”, but that he has a different perception of women than these other men.

In “Come Close”, Common uses the perceptual narrative to express how love has made him change from his old ways:

I want to build a tribe wit you

Protect and provide for you

Truth is I can't hide from you

The pimp in me

May have to die with you

Although the poet used to be a “pimp”, an urban term for a man who romances a large number of women, he tells of how his love interest has changed his actions and perceptions.

The Spiritual Narrative

A third common form of Hip-Hop love stories is what I like to refer to as the spiritual narrative. The spiritual narrative relies on the poet’s characterization of love as a kind of godly being, spiritual force or royalty, often with the feeling that the story teller has to protect that force. The spiritual narrative allows the storyteller to construct an acceptable identity by characterizing love as spiritual or perhaps even predetermined.

A great example of the spiritual narrative can be found in this passage of The Roots’ “You Got Me”:

Somebody told me that this planet was small

We use to live in the same building on the same floor

And never met before

Until I'm overseas on tour

And peep this Ethiopian queen from Philly

Taking classes abroad

Here, the poet uses the spiritual narrative to describe the time, place and emotions that his love was founded on, speaking of them as if they were somehow meant to happen. He also refers to his love interest as “this Ethiopian queen from Philly”, using the royal characterization so common in spiritual love narratives.

In “Love Language”, Talib Kweli also uses a spiritual narrative form and refers to his love as a kind of royalty:

Now if they call you out your name

Then that's a different thing

Anything but Queen

I'll go to war like a King

This example shows the protection aspect of common spiritual love narratives. The poet feels it is unacceptable for anyone to “call you out your name”, or in other words, use derogatory language toward his love. If someone were to do so, he would “go to war like a King”, thus maintaining his masculinity.

In “Mind Sex”, Dead Prez uses the spiritual narrative to talk about love introductions:

African princess, tell me yo' interests

Wait, let me guess boo, you probably like poetry

Here's a little something I jotted down in case I spotted you around

So let me take this opportunity

In this song, the poet uses the spiritual narrative to tell a story about the introductory conversation he had with a love interest. He refers to her as “African princess”, once again showing the tendency of poets who use the spiritual narrative to refer to their love interests as royalty.

The Conversational Narrative

The fourth common form for Hip-Hop love stories is the conversational narrative. The conversational narrative allows the poet to recite or recreate a conversation with his or her love and present it as play-like story about a specific love experience. Conversational love narratives are typically characterized by introductory speech and compliments, and are most commonly used as tools to tell a story about a first meeting or impression. These narratives allow the storyteller to construct an acceptable identity mainly because they often include many smoothly-structured compliments, and make the poet look like a cool ladies man.

A great example of the conversational love narrative can be found this passage from Dead Prez’ previously mentioned “Mind Sex”:

Pardon me love but you seem like my type

What you doin’ tonight?

You should stop by the site

We could, roll some weed play some records and talk

I got a fly spot downtown Brooklyn, New York

In this example, the poet is reciting the conversation between himself and a love interest. As with many conversational narratives, it is based around meeting someone for the first time. The poet is telling a story about a girl he met that “seem[ed] like my type”. He then inquires “What you doin’ tonight?”, and follows with a list of charming speech in an attempt to create a social relationship with the girl.

In a similar narrative, “Beautiful Skin”, Goodie Mob uses the following conversational narrative to retell the first phone conversation he had with his love interest:

This is Carlito from a couple of days ago, you sound tired

Forgive me if I've called you too late

But what better time to relate mind-states?

Where could I begin?

Has anyone ever told you ‘You got beautiful skin’?

This example further illustrates the use of introductory language in conversational narratives. The poet asks his love interest if she would like to “relate mind-states”, or get to know each other. He then tells her that she has “beautiful skin”, an often successful introductory complement given to women.

Cee Lo uses the following conversational narrative in “Slum Beautiful”:

Look at you, unbelievably, brilliant beautiful you

You're looking deliciously divine darling you really and truly do

The very thought of has got me running at the speed of love

Exploring everything about you from the ground to the God above

In this song, the poet uses the conversational narrative to speak directly to his love interest through the song. Note the wide range of compliments offered in this passage, as well as the charm, again illustrating a common aspect of the conversational narrative.

The Metaphoric Narrative

This fifth form of Hip-Hop love stories is possibly the most fascinating. It is the metaphoric narrative. The metaphoric narrative is used when the poet speaks of love in a metaphor of some kind. The most popular and socially acceptable form of metaphoric narrative is using Hip-Hop as the metaphor. Many followers of the movement view Hip-Hop as a driving force of love and happiness in their lives. Thus, many metaphoric love narratives revolve around Hip-Hop itself.

A good example of such a metaphoric narrative is the following passage from Black Eyed Peas’ “Rap Song”:

Yo, she got hips to hop

And she ain't goin’ pop

She like a record that I wanna rock

When I'm rollin’ in my ride cruisin’ down my block

In this example, the poet actually uses a unique play on words and speaks of a love interest as a Hip-Hop metaphor. He relates this person to “a record that I wanna rock”.

The group further extends the metaphor in the following passage:

She like a beat that makes me wanna grab the mic

She like the lyrics that I wanna recite

She like the old school mic with the cable

You can bring your records and I'll bring the turntable yo

Again, the poet relates his love interest to other things he and his audience love, including “old school mic with the cable”, reciting lyrics and spinning records on a turntable.

Another great example of the metaphoric narrative is in The Roots’ “Act Too … Love of My Life”:

Learnin’ the ropes of ghetto survival

Peepin’ out the situation I had to slide through

Had to watch my back my front plus my sides too

When it came to gettin’ mine I ain't tryin’ to argue

Sometimes I wouldn'ta made it if it wasn't for you

Hip-Hop, you the love of my life and that's true

This passage is unique because it utilizes both the metaphoric and contrasting narrative techniques. The poet refers to Hip-Hop as “the love of my life”, while simultaneously showing how that love created a positive contrast to the tough “ropes of ghetto survival”. The poet admits that he “wouldn’ta made it if it wasn’t for you”, showing that his love for Hip-Hop was and is a driving force in his life.

And that leads us to the most popular metaphoric Hip-Hop love narrative of our time. In “I Used to Love H. E.R.”, Common Sense uses the metaphoric narrative to express his love for Hip-Hop. He starts off the narrative with the following passage:

I met this girl, when I was ten years old

And what I loved most she had so much soul

She was old school, when I was just a shorty

Never knew throughout my life she would be there for me

In this example, the poet starts off telling a story about a girl he met when he “was ten years old”, and how she was always there for him. The poet continues to use the metaphoric narrative to speak of this girl, including the good times and hardships they faced together. Not until the end of the poem does the listener actually realize that the entire song is a metaphor. The song ends with the following passage:

I see rappers slammin’ her, and takin’ her to the sewer

But I'ma take her back hopin’ that the stuff stop

Cause who I'm talkin’ bout y'all is Hip-Hop

In this song, the poet used the metaphoric narrative to tell a story about the love of his life, the struggles she faced, and his desire to save her. In the end, he admits that this love is not a real person, but instead his love of Hip-Hop.

The presentation of Hip-Hop love narratives is a very difficult task. In order to talk about love and still construct a socially acceptable urban identity, artists tend to implement one of the five successful love narrative forms. I believe that our society’s analysis of Hip-Hop music and culture is lackluster at best. The Hip-Hop love narratives presented above could provide a great basis for linguistic and sociolinguistic studies. Not only are they presented in a variety of styled narrative forms, but they also include deep thought, perception and analysis of the urban environment that characterizes an increasing majority of American society. Through the analysis and study of these love narratives, linguists could come to a greater understanding of and appreciation for the Hip-Hop vernacular, literature and, ultimately, culture.

It takes an iron resolve to make an independent film production happen

title:It Takes an Iron Resolve to Make an Independent Film Production Happen

author:Michael P. Connelly

source_url:http://www. essayabc. com/articles/music_and_movies/article_192.shtml

date_saved:2007-07-25 12:30:14



Commitment is an independent filmmaker’s most valuable resource. Without a lot of money to grease the wheels of production, a low budget film producer must rely on creativity and determination to get their films made. If a person wants to get their film made badly enough, there is not much in this world that can stop it from happening.

Making a film on your own with your own money is a very daunting task. It can also be very rewarding. When you decide to take on the awesome responsibility of writing, directing, and producing your own independent film, you better know what you are getting into beforehand. Once you set the ball in motion, there is no going back. You either succeed and your film makes to the film festival circuit (which is a major accomplishment in and of itself), or you crash and burn halfway through the film production process and your film vision never sees the light of day.

The next time you watch a movie I suggest that you pay particular attention to the credits at the end of the film. Take a look at how many names scroll across the screen and this will give you an idea of how much work goes into the making of a motion picture. Then take away all of the names on the screen and picture your name in front of every credit for every job and this will give you an idea of much work YOU will have to do to make your own movie.

When I first graduated from film school I hit the ground running. I landed a decent job as the Director and Animator on an independent film that had Pat Boone’s name attached to it. I was to hired to film clay animation stories about The Bible. I worked on that job for about four months and was paid fairly well for my efforts. I decided that the best thing I could do with the money I saved was to make another film. I would take the knowledge and money I gained and use it for my own benefit. I decided to make my own movie with the idea in mind that I would enter it in on the film festival circuit and hopefully win some awards. If that happened it would almost certainly be a boost for my fledgling film career.

I wrote a script for a short film that involved a combination of clay animation and live action, and I was ready to make a film. My plan was to use all of my knowledge and talent and do almost all the work. For the parts that I could not do myself I would hire friends and business associates at a substantially discounted rate. These people agreed to work for cheap in return for a little creative control, a credit for their demo reel, and possibly exposure if the film does well at any major film festivals. I only had to hire them for the filming of the live action scenes and for some of the post production work (like sound design, mixing, foley sound effects, etc…). The animation I would do entirely on my own.

I contacted a couple of friends of mine that managed camera and sound equipment rental houses. They set me up with a 16mm camera package and a DAT (digital audio tape) package to rent at discounted prices. I rented these packages on a weekend (to get the extra 2 days for free) and I started filming the live action part of my film right away.

I worked extremely hard that first weekend. I basically filmed most of the time with only about two to three hours of sleep each day. When I was not filming/acting/directing, I was setting up lights, moving furniture, making meals for everyone, setting up props, distributing and apply makeup, rehearsing with actors, fixing costumes, and performing script rewrites on the set, to name only a few things. By the time Monday morning rolled around, I was mentally and physically exhausted, but I still had to bring back the camera and sound equipment packages by 10:00 am or I would be charged for another day of rental. You do not have that luxury to just sleep in and not worry about it when you are making an independent film on a shoestring budget. There is no rest for the weary when you are making your own movie. Time is money, and you do not have a lot of either one of these resources.

I returned the camera and sound equipment packages just in time on Monday morning. Then I went straight to the film lab and dropped off my film. I then made an appointment for the following week (the soonest date I could get) to see my dailies (developed film), and counted the days until the day of my appointment arrived.

I arrived at the film lab a half hour early for my appointment to see my dailies. As I sat in the lobby waiting for my big moment, I began to get very nervous. Unnerving thoughts began to fill my head. What if one of the rolls of film somehow got damaged in the lab? Maybe the machine that develops the film broke when my film was running through it and all of my film rolls are scratched? What if the cameraman I hired was not as good as his demo reel implied and all my rolls are under or over exposed? What if the guy who took my film at the front desk of the film lab is a disgruntled filmmaker who only took that job so he can ruin other people’s film when they hand it over to him? What if there was a mishap in the film vault involving fire sprinklers and all my rolls of film got ruined? Of course, all of these are irrational thoughts, but nonetheless they are the kind of thoughts that go through the mind of an independent filmmaker as they are quietly waiting in the lobby of a film lab facility prior to their appointment to see the fruits of their efforts.

As it turned out, everything was fine. My dailies looked great and that only inspired me to keep the ball rolling with my film project. I put every ounce of effort that my body and soul possessed into that project, and it paid off. That film (Mike And The Magic Lamp) won several awards at several film contests that year (1998) including a Silver Award at the Houston Worldfest in the same category that had seen past winners with such names as Steven Spielberg, Oliver Stone, and Quentin Tarantino. It was a perfect springboard for my film career. I have made several films since then and all of them have led to bigger and better projects. My latest film is a ninety minute science fiction love story. I already have a couple of distribution offers for this film, and I have yet to enter it in a single film festival. I should be able to make a very decent profit if it does well on the film festival circuit, and I owe it all to my iron resolve to make my film career dream a reality. Where my budget was lacking, my determination picked up the slack.

Copyright 2006. Michael P. Connelly

http://www. makealowbudgetmovie. com

Gladiators hollywood when will they get it right

title:Gladiators & Hollywood: When Will They Get It Right?

author:James Duffy

source_url:http://www. essayabc. com/articles/music_and_movies/article_155.shtml

date_saved:2007-07-25 12:30:14



With the wrap of HBO’s first season of Rome comes the inevitable debates over historical accuracy vs. Hollywoodized storytelling. In the rhetoric over Julius Caesar’s looks, mannerisms, and political acuity, one key scene near the end of the series has been consistently overlooked: the gladiator games. Once again, costumers and production designers won out over the reality of arena combat and fighters. As with Ridley Scott’s brilliant, yet historically flawed, masterpiece “Gladiator,” the pairings, equipment, and battles within the arena were woefully wrong.

Here are five of the most common misconceptions about gladiators that should, perhaps, be required reading by all feature film directors.

1). Gladiators randomly fought any and all other gladiators.

This is false and is the root of the most common inaccuracies in gladiator films. Gladiators were categorized by specific fighting styles. Each had its own set of weapons, and more importantly, each fought only one or two other styles of gladiators. For example, the retiarius who fought with a trident, net, and small dagger, would only fight one other style of gladiator: the secutor. The smooth design of the secutor’s helmet—almost bullet-like in shape—was developed specifically for these bouts. The helmets worn by other types of gladiators, with elaborate crests and ornamentations, could easily get snagged by the net, putting the wearer at an unhealthy disadvantage. The tenet to gladiator combat was checks and balances. For every strong point each style of fighter had, there was also a weakness to be exploited.

2). All gladiators were criminals or prisoners of war.

While most fell into these categories, there were quite a few fighters who volunteered for gladiator duty. Some did it for the fame and glory, others sought a life of adventure and danger, and others did it for the money. Victorious gladiators were rewarded with a victory palm and gold coins. Although considered the dregs of society, the gladiators’ fame and celebrity was not unlike that enjoyed by today’s top sports heroes.

3). All arena bouts ended with the death of a gladiator.

Actually, relatively few arena bouts ended in death. A recent study of ancient writings revealed that, in the 1st Century AD, there was a 90% survival rate among gladiators in Rome. The number of arena deaths did increase in the later years of the Empire, but even at its most deadly period, 66% of gladiators still left the arena alive. The main reason for this was economics. The lanista—the owner of the gladiator school—had a sizeable investment in these professional fighters. If he were to lose half his fighting force in each arena show, he would be out of business quickly. Consequently, only the worst, cowardly fighters were sentenced to death.

4). Thumbs down meant death in the arena.

This may or may not be true. It has been the subject of debate by scholars and historians for many years. The only direct reference to this practice in ancient writings was by Juvenal, who mentions that fighters were sentenced to death “with a turn of the thumb.” Some historians have interpreted this to mean a thumbs down motion, others feel it could be a sideways motion, and still others feel it was actually a thumbs up motion.

5). Gladiators fought both men and wild animals.

Gladiators were rarely, if ever, pitted against wild beasts. That job was left to a specialized group of arena fighters called venatores. These fighters were well trained in the hunting and killing of the largest and most ferocious wild animals, usually with only a hunting spear in hand. They were considered of lower rank than the gladiators, although the crowds also had their favorite venatores.

So is it poor research or the whim of production designers and directors that continues to result in so many arena inaccuracies? With so much real-life danger and spectacle, it’s a wonder that filmmakers continue to feel the need to try to improve on ancient history.

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