While most people enjoy casino gambling, sports betting, lottery and bingo playing for the fun and excitement it provides, others may experience gambling as an addictive and distractive habit. Statistics show that while 85 percent of the adult population in the US enjoys some type of gambling every year, between 2 and 3 percent of will develop a gambling problem and 1 percent of them are diagnosed as pathological gamblers.
Where can you draw the line between harmless gambling to problem gambling? How can you tell if you or your friend are compulsive gamblers? Here you can find answers to these questions and other questions regarding problem gambling and gambling addiction.
What is the Meaning of Problem Gambling?
Problem gambling or compulsive gambling is defined as an uncontrollable urge to gamble despite the destructive effect of gambling on the gamblers life and despite feelings of guilt and remorse. Problem gambling tends to have a negative effect on the gamblers financial state, relationships and daily life. Severe cases of problem gambling can be defined as pathological gambling.
Am I a Compulsive Gambler?
1) Do you gamble until your last penny runs out?
2) Do you gamble to win back your former losses or debts?
3) Did you ever had to borrow money to continue gamble?
4) Did your gambling habit ever made you lie to your friends or family?
5) Did you ever skip work or other obligation to gamble?
6) Do you tend to gamble to forget about your personal problems or to celebrate happy occasions?
7) Does gambling have a negative affect on your daily life or relationships?
If you have answered yes on at least one of the questions listed above, then you have a problem.
Can Anyone Become a Compulsive Gambler?
Theoretically, yes. Any gambler can develop gambling problem regardless to the type of gambling he is occupied with, the amount of money and time he is spending on gambling. Researches show that slot machines that can be found in bars and convenient stores are the most addictive type of gambling activity, while lottery draws and bingo games are located on the other end of the scale. Gambling addiction is an emotional problem; its symptoms, causes and treatments are similar to any other form of addiction.
How Can I treat Gambling Addiction?
1) Group Therapy:
Gamblers Anonymous offers a 12 step self help program similar to the one offered to alcohol addicts in Alcoholics Anonymous. Group therapy also offers gambling addicts advice and support from professional counselors and other gambling addicts in different phases of their recovery process. Gambler Anonymous centers are available in more than 1,200 locations statewide.
2) Individual Therapy:
Cognitive or behavior therapy can help gambling addicts to identify their unaware thinking and acting patterns, which led them to gamble compulsively, and to replace them with controllable and healthier ways of thinking.
3) Psychiatric Medication:
It has recently been proven that antidepressant medications from the family of SSRIs, selective serotonin reuptake inhibitors can be affective in treatment of gambling addicts.
Wednesday, December 30, 2009
Add extra value to your art work - part one
There are several things that you might not have thought of, that add extra value to your artwork and can make it worth more money when you come to sell it. I'm not talking here about reworking pieces you feel haven't come up to scratch. Yes, it is sometimes possible to rescue a less than perfect watercolour by using a pen and ink technique, and you can paint right over parts of an oil or acrylic painting to in effect completely rework the area, but here I am talking about techniques that don't involve changing your artwork in any way.
Sometimes you only need to put a cardboard mount around a painting to bring it out of the doldrums, and there is no doubt that the right mount and frame can do wonders for a slightly mediocre piece of art. For a sculpture, or a piece of ceramics, the right stand and appropriate lighting can make a big difference to the way it displays, but after you've made sure that your artwork is being displayed to its best what else can you do to add to its worth?
The first and most important thing you should do is make sure that your artwork is signed legibly. It's surprising how many people forget to sign their art, but it makes a big difference to the buyer. A signed piece of work is worth more money than an unsigned one, and it doesn't matter whether you sign it on the front, at the top or bottom, within the composition, or even on the back, just as long as you sign it. If you have an illegible signature spare a thought for future generations trying to make out what it says and wondering whether they have a piece by a famous artist. The first thing almost everybody wants to know about any piece of artwork is who made it, what's the name of the artist. If it's unsigned it's almost as though you didn't rate it enough to put your name to it, and if you don't rate it no one else will either.
The second thing you need to do, in order to add value to your art, is to give it a title. Now, some people don't like titling their work because they feel that it pigeonholes it and in some way restricts the viewer to seeing it within a particular set of conceptual boundaries, so if you are one of these people then you should really consider calling it 'Untitled'. Even with the title that says 'Untitled', a piece of work is worth more money than if it doesn't have a title at all. Artwork without a title leaves the potential buyer wondering whether perhaps it had a title once that has been lost, it leaves the buyer with an unanswered question and means they are less likely to buy it and more likely to move on to another piece instead.
Along with the title, your artwork would benefit from a short explanation about it. The more a buyer knows about a piece of work the more likely they are to buy it. If you think about it by putting yourself in the buyer's shoes for a moment, if you're faced with two pieces of work which are similar and you like them both, but you know nothing about one and quite a lot about the other, which one would you buy? Of course you would be much more likely to buy a piece of artwork that had information about it, because you'd feel more involved with it, you'd understand something about its history and about the person that created it, so it has more meaning for you and you feel a connection with it right from the start.
The short explanation or description about your piece of art can say whatever you want it to, there are no rules, but it's useful to tell people either what it's about or what it means to you. One thing you don't want to do is tell people what it should mean to them, the viewer or buyer of your artwork wants to be able to decide for themselves what the piece means to them, and it doesn't matter if it's something entirely different from what it means to you.
Most people buying artwork do like to know what it was you meant as you created it, or what drove you to create the piece the way it is. This can mean telling them something about you, your thought processes as you were beginning and working through the piece, or maybe what was going on in your life at the time you were creating this piece of art. You might decide to tell them about something you'd seen or heard that affected you in a particular way and that prompted you to express something specific with this particular medium. You might be telling them that this particular piece of art is one of a collection from your 'blue period', or your 'impressionistic landscape period', or whatever.
If you don't really want to give this information away, then perhaps instead you could describe the medium you have used, the particular techniques you've employed in using this medium and even the length of time it took you to create the piece. Really any information you give about the piece is better than no information at all, and it doesn't matter whether the potential buyer understands your concept or not, it still makes it more attractive to them to know that there was an intention of one sort or another behind the original idea.
Sometimes you only need to put a cardboard mount around a painting to bring it out of the doldrums, and there is no doubt that the right mount and frame can do wonders for a slightly mediocre piece of art. For a sculpture, or a piece of ceramics, the right stand and appropriate lighting can make a big difference to the way it displays, but after you've made sure that your artwork is being displayed to its best what else can you do to add to its worth?
The first and most important thing you should do is make sure that your artwork is signed legibly. It's surprising how many people forget to sign their art, but it makes a big difference to the buyer. A signed piece of work is worth more money than an unsigned one, and it doesn't matter whether you sign it on the front, at the top or bottom, within the composition, or even on the back, just as long as you sign it. If you have an illegible signature spare a thought for future generations trying to make out what it says and wondering whether they have a piece by a famous artist. The first thing almost everybody wants to know about any piece of artwork is who made it, what's the name of the artist. If it's unsigned it's almost as though you didn't rate it enough to put your name to it, and if you don't rate it no one else will either.
The second thing you need to do, in order to add value to your art, is to give it a title. Now, some people don't like titling their work because they feel that it pigeonholes it and in some way restricts the viewer to seeing it within a particular set of conceptual boundaries, so if you are one of these people then you should really consider calling it 'Untitled'. Even with the title that says 'Untitled', a piece of work is worth more money than if it doesn't have a title at all. Artwork without a title leaves the potential buyer wondering whether perhaps it had a title once that has been lost, it leaves the buyer with an unanswered question and means they are less likely to buy it and more likely to move on to another piece instead.
Along with the title, your artwork would benefit from a short explanation about it. The more a buyer knows about a piece of work the more likely they are to buy it. If you think about it by putting yourself in the buyer's shoes for a moment, if you're faced with two pieces of work which are similar and you like them both, but you know nothing about one and quite a lot about the other, which one would you buy? Of course you would be much more likely to buy a piece of artwork that had information about it, because you'd feel more involved with it, you'd understand something about its history and about the person that created it, so it has more meaning for you and you feel a connection with it right from the start.
The short explanation or description about your piece of art can say whatever you want it to, there are no rules, but it's useful to tell people either what it's about or what it means to you. One thing you don't want to do is tell people what it should mean to them, the viewer or buyer of your artwork wants to be able to decide for themselves what the piece means to them, and it doesn't matter if it's something entirely different from what it means to you.
Most people buying artwork do like to know what it was you meant as you created it, or what drove you to create the piece the way it is. This can mean telling them something about you, your thought processes as you were beginning and working through the piece, or maybe what was going on in your life at the time you were creating this piece of art. You might decide to tell them about something you'd seen or heard that affected you in a particular way and that prompted you to express something specific with this particular medium. You might be telling them that this particular piece of art is one of a collection from your 'blue period', or your 'impressionistic landscape period', or whatever.
If you don't really want to give this information away, then perhaps instead you could describe the medium you have used, the particular techniques you've employed in using this medium and even the length of time it took you to create the piece. Really any information you give about the piece is better than no information at all, and it doesn't matter whether the potential buyer understands your concept or not, it still makes it more attractive to them to know that there was an intention of one sort or another behind the original idea.
Acting Lesson To Be An Successful Actor
Successful Actors
Advice to anyone who wants a career as an actor.
Be on time.
On a big film the money is going out the door at about 30 grand every 20 minutes. On a network TV show the rate is only a bit less. If you are ten minutes late for a job that pays five hundred bucks - you will be very disliked by the producer and everybody that works for him. People will scream at you. If you are late for an audition, the casting director will worry that you won't get to the job on time. If you are late for a job, that casting director will also have people screaming at her. And further more there is no such thing as an eight-hour day in show business. If you cannot work a long day, you are unsuited for success in show business.
Be an early riser.
If you want to be in the movie or television business, you must be the kind of person who can get up at 5 in the morning. If you work in the theatre, your early rising will fall about 10 AM - because you work into the night. But if you plan on working in this industry you would do well to make early rising a lifelong habit. The early starts and long hours mean that you will be spending about half your life with co-workers. If you are a pain in the butt - you will be heartily disliked by other people who are also working 12 hour days. Word will get around and it will be harder to get work. Therefore be nice to people no matter what. You have to keep your 'creative juices' flowing during the entire 12 hours. If you don't love doing this kind of work, being on for 12 hours is impossible.
Well groomed and clean.
You are not the part. Even the guys who play bikers and bums wear deodorant and have clean teeth. Your breath must be pleasant. A co-worker who literally stinks will get a reputation and lose opportunities because of it.
No complains
Those actors on sets who do complain about the dressing rooms, the food, the director, the co-star, the costume people, the lack of work, the hours, the script and pretty much anything. They are labelled as complainers and are rarely appreciated or tolerated for very long.
Good value from you
When you habitually give 100% of your energy to the work - you will get more work.
Advice to anyone who wants a career as an actor.
Be on time.
On a big film the money is going out the door at about 30 grand every 20 minutes. On a network TV show the rate is only a bit less. If you are ten minutes late for a job that pays five hundred bucks - you will be very disliked by the producer and everybody that works for him. People will scream at you. If you are late for an audition, the casting director will worry that you won't get to the job on time. If you are late for a job, that casting director will also have people screaming at her. And further more there is no such thing as an eight-hour day in show business. If you cannot work a long day, you are unsuited for success in show business.
Be an early riser.
If you want to be in the movie or television business, you must be the kind of person who can get up at 5 in the morning. If you work in the theatre, your early rising will fall about 10 AM - because you work into the night. But if you plan on working in this industry you would do well to make early rising a lifelong habit. The early starts and long hours mean that you will be spending about half your life with co-workers. If you are a pain in the butt - you will be heartily disliked by other people who are also working 12 hour days. Word will get around and it will be harder to get work. Therefore be nice to people no matter what. You have to keep your 'creative juices' flowing during the entire 12 hours. If you don't love doing this kind of work, being on for 12 hours is impossible.
Well groomed and clean.
You are not the part. Even the guys who play bikers and bums wear deodorant and have clean teeth. Your breath must be pleasant. A co-worker who literally stinks will get a reputation and lose opportunities because of it.
No complains
Those actors on sets who do complain about the dressing rooms, the food, the director, the co-star, the costume people, the lack of work, the hours, the script and pretty much anything. They are labelled as complainers and are rarely appreciated or tolerated for very long.
Good value from you
When you habitually give 100% of your energy to the work - you will get more work.
Tuesday, December 29, 2009
Acting Lesson To Be An Successful Actor
Successful Actors
Advice to anyone who wants a career as an actor.
Be on time.
On a big film the money is going out the door at about 30 grand every 20 minutes. On a network TV show the rate is only a bit less. If you are ten minutes late for a job that pays five hundred bucks - you will be very disliked by the producer and everybody that works for him. People will scream at you. If you are late for an audition, the casting director will worry that you won't get to the job on time. If you are late for a job, that casting director will also have people screaming at her. And further more there is no such thing as an eight-hour day in show business. If you cannot work a long day, you are unsuited for success in show business.
Be an early riser.
If you want to be in the movie or television business, you must be the kind of person who can get up at 5 in the morning. If you work in the theatre, your early rising will fall about 10 AM - because you work into the night. But if you plan on working in this industry you would do well to make early rising a lifelong habit. The early starts and long hours mean that you will be spending about half your life with co-workers. If you are a pain in the butt - you will be heartily disliked by other people who are also working 12 hour days. Word will get around and it will be harder to get work. Therefore be nice to people no matter what. You have to keep your 'creative juices' flowing during the entire 12 hours. If you don't love doing this kind of work, being on for 12 hours is impossible.
Well groomed and clean.
You are not the part. Even the guys who play bikers and bums wear deodorant and have clean teeth. Your breath must be pleasant. A co-worker who literally stinks will get a reputation and lose opportunities because of it.
No complains
Those actors on sets who do complain about the dressing rooms, the food, the director, the co-star, the costume people, the lack of work, the hours, the script and pretty much anything. They are labelled as complainers and are rarely appreciated or tolerated for very long.
Good value from you
When you habitually give 100% of your energy to the work - you will get more work.
Advice to anyone who wants a career as an actor.
Be on time.
On a big film the money is going out the door at about 30 grand every 20 minutes. On a network TV show the rate is only a bit less. If you are ten minutes late for a job that pays five hundred bucks - you will be very disliked by the producer and everybody that works for him. People will scream at you. If you are late for an audition, the casting director will worry that you won't get to the job on time. If you are late for a job, that casting director will also have people screaming at her. And further more there is no such thing as an eight-hour day in show business. If you cannot work a long day, you are unsuited for success in show business.
Be an early riser.
If you want to be in the movie or television business, you must be the kind of person who can get up at 5 in the morning. If you work in the theatre, your early rising will fall about 10 AM - because you work into the night. But if you plan on working in this industry you would do well to make early rising a lifelong habit. The early starts and long hours mean that you will be spending about half your life with co-workers. If you are a pain in the butt - you will be heartily disliked by other people who are also working 12 hour days. Word will get around and it will be harder to get work. Therefore be nice to people no matter what. You have to keep your 'creative juices' flowing during the entire 12 hours. If you don't love doing this kind of work, being on for 12 hours is impossible.
Well groomed and clean.
You are not the part. Even the guys who play bikers and bums wear deodorant and have clean teeth. Your breath must be pleasant. A co-worker who literally stinks will get a reputation and lose opportunities because of it.
No complains
Those actors on sets who do complain about the dressing rooms, the food, the director, the co-star, the costume people, the lack of work, the hours, the script and pretty much anything. They are labelled as complainers and are rarely appreciated or tolerated for very long.
Good value from you
When you habitually give 100% of your energy to the work - you will get more work.
Acting And Reality
People watch TV, go to movies or theater to be entertained. The truth is, everyday life can be rather mundane and boring. Imagine watching a film of somebody going through their typical day. You'd probably fall asleep before the first 10 minutes were up. The fact of the matter is, people's lives are dull, at least most people's.
This brings us to the problem of entertainment, especially in the movie or TV business and most especially in the theater. We need our entertainment to be just that, entertaining, yet at the same time we need it to be based in reality. If you were watching a cops and robbers TV show and suddenly you saw your favorite police officer pull out a skate board and chase the criminal down brandishing a laser gun, well, your reality would pretty much be shot to heck and the credibility of the show itself would be destroyed. The shows must be based in reality and yet must still be entertaining. This is a very hard line to walk.
Actors have the hardest job when it comes to bringing reality to a part without putting an audience to sleep. The above example is extreme but the problems can even occur with more subtle things.
Let's take a scene where the hero cop is interrogating a suspect. For starters, he can't go throwing him around the interrogation room. There are certain rules cops have to follow and failure to do so can lead to a case being thrown out of court, or worse, a lawsuit against the department. But during the interrogation the suspect finally admits to the crime, most likely a savage murder, and even smiles about it. The hero cop is outraged and he wants to just take this slime and wipe up the floor with him. Realistically he can't do that. But he doesn't have to. A good actor can convey that emotion and desire by the look he gives the suspect. Maybe he even starts to go after him but then stops himself, the look of pure hatred for this person in his eyes. That is great acting and how you bridge the gap between dull reality and exciting drama. Mixed in with a tense score and the scene will probably have more impact than if he punched the guy out into next Sunday.
In order to pull off this kind of reality the actor must imagine how he would truly feel if confronted with such a person. Many actors think of things when playing scenes like this that truly do get them angry. Just like when an actor needs to cry he or she thinks of something that makes them very sad. This is a common practice among your more versatile actors.
The truth is, all entertainment, even science fiction, is based in some kind of reality, even if it is the reality of emotions, which we all have. The ability to display those emotions in a realistic, yet entertaining way, is what makes a great actor and a great performance, the kind that we don't soon forget.
This brings us to the problem of entertainment, especially in the movie or TV business and most especially in the theater. We need our entertainment to be just that, entertaining, yet at the same time we need it to be based in reality. If you were watching a cops and robbers TV show and suddenly you saw your favorite police officer pull out a skate board and chase the criminal down brandishing a laser gun, well, your reality would pretty much be shot to heck and the credibility of the show itself would be destroyed. The shows must be based in reality and yet must still be entertaining. This is a very hard line to walk.
Actors have the hardest job when it comes to bringing reality to a part without putting an audience to sleep. The above example is extreme but the problems can even occur with more subtle things.
Let's take a scene where the hero cop is interrogating a suspect. For starters, he can't go throwing him around the interrogation room. There are certain rules cops have to follow and failure to do so can lead to a case being thrown out of court, or worse, a lawsuit against the department. But during the interrogation the suspect finally admits to the crime, most likely a savage murder, and even smiles about it. The hero cop is outraged and he wants to just take this slime and wipe up the floor with him. Realistically he can't do that. But he doesn't have to. A good actor can convey that emotion and desire by the look he gives the suspect. Maybe he even starts to go after him but then stops himself, the look of pure hatred for this person in his eyes. That is great acting and how you bridge the gap between dull reality and exciting drama. Mixed in with a tense score and the scene will probably have more impact than if he punched the guy out into next Sunday.
In order to pull off this kind of reality the actor must imagine how he would truly feel if confronted with such a person. Many actors think of things when playing scenes like this that truly do get them angry. Just like when an actor needs to cry he or she thinks of something that makes them very sad. This is a common practice among your more versatile actors.
The truth is, all entertainment, even science fiction, is based in some kind of reality, even if it is the reality of emotions, which we all have. The ability to display those emotions in a realistic, yet entertaining way, is what makes a great actor and a great performance, the kind that we don't soon forget.
Acting - Who's Who?
In the course of an actor's life he is going to meet a lot of people. Many of these people will have a direct or indirect effect on his career. Some, more so than others.
Probably the person who will have the biggest effect on the career of an actor is his agent. Love 'em or hate 'em, agents are impossible to live without. By definition an agent is someone who finds work for an actor at a fee of about 10 to 15% of whatever he earns for that job. But an agent is much more than that in reality. An agent is the actor's mouthpiece. He's the one who tries to display the actor in the best possible light through his own charm. Agents have to be very good talkers and have personalities that are easy to get along with. As an agent they will have an extensive list of contacts from producers to directors. They use this list to get an actor every chance that they possibly can. And then after the actor gets the job the agent works on the terms of ther contract to make sure that he gets the best deal possible. A good agent will have the actor's best interests at heart, knowing that the better the deal he makes, the better he makes out as well.
Then there is the casting director. This person can make or break an actor's career. If an actor can't get past the casting director he has no chance. Casting directors are specifically hired to find talent for the movie, show or play, whichever the case may be. This is the agent's first line of contact. These are the people the agent sends photos and resumés to. These are the people the actor auditions for. Without passing the audition with the casting director, an actor has no chance to meet the next people in line who will determine whether or not he's going to get the job.
After that we have the actor's manager. A manager has a slightly different role than the actor's agent, though there are some similarities in the duties they perform. Both work for the actor with the actor's best interests in mind. A manager will basically try to find the actor work, give him advice and try to guide his career. He may encourage the actor to try for certain roles and tell him to avoid others. An agent may also do the same, but he is more concerned with getting the contract. Managers look more at the big picture and long term career than the day to day operations. Managers are the ones who give the actor their face that they will show to the public.
Finally, there is the producer. A producer is the one who handles all the behind the scenes details of a production. They bring together the directors, actors and writers and try to make it all work, in spite of the many different personalities involved. It is important that the actor is able to work well with the producer or he can find himself out of work very fast, contract or no contract.
In the world and life of an actor there are indeed many people who he will count on to make sure his career gets off the ground and hopefully makes it to the heights he aspires to.
Probably the person who will have the biggest effect on the career of an actor is his agent. Love 'em or hate 'em, agents are impossible to live without. By definition an agent is someone who finds work for an actor at a fee of about 10 to 15% of whatever he earns for that job. But an agent is much more than that in reality. An agent is the actor's mouthpiece. He's the one who tries to display the actor in the best possible light through his own charm. Agents have to be very good talkers and have personalities that are easy to get along with. As an agent they will have an extensive list of contacts from producers to directors. They use this list to get an actor every chance that they possibly can. And then after the actor gets the job the agent works on the terms of ther contract to make sure that he gets the best deal possible. A good agent will have the actor's best interests at heart, knowing that the better the deal he makes, the better he makes out as well.
Then there is the casting director. This person can make or break an actor's career. If an actor can't get past the casting director he has no chance. Casting directors are specifically hired to find talent for the movie, show or play, whichever the case may be. This is the agent's first line of contact. These are the people the agent sends photos and resumés to. These are the people the actor auditions for. Without passing the audition with the casting director, an actor has no chance to meet the next people in line who will determine whether or not he's going to get the job.
After that we have the actor's manager. A manager has a slightly different role than the actor's agent, though there are some similarities in the duties they perform. Both work for the actor with the actor's best interests in mind. A manager will basically try to find the actor work, give him advice and try to guide his career. He may encourage the actor to try for certain roles and tell him to avoid others. An agent may also do the same, but he is more concerned with getting the contract. Managers look more at the big picture and long term career than the day to day operations. Managers are the ones who give the actor their face that they will show to the public.
Finally, there is the producer. A producer is the one who handles all the behind the scenes details of a production. They bring together the directors, actors and writers and try to make it all work, in spite of the many different personalities involved. It is important that the actor is able to work well with the producer or he can find himself out of work very fast, contract or no contract.
In the world and life of an actor there are indeed many people who he will count on to make sure his career gets off the ground and hopefully makes it to the heights he aspires to.
Monday, December 28, 2009
Acting - The Casting Process
People who are just getting into the acting business have quite a few misconceptions about how the casting process works. The best way to illustrate this is with a hypothetical example giving a fictional show.
Let's say the producers of a daytime soap called "Sullivan Street" have just gotten a script for one of next month's episodes. In this episode there is a new character by the name of "Tara." She is a real schemer who is going to seduce the show's star.
The first thing the producers do is call the casting director they have used for many years and describe the character, Tara, to him. Immediately the casting director will already have several people in mind who he has worked with in the past but he will still submit a description to Breakdown Services. This is a company that serves as a link between casting directors and agents.
The next morning all the agents read the "breakdown" sheets to see what parts are being cast. The agent will then look through his files to see if he has anyone who fits the description. He'll select several photos and send them to the casting director.
The casting director then receives all these envelopes from all these agents, and there are tons of them. A casting director will have to go through hundreds, maybe even thousands of photos looking for "Tara." And then even if the photo looks great the casting director will look at the attached resume to see what body of work the actress has done. Finally the casting director will narrow these hundreds of photos down to about 30 or so and will call these agents up for auditions.
The agents will then call their clients up and tell them about the audition, the time and place. He may send them sample scripts or have them come to his office to pick them up.
After this the actress goes to the audition, probably nervous as heck. She'll dress up the way she thinks Tara should dress. She wants to get the character just right. While waiting for her audition she takes the time to go over her lines.
Finally, she makes it into the casting director's office and does her reading for the part. She does well, but is not too hopeful since she has had other readings during the week for other parts that she didn't get.
After the audition is over the goes home and waits. In a day or so she gets a call from her agent that they liked her audition and they want her to come back for a second one. She's all excited.
She goes back for a second audition, reads the same part again and does even better than the first time. She is positive that she is going to get the part. Then, at the last minute, the producers, who are at the second audition, decide that Tara should be a blonde instead of a brunette.
Yes, that is the way it goes. Sometimes you'll lose a part because you are the wrong height or hair color or something really stupid. Then a month later they'll call you back in to read for the starring role of a new series they're putting together. That is the way careers are made and broken in this business and there is just no logical reason to the madness. All you can do is go with the flow and hope for the best.
Let's say the producers of a daytime soap called "Sullivan Street" have just gotten a script for one of next month's episodes. In this episode there is a new character by the name of "Tara." She is a real schemer who is going to seduce the show's star.
The first thing the producers do is call the casting director they have used for many years and describe the character, Tara, to him. Immediately the casting director will already have several people in mind who he has worked with in the past but he will still submit a description to Breakdown Services. This is a company that serves as a link between casting directors and agents.
The next morning all the agents read the "breakdown" sheets to see what parts are being cast. The agent will then look through his files to see if he has anyone who fits the description. He'll select several photos and send them to the casting director.
The casting director then receives all these envelopes from all these agents, and there are tons of them. A casting director will have to go through hundreds, maybe even thousands of photos looking for "Tara." And then even if the photo looks great the casting director will look at the attached resume to see what body of work the actress has done. Finally the casting director will narrow these hundreds of photos down to about 30 or so and will call these agents up for auditions.
The agents will then call their clients up and tell them about the audition, the time and place. He may send them sample scripts or have them come to his office to pick them up.
After this the actress goes to the audition, probably nervous as heck. She'll dress up the way she thinks Tara should dress. She wants to get the character just right. While waiting for her audition she takes the time to go over her lines.
Finally, she makes it into the casting director's office and does her reading for the part. She does well, but is not too hopeful since she has had other readings during the week for other parts that she didn't get.
After the audition is over the goes home and waits. In a day or so she gets a call from her agent that they liked her audition and they want her to come back for a second one. She's all excited.
She goes back for a second audition, reads the same part again and does even better than the first time. She is positive that she is going to get the part. Then, at the last minute, the producers, who are at the second audition, decide that Tara should be a blonde instead of a brunette.
Yes, that is the way it goes. Sometimes you'll lose a part because you are the wrong height or hair color or something really stupid. Then a month later they'll call you back in to read for the starring role of a new series they're putting together. That is the way careers are made and broken in this business and there is just no logical reason to the madness. All you can do is go with the flow and hope for the best.
Acting - The Agent Interview
This can be quite a frightening question. Somebody is asking about you and you're confronted with such a broad and general opening line. How on Earth do you reply?
When you finally get that all important interview with an agent, you want to be as prepared as you possibly can be. You've probably brought copies of your best headshot along with your resumé. Maybe you've even brought a couple of monologues with you in case the agent wants to hear you read something by asking you to "show him what you can do." But before it even gets to that, the first part of the interview is usually very awkward. The truth is, the agent at this time has probably already seen your headshot and resumé and has probably even seen you in some production, maybe a local play. But at this time the agent wants to get to know you personally. Hw wants to know how you present yourself to people in a business setting. Since you will be working with the agent in getting you work, he wants to make sure that you handle yourself professionally in a such a setting.
So the agent asks you to tell him something about yourself. What do you say to him? Actually, you should prepare ahead of time for this question. You don't want to be taken off guard. Just as you have prepared everything else, your headshots, resumé, and monologue, you want to prepare for this question. This is the opportunity to get some experience as a writer. Here you will create the exact monologue that you want to describe yourself. You should memorize it and practice it just as you would a movie script until you have complete confidence in reciting it.
To do this, think about what you want the agent to know about you. Don't just spit back your resumé. The agent has already seen that. You can, however, mention a few highlights. If you have good training with a well known school, mention this. Your agent is going to want to know what you've been doing. Tell him about any lead roles you've done. If not a lead, pick a role you've played that you particularly enjoyed playing, even if it was a small part. Talk about what excites you about being an actor. Tell him what you love about theater or television or whatever medium you're most interested in. Tell him about any interesting hobbies that you have. Agents want to see that you're well rounded and not just one dimensional. Well rounded people usually make good actors. Tell the agent what you feel is unique about yourself. Keep your monologue to under a minute. Agents don't have a lot of time and want to get right to the point.
Finally, remember one thing. If an agent has invited you to an interview he is already interested in you so don't push it. Act natural and be yourself. You will find that by not acting you will have your best chance at getting this agent to represent you.
When you finally get that all important interview with an agent, you want to be as prepared as you possibly can be. You've probably brought copies of your best headshot along with your resumé. Maybe you've even brought a couple of monologues with you in case the agent wants to hear you read something by asking you to "show him what you can do." But before it even gets to that, the first part of the interview is usually very awkward. The truth is, the agent at this time has probably already seen your headshot and resumé and has probably even seen you in some production, maybe a local play. But at this time the agent wants to get to know you personally. Hw wants to know how you present yourself to people in a business setting. Since you will be working with the agent in getting you work, he wants to make sure that you handle yourself professionally in a such a setting.
So the agent asks you to tell him something about yourself. What do you say to him? Actually, you should prepare ahead of time for this question. You don't want to be taken off guard. Just as you have prepared everything else, your headshots, resumé, and monologue, you want to prepare for this question. This is the opportunity to get some experience as a writer. Here you will create the exact monologue that you want to describe yourself. You should memorize it and practice it just as you would a movie script until you have complete confidence in reciting it.
To do this, think about what you want the agent to know about you. Don't just spit back your resumé. The agent has already seen that. You can, however, mention a few highlights. If you have good training with a well known school, mention this. Your agent is going to want to know what you've been doing. Tell him about any lead roles you've done. If not a lead, pick a role you've played that you particularly enjoyed playing, even if it was a small part. Talk about what excites you about being an actor. Tell him what you love about theater or television or whatever medium you're most interested in. Tell him about any interesting hobbies that you have. Agents want to see that you're well rounded and not just one dimensional. Well rounded people usually make good actors. Tell the agent what you feel is unique about yourself. Keep your monologue to under a minute. Agents don't have a lot of time and want to get right to the point.
Finally, remember one thing. If an agent has invited you to an interview he is already interested in you so don't push it. Act natural and be yourself. You will find that by not acting you will have your best chance at getting this agent to represent you.
Acting - On The Job
Many people think that acting is all about glamour and living the good life. Maybe you get some fancy limo and a ton of other perks and that's all there is to it. Unfortunately, the real work of being an actor is not glamorous. There's actual work involved. Here is a typical day on the set of a major motion picture.
You're up at about 5:30 in the morning. Why? Because most likely you have a call time of 7 AM and the shoot is in Pasadena. You're on your own as far as getting there so you have to shower and shave early and hop in your own car and drive to the shoot. Traffic in LA is awful so you better get an early start. After you arrive and park your own car, a teamster shuffles you off to the film set. At the set you check in with the second director and then get in line at the food truck for a quick breakfast. No fancy meals.
Before you even get a chance to finish your bagel, a girl from wardrobe comes over to you and says they need to measure you for a new jacket that they picked out for your scene. After you get fitted they then ship you off to makeup. After about an hour of having your face tortured you're out of the makeup trailer with toilet paper stuck to your collar in order to keep makeup off your clothes. It's now time to head to the set.
The director and the whole crew, lighting, cameras, etc., are already all there setting up the scene. At this point the director will have a brief chat with you to inform you of the change in your lines that you spent half the night studying and memorizing. At this time you'll rehearse the new lines a couple of times on the set. Then they finish setting up the lights and whatever else is needed for the scene. This gives you some extra time to memorize your new lines. So you go to your trailer to do this. Yes, you actually get your own trailer. It's also the size of a walk in closet.
After about 20 minutes or so, the production assistant knocks on your trailer door and calls you back to the set. At this time they remove the tissue paper from your collar and you go to your mark on the set to begin the scene.
The scene begins. Your co-star approaches you and begins to say her lines. You then say yours and suddenly you hear the director say "cut!" You wonder what you did wrong. Actually, nothing. One of the lights on the set went out. The gaffer runs over, replaces the bulb, and then you start again from the beginning. They do a few more takes of the same scene from different angles. In the final cutting they'll decide which one to use.
You'll get about 2 shots done before it's time to change the set for the next scene. There's no applause or fanfare. You might get a "nice job" from the director, but that's about it. You then just sit around and wait for the next scene.
That is the truth about acting. Only about 10% of the time are you actually acting. The other 90% you spend waiting around for set changes and other things. So unless you have a major role that requires a lot of preparation, you better bring a deck of playing cards with you or you're going to be bored out of your skin.
At around noon you break for lunch. An hour later you come back, maybe do another scene and then get your sheets for tomorrow's shoot. You're done for the day and go home.
Not very glamorous is it? No, but when the film is released and you get to see what they've done with what seemed like pretty dull stuff, it simply amazes you. And knowing that people all over the world are going to be seeing you, well, that's what acting is all about.
You're up at about 5:30 in the morning. Why? Because most likely you have a call time of 7 AM and the shoot is in Pasadena. You're on your own as far as getting there so you have to shower and shave early and hop in your own car and drive to the shoot. Traffic in LA is awful so you better get an early start. After you arrive and park your own car, a teamster shuffles you off to the film set. At the set you check in with the second director and then get in line at the food truck for a quick breakfast. No fancy meals.
Before you even get a chance to finish your bagel, a girl from wardrobe comes over to you and says they need to measure you for a new jacket that they picked out for your scene. After you get fitted they then ship you off to makeup. After about an hour of having your face tortured you're out of the makeup trailer with toilet paper stuck to your collar in order to keep makeup off your clothes. It's now time to head to the set.
The director and the whole crew, lighting, cameras, etc., are already all there setting up the scene. At this point the director will have a brief chat with you to inform you of the change in your lines that you spent half the night studying and memorizing. At this time you'll rehearse the new lines a couple of times on the set. Then they finish setting up the lights and whatever else is needed for the scene. This gives you some extra time to memorize your new lines. So you go to your trailer to do this. Yes, you actually get your own trailer. It's also the size of a walk in closet.
After about 20 minutes or so, the production assistant knocks on your trailer door and calls you back to the set. At this time they remove the tissue paper from your collar and you go to your mark on the set to begin the scene.
The scene begins. Your co-star approaches you and begins to say her lines. You then say yours and suddenly you hear the director say "cut!" You wonder what you did wrong. Actually, nothing. One of the lights on the set went out. The gaffer runs over, replaces the bulb, and then you start again from the beginning. They do a few more takes of the same scene from different angles. In the final cutting they'll decide which one to use.
You'll get about 2 shots done before it's time to change the set for the next scene. There's no applause or fanfare. You might get a "nice job" from the director, but that's about it. You then just sit around and wait for the next scene.
That is the truth about acting. Only about 10% of the time are you actually acting. The other 90% you spend waiting around for set changes and other things. So unless you have a major role that requires a lot of preparation, you better bring a deck of playing cards with you or you're going to be bored out of your skin.
At around noon you break for lunch. An hour later you come back, maybe do another scene and then get your sheets for tomorrow's shoot. You're done for the day and go home.
Not very glamorous is it? No, but when the film is released and you get to see what they've done with what seemed like pretty dull stuff, it simply amazes you. And knowing that people all over the world are going to be seeing you, well, that's what acting is all about.
Acting - Method Acting
The art of method acting was made popular by Lee Strasberg at The Actors Studio and the Group Theatre in New York City during the 1940s and 1950s. It was actually derived from the Stanislavski System who pioneered similar ideas in his teachings, writings, and acting at the Moscow Art Theatre which was formed in 1897.
Some of Strasberg's students included some very famous actors such as Paul Newman, Al Pacino, James Dean and a ton of others. The list is endless.
Method acting is considered the most difficult to teach and to learn. Its main characteristic is that it lacks any specific or technical approach to acting. It is what the supporters of this type of acting refer to as the alternative to the clichéd, unrealistic, and so-called rubber-stamp acting. In other words, it is based in realism and realistic emotions.
Because there are many versions of method acting the exact approach depends on the particular version, which can include such practices as substitution acting or what is called emotional memory.
Sanford Meisner, who was another Group Theatre pioneer, taught a closely related form of method acting. He differed from Strasberg's emotional memory theory and taught one that revolved around "fully immersing oneself in the moment of a character, and experiencing all sensations as the character would."
Stella Adler had another approach to method acting. Her technique is based on the idea that an actor must not use memories from their own past to bring up emotion, but instead use circumstances from their own imagination. She also taught that action was very important. It wasn't so much what we said but what we did while we said it.
Contemporary acting teachers, names like Jason Bennett, combine many of the acting theories of the last generation of acting teachers. These methods utilize a number of devices such as using the actor's imagination, calling on his or her life experiences to dive into the part, and various forms of psychology where actors are taught to imagine what a person would psychologically do when confronted with the situation in the script. For example, how would a person truly react if another person pulled a gun on them and was ready to shoot them? What terror would they feel? From that the actor tries to convey that psychological terror in the performance.
Bennett also worked on what is called the use of human archetypes. Archetype work is rooted in Jungian Psychology and in the works of Michael Chekhov. Chekhov was very closely associated with Stanislavski. As Chekov's work evolved, he broke away from Stanislavski, Strasberg and the original members of The Group. Many believe that later in his life, Stanislavski began to recognize that Chekov's work was very important in developing modern acting theory.
Even though method acting is very hard to teach and even harder to learn, it is still regarded as the most realistic form of acting that there is.
Some of Strasberg's students included some very famous actors such as Paul Newman, Al Pacino, James Dean and a ton of others. The list is endless.
Method acting is considered the most difficult to teach and to learn. Its main characteristic is that it lacks any specific or technical approach to acting. It is what the supporters of this type of acting refer to as the alternative to the clichéd, unrealistic, and so-called rubber-stamp acting. In other words, it is based in realism and realistic emotions.
Because there are many versions of method acting the exact approach depends on the particular version, which can include such practices as substitution acting or what is called emotional memory.
Sanford Meisner, who was another Group Theatre pioneer, taught a closely related form of method acting. He differed from Strasberg's emotional memory theory and taught one that revolved around "fully immersing oneself in the moment of a character, and experiencing all sensations as the character would."
Stella Adler had another approach to method acting. Her technique is based on the idea that an actor must not use memories from their own past to bring up emotion, but instead use circumstances from their own imagination. She also taught that action was very important. It wasn't so much what we said but what we did while we said it.
Contemporary acting teachers, names like Jason Bennett, combine many of the acting theories of the last generation of acting teachers. These methods utilize a number of devices such as using the actor's imagination, calling on his or her life experiences to dive into the part, and various forms of psychology where actors are taught to imagine what a person would psychologically do when confronted with the situation in the script. For example, how would a person truly react if another person pulled a gun on them and was ready to shoot them? What terror would they feel? From that the actor tries to convey that psychological terror in the performance.
Bennett also worked on what is called the use of human archetypes. Archetype work is rooted in Jungian Psychology and in the works of Michael Chekhov. Chekhov was very closely associated with Stanislavski. As Chekov's work evolved, he broke away from Stanislavski, Strasberg and the original members of The Group. Many believe that later in his life, Stanislavski began to recognize that Chekov's work was very important in developing modern acting theory.
Even though method acting is very hard to teach and even harder to learn, it is still regarded as the most realistic form of acting that there is.
Sunday, December 27, 2009
Acting - Have you got what it takes?
Acting is a big industry. There are actors everywhere from the theatre to films, from TV to radio, and even on the street in the form of mime. Yet acting is not easy – in fact, like playing music, it is almost impossible to master.
To be a good actor, you have to be able to get inside a character and literally live as them – to convince your audience, and, for a moment, even yourself, that the character is who you are. Given that all you will probably have to work with is a few written words, perhaps costumes and a set, and your imagination, it’s a difficult undertaking.
The range of skills that an actor must have to be effective is very wide. You need to have a mastery of your body for movement that can include fighting, dancing, or evocative expressions. Your voice, too, must be clear enough to be understood from a distance, and you might also need some talent in singing or putting on accents. The most difficult aspect by far, though, is the emotional one, as you must be able to assume different emotions at will – crying on demand, for example, or being able to give an effective illusion of happiness or excitement.
One of the most widely-used means of portraying realistic emotions is Stanislavski’s theory of method acting, which you would do well to study if you wish to become an actor. Basically, the idea is that when you are acting, you think of a time when you felt the emotion you wish to portray. For example, if your character is sad over the death of their mother, you might think of the time when you were small and your dog died, and so start crying. There’s more to it than that, but that’s the basic theory, and it can give a very convincing performance when done correctly.
To be a good actor, you have to be able to get inside a character and literally live as them – to convince your audience, and, for a moment, even yourself, that the character is who you are. Given that all you will probably have to work with is a few written words, perhaps costumes and a set, and your imagination, it’s a difficult undertaking.
The range of skills that an actor must have to be effective is very wide. You need to have a mastery of your body for movement that can include fighting, dancing, or evocative expressions. Your voice, too, must be clear enough to be understood from a distance, and you might also need some talent in singing or putting on accents. The most difficult aspect by far, though, is the emotional one, as you must be able to assume different emotions at will – crying on demand, for example, or being able to give an effective illusion of happiness or excitement.
One of the most widely-used means of portraying realistic emotions is Stanislavski’s theory of method acting, which you would do well to study if you wish to become an actor. Basically, the idea is that when you are acting, you think of a time when you felt the emotion you wish to portray. For example, if your character is sad over the death of their mother, you might think of the time when you were small and your dog died, and so start crying. There’s more to it than that, but that’s the basic theory, and it can give a very convincing performance when done correctly.
Acting - Have you got what it takes?
Acting is a big industry. There are actors everywhere from the theatre to films, from TV to radio, and even on the street in the form of mime. Yet acting is not easy – in fact, like playing music, it is almost impossible to master.
To be a good actor, you have to be able to get inside a character and literally live as them – to convince your audience, and, for a moment, even yourself, that the character is who you are. Given that all you will probably have to work with is a few written words, perhaps costumes and a set, and your imagination, it’s a difficult undertaking.
The range of skills that an actor must have to be effective is very wide. You need to have a mastery of your body for movement that can include fighting, dancing, or evocative expressions. Your voice, too, must be clear enough to be understood from a distance, and you might also need some talent in singing or putting on accents. The most difficult aspect by far, though, is the emotional one, as you must be able to assume different emotions at will – crying on demand, for example, or being able to give an effective illusion of happiness or excitement.
One of the most widely-used means of portraying realistic emotions is Stanislavski’s theory of method acting, which you would do well to study if you wish to become an actor. Basically, the idea is that when you are acting, you think of a time when you felt the emotion you wish to portray. For example, if your character is sad over the death of their mother, you might think of the time when you were small and your dog died, and so start crying. There’s more to it than that, but that’s the basic theory, and it can give a very convincing performance when done correctly.
To be a good actor, you have to be able to get inside a character and literally live as them – to convince your audience, and, for a moment, even yourself, that the character is who you are. Given that all you will probably have to work with is a few written words, perhaps costumes and a set, and your imagination, it’s a difficult undertaking.
The range of skills that an actor must have to be effective is very wide. You need to have a mastery of your body for movement that can include fighting, dancing, or evocative expressions. Your voice, too, must be clear enough to be understood from a distance, and you might also need some talent in singing or putting on accents. The most difficult aspect by far, though, is the emotional one, as you must be able to assume different emotions at will – crying on demand, for example, or being able to give an effective illusion of happiness or excitement.
One of the most widely-used means of portraying realistic emotions is Stanislavski’s theory of method acting, which you would do well to study if you wish to become an actor. Basically, the idea is that when you are acting, you think of a time when you felt the emotion you wish to portray. For example, if your character is sad over the death of their mother, you might think of the time when you were small and your dog died, and so start crying. There’s more to it than that, but that’s the basic theory, and it can give a very convincing performance when done correctly.
Acting - Handling Stardom
Well, here you are. You met with your agent, got the audition, got the part, made your first movie in a lead role, the movie is a huge success and you're an overnight success. Yes, it's unlikely, but it does happen. Just look at the cast of "Harry Potter."
So, you're a star. What next?
Unfortunately, not everyone can handle stardom. This has been sadly chronicled in the lives of such people as Freddie Prinze who took his life because he just couldn't handle the pressures of being a big star. So what can you do in order to avoid being a casualty of the movie, TV or stage business?
Everyone has their own theories of how to handle stardom. In this article we're just going to cover some generic ground as every person is different and ultimately what will work for one person may not work for another. For example, some people will really enjoy all the attention from fans and rag mags that they're going to get, good or bad. Others will shun it like the plague. But there are some things that seem to be the Achilles heel of most people who have made it big.
For starters, don't bite off more than you can chew. Once you become a star, everyone is going to want a piece of you for interviews, endorsements, whatever. Budget your time. Do only what you can do. You don't have to agree to every interview request. Don't worry that if you turn one down that these people are going to think of you as stuck up or unappreciative. Make them understand that your time is limited and your schedule just doesn't permit you doing that particular interview at this time but maybe in the future. Always keep the door open. That way you don't alienate anyone.
The next thing you want to do is not let stardom change your lifestyle beyond what you can afford. Mike Tyson, with all the millions he made boxing, is broke. Learn to live within your bounds. This is not to say that you can't have nice things. But if you're only taking in five million a year then you can't live as if you're taking in a hundred and five million. It will eventually catch up with you and you could lose everything.
Probably the most important thing you can do as a successful actor is not let it get to your head. In spite of what the fans have told you, you are not the almighty. You are still just a flesh and blood person and as quickly as you became a star, that is how fast it can all come crashing down on you. So many stars who are big one day are gone the next and this dose of reality is too much for them to handle. As a result, their lives are never the same, many taking to drugs and booze. So keep your head about things. Make sure you put your success into perspective.
Just by doing the above few things you'll have a very good chance of surviving the success that comes with being an actor.
So, you're a star. What next?
Unfortunately, not everyone can handle stardom. This has been sadly chronicled in the lives of such people as Freddie Prinze who took his life because he just couldn't handle the pressures of being a big star. So what can you do in order to avoid being a casualty of the movie, TV or stage business?
Everyone has their own theories of how to handle stardom. In this article we're just going to cover some generic ground as every person is different and ultimately what will work for one person may not work for another. For example, some people will really enjoy all the attention from fans and rag mags that they're going to get, good or bad. Others will shun it like the plague. But there are some things that seem to be the Achilles heel of most people who have made it big.
For starters, don't bite off more than you can chew. Once you become a star, everyone is going to want a piece of you for interviews, endorsements, whatever. Budget your time. Do only what you can do. You don't have to agree to every interview request. Don't worry that if you turn one down that these people are going to think of you as stuck up or unappreciative. Make them understand that your time is limited and your schedule just doesn't permit you doing that particular interview at this time but maybe in the future. Always keep the door open. That way you don't alienate anyone.
The next thing you want to do is not let stardom change your lifestyle beyond what you can afford. Mike Tyson, with all the millions he made boxing, is broke. Learn to live within your bounds. This is not to say that you can't have nice things. But if you're only taking in five million a year then you can't live as if you're taking in a hundred and five million. It will eventually catch up with you and you could lose everything.
Probably the most important thing you can do as a successful actor is not let it get to your head. In spite of what the fans have told you, you are not the almighty. You are still just a flesh and blood person and as quickly as you became a star, that is how fast it can all come crashing down on you. So many stars who are big one day are gone the next and this dose of reality is too much for them to handle. As a result, their lives are never the same, many taking to drugs and booze. So keep your head about things. Make sure you put your success into perspective.
Just by doing the above few things you'll have a very good chance of surviving the success that comes with being an actor.
Acting - Getting Started
If you want to be an actor the first thing you have to understand is that everyone and their grandmother thinks they can act and wants to be an actor. The competition you will face will be monumental. With that in mind, here are some tips on what to do if you want to have a career as an actor.
For starters, you must understand that there is no one way to become a successful actor. Some very famous actors were discovered while doing other jobs and just happened to be in the right place at the right time. Yes, there is a lot of luck involved in this business. In addition to that luck you'll need connections and a lot of determination. Here are a few ways to get your foot in the door.
Just about every town in the world has a small theater where they put on local amateur performances. Take advantage of this even if you're really only interested in film or television. The truth is, acting is acting and it doesn't change much just because you're on a stage instead of in a film or television studio. Any practice that you get is only going to improve your chances of getting the gig that you're looking for. Also, many agents and casting directors go to these small theaters looking for talent. There's always the chance that they're going to spot you.
Next there's student films. If there is a college in your hometown, most likely they have a performing arts program with students involved in doing their own films. Film students are always on the lookout for talented actors to appear in their films. You could very well be just what they're looking for. They probably won't be able to pay you anything and the film itself will probably be pretty bad but it will be good experience for you. Just make sure you get a video tape of your performance and keep in touch with the student director. You never know where this might lead.
Another way to get your foot in the door is to be an extra. Many times when a movie studio is filming on location shots they need extras such as people in a crowd. Go down there and tell them that you're interested in being an extra. You never know what this could lead to. The casting director may just like your looks and ask you to come in and read for a speaking part, if not for this film, for a future one. Plus, this will give you great experience as you will get to see what a professional film set looks like and how things run. Every little bit helps.
Then there are independent films. Many of these companies can't afford to hire experienced actors. This is a very good chance to get your foot in the door. Plus there is always the chance that one of these independent films will take off and be big hit. It has happened. You could very well be the next overnight success because of it.
After you've built up a bit of a resumé doing the things above, get yourself an agent and put together a portfolio for him to shop around. That's his job. He'll have more contacts than you and a much better chance of getting you something.
Most of all, be persistent. Don't give up. Becoming a successful actor is one of the most difficult things that anyone could want to do but it is also one of the most rewarding. In many cases simply by not quitting you'll finally land the part that you've always dreamed of.
For starters, you must understand that there is no one way to become a successful actor. Some very famous actors were discovered while doing other jobs and just happened to be in the right place at the right time. Yes, there is a lot of luck involved in this business. In addition to that luck you'll need connections and a lot of determination. Here are a few ways to get your foot in the door.
Just about every town in the world has a small theater where they put on local amateur performances. Take advantage of this even if you're really only interested in film or television. The truth is, acting is acting and it doesn't change much just because you're on a stage instead of in a film or television studio. Any practice that you get is only going to improve your chances of getting the gig that you're looking for. Also, many agents and casting directors go to these small theaters looking for talent. There's always the chance that they're going to spot you.
Next there's student films. If there is a college in your hometown, most likely they have a performing arts program with students involved in doing their own films. Film students are always on the lookout for talented actors to appear in their films. You could very well be just what they're looking for. They probably won't be able to pay you anything and the film itself will probably be pretty bad but it will be good experience for you. Just make sure you get a video tape of your performance and keep in touch with the student director. You never know where this might lead.
Another way to get your foot in the door is to be an extra. Many times when a movie studio is filming on location shots they need extras such as people in a crowd. Go down there and tell them that you're interested in being an extra. You never know what this could lead to. The casting director may just like your looks and ask you to come in and read for a speaking part, if not for this film, for a future one. Plus, this will give you great experience as you will get to see what a professional film set looks like and how things run. Every little bit helps.
Then there are independent films. Many of these companies can't afford to hire experienced actors. This is a very good chance to get your foot in the door. Plus there is always the chance that one of these independent films will take off and be big hit. It has happened. You could very well be the next overnight success because of it.
After you've built up a bit of a resumé doing the things above, get yourself an agent and put together a portfolio for him to shop around. That's his job. He'll have more contacts than you and a much better chance of getting you something.
Most of all, be persistent. Don't give up. Becoming a successful actor is one of the most difficult things that anyone could want to do but it is also one of the most rewarding. In many cases simply by not quitting you'll finally land the part that you've always dreamed of.
Acting - Cold Reading
In regular theater an actor may prepare a monologue that he has spent many hours memorizing, for a part that he will also perform at every audition. He's spent a lot of time on this and has perfected his art and delivery. When going for an audition he is quite comfortable with his prepared lines. However, in a film or commercial audition the actor is expected to perform a script given to him that he has never seen before. This is when the art of cold reading is very important and can be a life saver.
The technical definition of cold reading is the auditioning for a part with a script in hand, one the actor has never seen. The profession says that the actor is supposed to be given the script at least 24 hours before the audition but all too often this just doesn't happen. This is why cold reading is so important to actors who work in film or commercials.
So, how do you learn to cold read? Brute force. Pick up a script, read the first line, commit it to memory and then say the line without looking at the script. You've just done your first cold reading. At first you may only be able to memorize a few words at a time, but with a little practice you'll soon be memorizing several lines at a time. Being an actor is kind of like being an athlete. The more you work at it the better you'll get. After you feel comfortable doing cold reading by yourself try it with another actor. This is when it gets fun.
When you're at your audition it's very tempting to try to sneak a peak at your next line while the other actor is doing his lines. Don't do this. How you listen to your fellow actor is just as important as speaking your lines. Wait until it's time for you to respond and then look at your next line. Memorize as much of your line as you can in a few seconds. Then make eye contact with your partner and say your next line.
If you've got more to memorize than you can with just a glance, repeat the process until you have the line memorized. But keep your face out of your script. Never read your lines while looking at your script. This is a sure way to blow the audition. Make sure you stay in character while reading your lines.
When you're actually at your audition even if you don't get the script until you get there, try to read the script in its entirety at once and remember as much of it as you can. This way you'll at least have some idea what the scene is about, who the characters are and how the conversation should go. If you have more time try to memorize the first and last lines. This will give you a strong start and finish, which is what the person auditioning you will remember the most.
When holding your script, hold with your left hand if right handed and at chest level. Never have your head buried in the script. Don't wave the script around like it is a prop. Make believe it is just a natural extension of your body. The less attention you draw to the script itself the better.
A cold reading goes much slower and feels a lot more awkward than a normal reading. This is normal and there is no need to worry about it. The casting director knows this is the first time you've seen the script. He is more interested in what kind of personality you have as the character.
Sadly, you may be the greatest actor in the world, but without being able to cold read well you aren't going to get many parts as you'll never get past the first audition. So include cold reading in your training. You'll find you'll get more parts because of it.
The technical definition of cold reading is the auditioning for a part with a script in hand, one the actor has never seen. The profession says that the actor is supposed to be given the script at least 24 hours before the audition but all too often this just doesn't happen. This is why cold reading is so important to actors who work in film or commercials.
So, how do you learn to cold read? Brute force. Pick up a script, read the first line, commit it to memory and then say the line without looking at the script. You've just done your first cold reading. At first you may only be able to memorize a few words at a time, but with a little practice you'll soon be memorizing several lines at a time. Being an actor is kind of like being an athlete. The more you work at it the better you'll get. After you feel comfortable doing cold reading by yourself try it with another actor. This is when it gets fun.
When you're at your audition it's very tempting to try to sneak a peak at your next line while the other actor is doing his lines. Don't do this. How you listen to your fellow actor is just as important as speaking your lines. Wait until it's time for you to respond and then look at your next line. Memorize as much of your line as you can in a few seconds. Then make eye contact with your partner and say your next line.
If you've got more to memorize than you can with just a glance, repeat the process until you have the line memorized. But keep your face out of your script. Never read your lines while looking at your script. This is a sure way to blow the audition. Make sure you stay in character while reading your lines.
When you're actually at your audition even if you don't get the script until you get there, try to read the script in its entirety at once and remember as much of it as you can. This way you'll at least have some idea what the scene is about, who the characters are and how the conversation should go. If you have more time try to memorize the first and last lines. This will give you a strong start and finish, which is what the person auditioning you will remember the most.
When holding your script, hold with your left hand if right handed and at chest level. Never have your head buried in the script. Don't wave the script around like it is a prop. Make believe it is just a natural extension of your body. The less attention you draw to the script itself the better.
A cold reading goes much slower and feels a lot more awkward than a normal reading. This is normal and there is no need to worry about it. The casting director knows this is the first time you've seen the script. He is more interested in what kind of personality you have as the character.
Sadly, you may be the greatest actor in the world, but without being able to cold read well you aren't going to get many parts as you'll never get past the first audition. So include cold reading in your training. You'll find you'll get more parts because of it.
Acting - Audition Tips
The fact is, auditions are a nerve wracking experience for actors. They'd rather have their eyebrows plucked. Unfortunately, they're an essential part of being an actor. So by following these steps you'll have the best chance of getting the part.
In getting the audition in the first place, you or your agent are going to have to submit a photo and resume to the casting director. Sometimes you'll get an open call where anybody can come down but these are the exception, not the rule. Most auditions are by invitation only.
If you are called for an audition you will usually be given what are called "sides" or a few pages of a script that you will have to read at the audition. In theater you may also be required to have some kind of monologue ready.
The first thing to do is read the script and prepare for the part. Find out everything you can about the character you're going to be playing. The lines aren't important yet. Just commit your focus to the character. How old, where from, how the character feels about other characters in the story. Only after you know everything you need to know about the character do you start learning your lines. Use whatever method you feel most comfortable with. You won't be required to know the whole script at the audition but be prepared.
Before you go to the audition, dress for the part. Wear clothes that fit the character and the story. If you're playing a cowboy don't get dressed up in a business suit. You don't have to go out and rent spurs but wear clothes that suggest the role. Jeans and boots for this role will do fine.
Warm up for the audition just like a pitcher warms up before a ball game. Do some stretches and vocal exercises. Go over your lines. Don't go in there cold. It's normal to be nervous but in preparing yourself you won't be as nervous and you'll be able to relax a bit.
When you get to the audition, sign in. You may have to wait for others to read for the same part. Be patient. Avoid talking with the other actors. They will only try to distract you. Focus on what you came there to do.
When actually reading for the casting director, be prepared for anything. Some may sit and chat with you a few minutes and others will just get right down to business. Forget that this is an audition. Do the performance as if you were actually in the production. You only get one chance to make a first impression. Make the director believe that you ARE the character. They want you to be the best person for the role because that means their job is completed.
There are some things not to do when reading for the casting director. Don't suck up. A sincere compliment is fine but a casting director will know when you're just grovelling. Aside from shaking his hand when you enter, never touch the casting director. Finally, don't trash the office. Some hyperactive actors will actually do this in the heat of performing a physical scene. This is a definite way NOT to get the part.
After you're done with your reading the director will let you know when they'll get back to you. Leave it at that. Don't make a scene. Just be professional and leave.
If the casting director likes your performance you will be asked to come back. At this time there will be fewer people auditioning and more people watching your performance. Maybe some producers, directors and writers. Wear the same clothes that you wore to the first audition and put in the same performance. Don't second guess yourself. If they called you back then they liked what they saw the first time. Don't mess with success.
Keep records of each audition. Make notes of what things you did and what you think you can do better the next time. If something went very well, make a note of what it was.
The more auditions you do the better you will get at them.
In getting the audition in the first place, you or your agent are going to have to submit a photo and resume to the casting director. Sometimes you'll get an open call where anybody can come down but these are the exception, not the rule. Most auditions are by invitation only.
If you are called for an audition you will usually be given what are called "sides" or a few pages of a script that you will have to read at the audition. In theater you may also be required to have some kind of monologue ready.
The first thing to do is read the script and prepare for the part. Find out everything you can about the character you're going to be playing. The lines aren't important yet. Just commit your focus to the character. How old, where from, how the character feels about other characters in the story. Only after you know everything you need to know about the character do you start learning your lines. Use whatever method you feel most comfortable with. You won't be required to know the whole script at the audition but be prepared.
Before you go to the audition, dress for the part. Wear clothes that fit the character and the story. If you're playing a cowboy don't get dressed up in a business suit. You don't have to go out and rent spurs but wear clothes that suggest the role. Jeans and boots for this role will do fine.
Warm up for the audition just like a pitcher warms up before a ball game. Do some stretches and vocal exercises. Go over your lines. Don't go in there cold. It's normal to be nervous but in preparing yourself you won't be as nervous and you'll be able to relax a bit.
When you get to the audition, sign in. You may have to wait for others to read for the same part. Be patient. Avoid talking with the other actors. They will only try to distract you. Focus on what you came there to do.
When actually reading for the casting director, be prepared for anything. Some may sit and chat with you a few minutes and others will just get right down to business. Forget that this is an audition. Do the performance as if you were actually in the production. You only get one chance to make a first impression. Make the director believe that you ARE the character. They want you to be the best person for the role because that means their job is completed.
There are some things not to do when reading for the casting director. Don't suck up. A sincere compliment is fine but a casting director will know when you're just grovelling. Aside from shaking his hand when you enter, never touch the casting director. Finally, don't trash the office. Some hyperactive actors will actually do this in the heat of performing a physical scene. This is a definite way NOT to get the part.
After you're done with your reading the director will let you know when they'll get back to you. Leave it at that. Don't make a scene. Just be professional and leave.
If the casting director likes your performance you will be asked to come back. At this time there will be fewer people auditioning and more people watching your performance. Maybe some producers, directors and writers. Wear the same clothes that you wore to the first audition and put in the same performance. Don't second guess yourself. If they called you back then they liked what they saw the first time. Don't mess with success.
Keep records of each audition. Make notes of what things you did and what you think you can do better the next time. If something went very well, make a note of what it was.
The more auditions you do the better you will get at them.
Acrylic Painting Lesson - Mistakes To Avoid In Your Acrylic Paintings
When you are just starting out with acrylic painting, you will most certainly make your share of mistakes. This is the natural process of painting and we all learn and grow from our mistakes. This article introduces some of the more common mistakes beginner acrylic painters make.
Mistake #1 to avoid: Not using enough variety in your painting. An interesting painting has variety. It creates curiosity and interest, and the viewer wants to return again to observe it. So how do you create an interesting painting? Use a variety of different brushstrokes, techniques and values in your paintings. Change the direction of your brushstrokes or mix different techniques in the same painting.
Mistake #2 to avoid: Being too technical or copying. In order to truly paint a subject, and when I say "truly", I am not saying you should copy the subject exactly as you see it. I am referring to connecting to the painter inside and truly painting your own impression of what you see. This is how your inner creativity shines on the canvas. It is what set painters like Vincent van Gogh and Claude Monet apart from the rest. They each injected their own style and heart into their work. I believe your own unique creativity comes to the surface the moment you stop relying on the technicalities and theories associated with painting. I am not saying one shouldn't study techniques and theory, but at some point we have to put that stuff on the back burner and let our creativity do some of the thinking. Whatever you do, don't copy other artists. There is nothing wrong with allowing other artists to influence you, just make sure you allow your own unique style to come through.
Mistake #3 to avoid: Not observing your subjects. Do you spend time observing the subjects you feel inspired to paint? If you are a portrait artist, have you done any studying of the human anatomy? If you paint landscapes, do you spend enough time outdoors in that environment? If you aren't spending enough time observing the subjects that you wish to paint, then you won't know have enough knowledge to paint them.
Mistake #4: Not using quality art supplies. Are you using quality acrylic painting supplies? A really experienced and talented artist could probably create an entire painting using a toothpick, but who really wants to work that hard? When it comes to fine art supplies, you usually do get what you pay for. If you paint with a 50cent paintbrush, it will probably paint just like a 50cent paintbrush. The ferrule will more than likely become loose and the hairs will probably shed. If you are using really cheap paint, you will more than likely get really cheap results. The colors will not have the same brilliance or the right consistency. So invest in quality art supplies and take great care of them as well.
Mistake #5 to avoid: Not using enough paint. Learn how to apply paint to your canvas. Many beginners don't reload their brushes often enough. I made this same mistake when I first began painting. I would squeeze out a little glob of paint and try to cover as much area as possible. In my case, I was just lazy, but many beginners are fearful of wasting paint. This is a reasonable concern considering the cost of supplies. The truth however, is that your paintings will be more interesting if you lay down the brush stroke, leave it alone, and then reload your brush. Don't try and scrub the paint into the canvas, otherwise you are just staining, and not painting.
Mistake #6 To Avoid: Over Thinking. Don't overly criticize or judge your own work while you are painting. This only creates discouragement and forces many beginners to become frustrated and quit. Just relax and let go. Trust yourself and your abilities.
I hope this article on acrylic painting has been helpful. Never get discouraged if you are making mistakes or not happy with your work. Mistakes are learning tools. Learn and move on. The most important aspect of painting is the enjoyment we receive from it anyway. Frustration and discouragement should never dominate the painting experience. Happy painting!
Mistake #1 to avoid: Not using enough variety in your painting. An interesting painting has variety. It creates curiosity and interest, and the viewer wants to return again to observe it. So how do you create an interesting painting? Use a variety of different brushstrokes, techniques and values in your paintings. Change the direction of your brushstrokes or mix different techniques in the same painting.
Mistake #2 to avoid: Being too technical or copying. In order to truly paint a subject, and when I say "truly", I am not saying you should copy the subject exactly as you see it. I am referring to connecting to the painter inside and truly painting your own impression of what you see. This is how your inner creativity shines on the canvas. It is what set painters like Vincent van Gogh and Claude Monet apart from the rest. They each injected their own style and heart into their work. I believe your own unique creativity comes to the surface the moment you stop relying on the technicalities and theories associated with painting. I am not saying one shouldn't study techniques and theory, but at some point we have to put that stuff on the back burner and let our creativity do some of the thinking. Whatever you do, don't copy other artists. There is nothing wrong with allowing other artists to influence you, just make sure you allow your own unique style to come through.
Mistake #3 to avoid: Not observing your subjects. Do you spend time observing the subjects you feel inspired to paint? If you are a portrait artist, have you done any studying of the human anatomy? If you paint landscapes, do you spend enough time outdoors in that environment? If you aren't spending enough time observing the subjects that you wish to paint, then you won't know have enough knowledge to paint them.
Mistake #4: Not using quality art supplies. Are you using quality acrylic painting supplies? A really experienced and talented artist could probably create an entire painting using a toothpick, but who really wants to work that hard? When it comes to fine art supplies, you usually do get what you pay for. If you paint with a 50cent paintbrush, it will probably paint just like a 50cent paintbrush. The ferrule will more than likely become loose and the hairs will probably shed. If you are using really cheap paint, you will more than likely get really cheap results. The colors will not have the same brilliance or the right consistency. So invest in quality art supplies and take great care of them as well.
Mistake #5 to avoid: Not using enough paint. Learn how to apply paint to your canvas. Many beginners don't reload their brushes often enough. I made this same mistake when I first began painting. I would squeeze out a little glob of paint and try to cover as much area as possible. In my case, I was just lazy, but many beginners are fearful of wasting paint. This is a reasonable concern considering the cost of supplies. The truth however, is that your paintings will be more interesting if you lay down the brush stroke, leave it alone, and then reload your brush. Don't try and scrub the paint into the canvas, otherwise you are just staining, and not painting.
Mistake #6 To Avoid: Over Thinking. Don't overly criticize or judge your own work while you are painting. This only creates discouragement and forces many beginners to become frustrated and quit. Just relax and let go. Trust yourself and your abilities.
I hope this article on acrylic painting has been helpful. Never get discouraged if you are making mistakes or not happy with your work. Mistakes are learning tools. Learn and move on. The most important aspect of painting is the enjoyment we receive from it anyway. Frustration and discouragement should never dominate the painting experience. Happy painting!
Acomplia is a Multifunctional Diet Pill
Weight loss is perhaps the most talked topic of late. Its not only considered as a problem but medical science mark it as an epidemic. It’s a nutritional disorder that arises due to over consumption of fats then our body requires. The new diet pill Acomplia is generating great interest among the overweight patients on this pretext. Proven records are also available related to its success on obesity.
Apart for keeping a person free from excess weight, the diet pill Acomplia also helps a person in stopping his or her’s urges for smoking. In fact it’s a multifunctional diet pill and is very effective indeed.
According to studies, there are nerve receptors called CB1receptors that exist in the brain and fat cells. These receptors urge the body to overeat and smoke. Acomplia works by targeting the CBI receptors and blocking the body's ability to receive signals that tells it to smoke or eat more. It helps to normalize the EndoCannabinoid System thus making hunger and cigarette cravings more manageable. This blocking of signals results in weight loss. It further improves the cardiovascular or metabolic risk factors in obese people and reduces their dependence on nicotine and helps them quit smoking.
Though, studies on the side-effects of Acomplia have been done, but are clinically proved to be tolerable and mild. Dizziness nausea, stomach upset, depression and sweating are a few to mention. Though reports of overdose haven’t been proved till date, but better to discard the practice, for it may be proved harmful sometimes.
Generally a dose of 20mg before breakfast or in an empty stomach is enough to give a desired result. But a mixture of a controlled diet, some exercise and Acomplia can really give miraculous results. According to clinical trials a person can loose his or her body weight, any amount 20-25 pound if a dose of 20mg is practised for a period of a year.
Although promising results are proved, it is should be used under a good dietician’s observation. Often there are misconception among it’s users that an overdose or double dose of Acomplia will show faster results. But one should know the fact it’s a drug and trying to overdose it can prove to be fatal.
Apart for keeping a person free from excess weight, the diet pill Acomplia also helps a person in stopping his or her’s urges for smoking. In fact it’s a multifunctional diet pill and is very effective indeed.
According to studies, there are nerve receptors called CB1receptors that exist in the brain and fat cells. These receptors urge the body to overeat and smoke. Acomplia works by targeting the CBI receptors and blocking the body's ability to receive signals that tells it to smoke or eat more. It helps to normalize the EndoCannabinoid System thus making hunger and cigarette cravings more manageable. This blocking of signals results in weight loss. It further improves the cardiovascular or metabolic risk factors in obese people and reduces their dependence on nicotine and helps them quit smoking.
Though, studies on the side-effects of Acomplia have been done, but are clinically proved to be tolerable and mild. Dizziness nausea, stomach upset, depression and sweating are a few to mention. Though reports of overdose haven’t been proved till date, but better to discard the practice, for it may be proved harmful sometimes.
Generally a dose of 20mg before breakfast or in an empty stomach is enough to give a desired result. But a mixture of a controlled diet, some exercise and Acomplia can really give miraculous results. According to clinical trials a person can loose his or her body weight, any amount 20-25 pound if a dose of 20mg is practised for a period of a year.
Although promising results are proved, it is should be used under a good dietician’s observation. Often there are misconception among it’s users that an overdose or double dose of Acomplia will show faster results. But one should know the fact it’s a drug and trying to overdose it can prove to be fatal.
Accurate Psychic Readings
Psychic readers are often trivialized as fortune-tellers at the local fair. However, an effective psychic reader has the ability to address mental and emotional issues, such as pitfalls and bad relationships and how to deal with them; accurate counseling can help seekers address the core of the issue and make better progress in all aspects of their life.
However, doubts on a psychic reader’s credibility begin to crop up when a prediction goes awry. For instance, a psychic may predict that a major shift in the seeker’s relationship will occur in about a year. But when that year is up, and he finds himself in the same relationship, he tends to assume the prophecy was erroneous. Unfortunately, it is not so straightforward.
A psychic reader’s prophecy is not an engraving set in stone. Accuracy is very important in a psychic reading but, in every seeker’s individual life, free will is supreme. Psychic readers do not usually see an inflexible, predestined event. They see the patterns at work in the seeker’s life and how and when they are likely to manifest into certain events – IF his current momentum remains unchanged.
Accuracy must also reflect a psychic's ability to offer lucid insights that a seeker could then apply to the issue in a practical manner. In the context of a bad relationship or marriage for instance, a seeker may be told, "Your relationship is coming to an end," followed by an account of why that is being seen. Whether it is overwhelming job responsibilities or a bad temperament, why a relationship is heading towards disaster is more important than whether it will end. When the seeker begins to understand why things are going wrong and takes measure to rectify it, he takes the first step towards making a change, thus altering the psychic reader’s ominous prophecy.
However, doubts on a psychic reader’s credibility begin to crop up when a prediction goes awry. For instance, a psychic may predict that a major shift in the seeker’s relationship will occur in about a year. But when that year is up, and he finds himself in the same relationship, he tends to assume the prophecy was erroneous. Unfortunately, it is not so straightforward.
A psychic reader’s prophecy is not an engraving set in stone. Accuracy is very important in a psychic reading but, in every seeker’s individual life, free will is supreme. Psychic readers do not usually see an inflexible, predestined event. They see the patterns at work in the seeker’s life and how and when they are likely to manifest into certain events – IF his current momentum remains unchanged.
Accuracy must also reflect a psychic's ability to offer lucid insights that a seeker could then apply to the issue in a practical manner. In the context of a bad relationship or marriage for instance, a seeker may be told, "Your relationship is coming to an end," followed by an account of why that is being seen. Whether it is overwhelming job responsibilities or a bad temperament, why a relationship is heading towards disaster is more important than whether it will end. When the seeker begins to understand why things are going wrong and takes measure to rectify it, he takes the first step towards making a change, thus altering the psychic reader’s ominous prophecy.
Saturday, December 26, 2009
Abstract Art As Therapy
Abstract art is not just a mixture of colourful meaningless patterns and arbitrary shapes.
There is, I believe, a definate therapeutic value to be found in most of the enigmatic marks made by the very different styles available today. What appears to be the most important decision to make is a very careful consideration of the specific audience in conjunction with the choosing of the appropriate artwork. This is not something to be taken lightly or quickly. This can cover anybody within the wide spectrum of individual audiences: a busy boardroom environment or a single office or room where quick thinking, fast reactions, and serious decision making is required; or a worker who returns from a hard days work simply wanting to be visually massaged by an easily observed enigma; or even the space inwhich the desperate and mostly misunderstood person who is gradually loosing their tentative hold on the sense of reality. There is a tremendous variety of possibilities.
Here are some suggested associations from one artists point of view:
Colour plays an obvious healing and therapeutic role to be found in a carefully selected crafted piece, and so colour-field work, which is growing in popularity, first conceived by artists like Mark Rothko and Ellsworth Kelly with their vast areas of empty colour space, might add a general feeling of peace and quiet to an otherwise noisy and hectic environment. With there being very few variations within such a large image a gentle sense of immersion into abstract stillness can slow down any fretful or irratic thinking, and even assist with the adrenal challenge of a creative.
Indefinate shapes or patterns by the likes of Jackson Pollock, Peter Lanyon, and Howard Hodgkin (again, similar works inspired by these very different abstract styles can be seen in many exhibitions, shops and galleries), show a very positive association, and may perhaps persuade a mind filled with illogical thoughts to pause, simply take in the apparent spontenaiety, and then take a different direction. Hodgkin style works in particular can be seen as puzzle like canvases inwhich the observer has no real point of reference so is free to "start" anywhere upon the picture. And because there are very few defined areas sometimes the observer inevitably finds themself either regarding the piece with little emotion, and therefore can freely make a comment - positive or not.
Let us not deny, however, the fact that many an image that has the potential to provoke a negative response can also be of great value to the observer who might actually benefit from seeing such a challenging picture that bears such a bad association. Better there on the wall than here inside the head. In this case the classic associations of red for blood and danger, black for death and sin, brown for decay and illness, along with dramatic lines and movements found in a painting are equally valuable stimulii if revealed within the appropriate environment. This comes back to my point made at the beginning - when choosing a picture, very careful consideration must be taken in order to find that one work of art which speaks directly to the very deepest parts of the observer.
There is, I believe, a definate therapeutic value to be found in most of the enigmatic marks made by the very different styles available today. What appears to be the most important decision to make is a very careful consideration of the specific audience in conjunction with the choosing of the appropriate artwork. This is not something to be taken lightly or quickly. This can cover anybody within the wide spectrum of individual audiences: a busy boardroom environment or a single office or room where quick thinking, fast reactions, and serious decision making is required; or a worker who returns from a hard days work simply wanting to be visually massaged by an easily observed enigma; or even the space inwhich the desperate and mostly misunderstood person who is gradually loosing their tentative hold on the sense of reality. There is a tremendous variety of possibilities.
Here are some suggested associations from one artists point of view:
Colour plays an obvious healing and therapeutic role to be found in a carefully selected crafted piece, and so colour-field work, which is growing in popularity, first conceived by artists like Mark Rothko and Ellsworth Kelly with their vast areas of empty colour space, might add a general feeling of peace and quiet to an otherwise noisy and hectic environment. With there being very few variations within such a large image a gentle sense of immersion into abstract stillness can slow down any fretful or irratic thinking, and even assist with the adrenal challenge of a creative.
Indefinate shapes or patterns by the likes of Jackson Pollock, Peter Lanyon, and Howard Hodgkin (again, similar works inspired by these very different abstract styles can be seen in many exhibitions, shops and galleries), show a very positive association, and may perhaps persuade a mind filled with illogical thoughts to pause, simply take in the apparent spontenaiety, and then take a different direction. Hodgkin style works in particular can be seen as puzzle like canvases inwhich the observer has no real point of reference so is free to "start" anywhere upon the picture. And because there are very few defined areas sometimes the observer inevitably finds themself either regarding the piece with little emotion, and therefore can freely make a comment - positive or not.
Let us not deny, however, the fact that many an image that has the potential to provoke a negative response can also be of great value to the observer who might actually benefit from seeing such a challenging picture that bears such a bad association. Better there on the wall than here inside the head. In this case the classic associations of red for blood and danger, black for death and sin, brown for decay and illness, along with dramatic lines and movements found in a painting are equally valuable stimulii if revealed within the appropriate environment. This comes back to my point made at the beginning - when choosing a picture, very careful consideration must be taken in order to find that one work of art which speaks directly to the very deepest parts of the observer.
Abstract Art And The Spirit 1
It has been a long and raging arguement that the abstract expressionists of the 50's, 60's and 70's were very busy contemplating their own navels and trying to find the "zen" in everything they did.
I would argue that they were in fact just one very important example of the hungry sleep-drugged soul seeking a way to be heard. However, many artsists of those times, and indeed today, would flatly deny anything remotely to do with spiritual things - or worse still - religious things.
Take, for instance, one of my favourites - Mark Rothko. This tragic artist committed himself to the task of producing massive canvases with many vaguely resembling the outline of a window - especially an after image once the eye has closed. His vast expanses of colour seemed to hunt out a corner or edge in a desperate attempt to complete, or conclude, the picture. Not satisfied with that he went on to give up titling his work saying that he did not want to influence the onlooker in any way. Ironically he failed ... and sadly took his own life. For me his works speak of wonderful tantilizing clues visually demonstrating the struggling spirit seeking (and succeeding!) in revealing herself - now that is real influence! Let me explain by an apparently unrelated route:
I seek to assist my own spirit in attempting to make manifest even the tiniest, most pathetic, weakest fact that the spirit in us all is not only just trying to communicate with us - but is in fact actively seeking to set the whole human balance right ... which is the spirit leading the mind and body back to her source - not the other way round - the mind and body leading the blinded soul to ... well, eventually death.
Not so long ago I came across the writings of Meister Eckhart, a fourteenth century Christian mystic. His words amazed me. He described in his many sermons what he believed to be the truth as to why we are here. He also revealed many tantilizing "images" of the spirit from the least angelic being right up to God Himself. His descriptions were ... how can I put it simply? ... abstract!
In one of his sermons he described God as ... "unknowable" ... "not able to be understood" ... "undefinable". In another he made a statement (one of many which may have contributed to him being accused of heresy!) "People say God exists ... God does not exist ... " left out of context that would be a truly blasphemous assertion. But he went on to say that "... God is far greater ... God is beyond existance". These and many other controversial sayings have impressed me so much that I have come to "see" God as an abstract entity - not, I hasten to add, an anarchic abstract form - but rather a God far more powerful, far more greater - than I can imagine ... in other words totally undefinable. Rather than this putting a distance between me and God, it has done exactly the opposite. And when Eckhart began to describe the life of Christ in an almost completely abstract way - Eckhart said that Christs life was the greatest example of the seeking and finding the uncreated source of the pure soul - my imagination began to run like a film of frenzied obscure visuals. Eckhart has become, to me, the patron saint of abstract artists.
The beauty of Eckharts enigmatic words are intensely inspiring. What better way to illustrate his poetic writings than to describe Gods "isness" in the very basic form of a gigantic flat area of one saturated colour untainted by anythingelse. Strangely enough this could be part of an exact description from one of Rothko's immense, sometimes almost monochromatic, paintings.
But this is by no means the whole story ... one of Eckhart's contradictions said that on the one hand God is totally unapproachable, yet at the same time God is actually very, very approachable ...
However, that is another article.
I would argue that they were in fact just one very important example of the hungry sleep-drugged soul seeking a way to be heard. However, many artsists of those times, and indeed today, would flatly deny anything remotely to do with spiritual things - or worse still - religious things.
Take, for instance, one of my favourites - Mark Rothko. This tragic artist committed himself to the task of producing massive canvases with many vaguely resembling the outline of a window - especially an after image once the eye has closed. His vast expanses of colour seemed to hunt out a corner or edge in a desperate attempt to complete, or conclude, the picture. Not satisfied with that he went on to give up titling his work saying that he did not want to influence the onlooker in any way. Ironically he failed ... and sadly took his own life. For me his works speak of wonderful tantilizing clues visually demonstrating the struggling spirit seeking (and succeeding!) in revealing herself - now that is real influence! Let me explain by an apparently unrelated route:
I seek to assist my own spirit in attempting to make manifest even the tiniest, most pathetic, weakest fact that the spirit in us all is not only just trying to communicate with us - but is in fact actively seeking to set the whole human balance right ... which is the spirit leading the mind and body back to her source - not the other way round - the mind and body leading the blinded soul to ... well, eventually death.
Not so long ago I came across the writings of Meister Eckhart, a fourteenth century Christian mystic. His words amazed me. He described in his many sermons what he believed to be the truth as to why we are here. He also revealed many tantilizing "images" of the spirit from the least angelic being right up to God Himself. His descriptions were ... how can I put it simply? ... abstract!
In one of his sermons he described God as ... "unknowable" ... "not able to be understood" ... "undefinable". In another he made a statement (one of many which may have contributed to him being accused of heresy!) "People say God exists ... God does not exist ... " left out of context that would be a truly blasphemous assertion. But he went on to say that "... God is far greater ... God is beyond existance". These and many other controversial sayings have impressed me so much that I have come to "see" God as an abstract entity - not, I hasten to add, an anarchic abstract form - but rather a God far more powerful, far more greater - than I can imagine ... in other words totally undefinable. Rather than this putting a distance between me and God, it has done exactly the opposite. And when Eckhart began to describe the life of Christ in an almost completely abstract way - Eckhart said that Christs life was the greatest example of the seeking and finding the uncreated source of the pure soul - my imagination began to run like a film of frenzied obscure visuals. Eckhart has become, to me, the patron saint of abstract artists.
The beauty of Eckharts enigmatic words are intensely inspiring. What better way to illustrate his poetic writings than to describe Gods "isness" in the very basic form of a gigantic flat area of one saturated colour untainted by anythingelse. Strangely enough this could be part of an exact description from one of Rothko's immense, sometimes almost monochromatic, paintings.
But this is by no means the whole story ... one of Eckhart's contradictions said that on the one hand God is totally unapproachable, yet at the same time God is actually very, very approachable ...
However, that is another article.
Abstract Art and I
I have always loved bright colors and movement, like dancing its healing, relaxing fulfilling and challenging as well. The bottom line is the feeling and message that I want to convey through the medium. When I paint, every attempt is to capture the feel of warmth, passion, joy and bliss in none objective or figurative composition. I enjoy experimentation of different media and subjects.
My subject varies based on my emotion and statement but my love for colors is constant. In spite of this, viewers see different forms or figures in my abstract expressions. The good thing about these expressions is the freedom of the viewers to see and appreciate the forms in their mind's eyes, like face painting in the eye of the viewer. Its also important to mention that "Uli" which is my traditional art style has played a major role in my age long career. The symbols and forms of this art style are reflected in my cubism, abstract images, abstract relief sculpture, seascape, drawing, pastels and watercolor painting.
People see different forms or images in abstract art, the depth of what you actually see when you look at the paintings is partly based on individual exposure and understanding of art forms, color, shapes, line and texture; which are the physical elements that combine to make up the artworks.
A selection of different dark hues, shapes and forms may give various impressions to different minds; light, airy images as mystical; balanced, temperate forms as peaceful. Uli organic forms and shape are symbolical such as colors and forms have meaning in and of themselves. It is a simple truth that you can't give what you don't have. I am a believer and my work time is also a meditation time, which can go either way depending on the spiritual consciousness of the creative mind.
To me, my work section is an intimate moment between I, canvas and colors. At this creative moment there is a spiritual impartation from the artist to the Art. Hence the emotional reaction to these elements even if they create no recognizable object for us to hang onto.
I enjoy the inclusion and deletion of space. The handling of space or the
illusion of space is another powerful element in the artist's mind. If you are drawn into a yard of three-dimensional space stretching beyond the framework of the painting to sculpture, you are not alone. The impression of depth, perspective, airiness, solidity, textures and other spatial relations are created and controlled to achieve a desired goal.
The overall composition or design of my painting or sculpture is created to guide the viewer's eyes to understanding and appreciation of the images.
I must admit, most of my figurative compositions is a celebration of womanhood, which I am very proud to be part of for they are the seats of wisdom and knowledge.
I pride in the feeling and reactions of my clients and viewers to my creations. I feel blessed in many ways than words can express. The challenge sometimes is getting the composition right, or balancing the elements of color, lines and shapes while maintaining a dynamic tension and massage beneath.
Energy is the life force that is present in all good art. This is not something that is easily defined. The life force of every work I do is the same, but different energy and different statements. It is this peculiar energy that makes my works speak to you, and makes them unique, original and identifiable to me. This energy is created out of experience and self-awareness, materials and tools, but the end is more than the means in the same sense that a musical composition is so much more than a collection of notes.
You are welcome into my world of abstract wall art or modern art, relax and let your eye leisurely wander over the collection of verities of art forms and styles. Let your heart and mind react to my colors, shapes, figures and textures. Come and spoil yourself a little in the illusion of vibrant spaces, the movement of lines and the mood of blissful atmosphere.
Come, come up close and explore the intricacies of brushstrokes, spatula- strokes, paint thickness, textures and compositional details. Enjoy how the parts are woven together to form the whole.
Take your time. My artwork cannot be understood and appreciated in a ten second glance. Allow my art to grow on you, becoming more interesting and more enjoyable to look at as you live with it.
My subject varies based on my emotion and statement but my love for colors is constant. In spite of this, viewers see different forms or figures in my abstract expressions. The good thing about these expressions is the freedom of the viewers to see and appreciate the forms in their mind's eyes, like face painting in the eye of the viewer. Its also important to mention that "Uli" which is my traditional art style has played a major role in my age long career. The symbols and forms of this art style are reflected in my cubism, abstract images, abstract relief sculpture, seascape, drawing, pastels and watercolor painting.
People see different forms or images in abstract art, the depth of what you actually see when you look at the paintings is partly based on individual exposure and understanding of art forms, color, shapes, line and texture; which are the physical elements that combine to make up the artworks.
A selection of different dark hues, shapes and forms may give various impressions to different minds; light, airy images as mystical; balanced, temperate forms as peaceful. Uli organic forms and shape are symbolical such as colors and forms have meaning in and of themselves. It is a simple truth that you can't give what you don't have. I am a believer and my work time is also a meditation time, which can go either way depending on the spiritual consciousness of the creative mind.
To me, my work section is an intimate moment between I, canvas and colors. At this creative moment there is a spiritual impartation from the artist to the Art. Hence the emotional reaction to these elements even if they create no recognizable object for us to hang onto.
I enjoy the inclusion and deletion of space. The handling of space or the
illusion of space is another powerful element in the artist's mind. If you are drawn into a yard of three-dimensional space stretching beyond the framework of the painting to sculpture, you are not alone. The impression of depth, perspective, airiness, solidity, textures and other spatial relations are created and controlled to achieve a desired goal.
The overall composition or design of my painting or sculpture is created to guide the viewer's eyes to understanding and appreciation of the images.
I must admit, most of my figurative compositions is a celebration of womanhood, which I am very proud to be part of for they are the seats of wisdom and knowledge.
I pride in the feeling and reactions of my clients and viewers to my creations. I feel blessed in many ways than words can express. The challenge sometimes is getting the composition right, or balancing the elements of color, lines and shapes while maintaining a dynamic tension and massage beneath.
Energy is the life force that is present in all good art. This is not something that is easily defined. The life force of every work I do is the same, but different energy and different statements. It is this peculiar energy that makes my works speak to you, and makes them unique, original and identifiable to me. This energy is created out of experience and self-awareness, materials and tools, but the end is more than the means in the same sense that a musical composition is so much more than a collection of notes.
You are welcome into my world of abstract wall art or modern art, relax and let your eye leisurely wander over the collection of verities of art forms and styles. Let your heart and mind react to my colors, shapes, figures and textures. Come and spoil yourself a little in the illusion of vibrant spaces, the movement of lines and the mood of blissful atmosphere.
Come, come up close and explore the intricacies of brushstrokes, spatula- strokes, paint thickness, textures and compositional details. Enjoy how the parts are woven together to form the whole.
Take your time. My artwork cannot be understood and appreciated in a ten second glance. Allow my art to grow on you, becoming more interesting and more enjoyable to look at as you live with it.
Abracadabra A Great Birthday With A Magician!
Children’s birthday parties have become outrageous showcases of food, gifts, and entertainment that are costing parents more and more each year. Instead of focusing on the child, parents are striving more and more to “keep up with the Joneses” and put on fantastic displays that involve a great deal of time and money for the planning and execution of the party. Instead of worrying about booking venues packed with activities, consider throwing your child an old fashioned bash in your own backyard. For a special touch, consider hiring a magician to entertain both children and adults for the party. A magician is a great way to entertain the crowd while maintaining a unique aspect for your child’s party.
A magician is a classic way to entertain and enthrall the young and the young at heart when it comes to hosting a birthday party. If your child is interested in becoming the next Houdini, use magic as the theme for his or her party. If you are planning to hire a magician to provide entertainment for you child’s birthday party, you may need to plan ahead and book the magician’s services in advance to prevent any last minute cancellations or bookings.
If you have decided to include a magician in your child’s birthday party, call around. Ask friends, family members, or coworkers for a referral of a specific magician they have hired or seen perform in the past. Also, consider contacting your local chamber of commerce or business organization to see if there is someone offering their entertainment services for hire. You will find that word of mouth is incredibly powerful; as you can be sure the magician you hire to perform at a birthday party or any event will provide age appropriate entertainment.
Before your hire a magician or any entertainment provider, be sure to get the agreement in writing. Also, you may need to pay an initial deposit to ensure the date for the party. Some questions to ask the magician include if their material is appropriate for children, how long they plan to perform, if they are willing include the birthday child in their act, and what will happen in the unfortunate event they are unable to attend or perform.
Once you have booked your magician, be sure not to change the date and time of the party. Doing so may cost you additional money or cause you to lose the magician due to previous commitments. A magician may book several parties or events on a given day, so his or her schedule is tight and unable to be changed.
Hiring a magician is an excellent way to entertain everyone present at the party. Many magicians include kid friendly magic tricks and may even teach the children a couple of tricks of their own. If this is the case, be sure to purchase any potential items necessary for the event for the children ahead of time. Also, consider giving away magic tricks as game prizes or party favors so the theme is continued throughout the party. Your child is sure to enjoy the fun filled tricks, jokes, and illusions that a professional magician can provide.
A magician is a classic way to entertain and enthrall the young and the young at heart when it comes to hosting a birthday party. If your child is interested in becoming the next Houdini, use magic as the theme for his or her party. If you are planning to hire a magician to provide entertainment for you child’s birthday party, you may need to plan ahead and book the magician’s services in advance to prevent any last minute cancellations or bookings.
If you have decided to include a magician in your child’s birthday party, call around. Ask friends, family members, or coworkers for a referral of a specific magician they have hired or seen perform in the past. Also, consider contacting your local chamber of commerce or business organization to see if there is someone offering their entertainment services for hire. You will find that word of mouth is incredibly powerful; as you can be sure the magician you hire to perform at a birthday party or any event will provide age appropriate entertainment.
Before your hire a magician or any entertainment provider, be sure to get the agreement in writing. Also, you may need to pay an initial deposit to ensure the date for the party. Some questions to ask the magician include if their material is appropriate for children, how long they plan to perform, if they are willing include the birthday child in their act, and what will happen in the unfortunate event they are unable to attend or perform.
Once you have booked your magician, be sure not to change the date and time of the party. Doing so may cost you additional money or cause you to lose the magician due to previous commitments. A magician may book several parties or events on a given day, so his or her schedule is tight and unable to be changed.
Hiring a magician is an excellent way to entertain everyone present at the party. Many magicians include kid friendly magic tricks and may even teach the children a couple of tricks of their own. If this is the case, be sure to purchase any potential items necessary for the event for the children ahead of time. Also, consider giving away magic tricks as game prizes or party favors so the theme is continued throughout the party. Your child is sure to enjoy the fun filled tricks, jokes, and illusions that a professional magician can provide.
Above Ground Pools
Spending a day in the pool can be a great way to spend the day . A refreshing swim and time with family and friends is the perfect combination to a splendid holiday. Finding a pool to spend your day in the cool waters is not a problem anymore with ready to install pools.
The above the ground pools have made the luxury of having your own pool truly POSSIBLE. The demand for above the ground pools have increased manifold over the years due to the various advantages that it has over the traditional in-ground pools. Above ground pools are way above the in-ground pools which not only cost a whole lot more but also require a lot of time to built and commission before you can actually spend sometime in your lovely pool. Now ordering your own pool and enjoying it is possible within a matter of days. A pool all for yourself , without a huge price tag attached to it is now a reality. An above the ground pool provides great flexibility as it can be transported wherever you go , so now you can continue to enjoy a day in the pool even if you are away from home. You can now set up your own pool wherever you want and have a refreshing swim.
The above the ground pools have continuously evolved over the years and kept with the times in terms of designs and materials used and are in a position to provide you with hundred percent entertainment and enjoyment while you are in the pool. They use the latest in technology, materials and also have corrosion proof coatings. Not only are they practical but make a great style statement.
The pools themselves speak volumes about their quality and also the credibility of the producer . The product is backed by expertise and years of experience in the field. The company takes pride in offering top quality products and service. The above the ground pools have wonderful features that make it truly a great pool to own :
• Fitted with the best of equipments like Hayward cartridge filters and pumps that are user-friendly , simple and durable.
• Pool wall
• Pool liner and frame
• State of the art pumpset
• Acqua bug automatic cleaner
• Pool available in various sized and shapes to suit the individual tastes and budgets.
• SP7410 fun fountain
• Pool liners of various sizes and varied prints are available.
Do-it Yourself pool kits of various shapes are available that are very simple and user-friendly and can be installed without any problems. The Above ground pool dealer provides state-of –the art technology and lovely above the ground pools that are shipped to the buyer in a matter of a few days.
The above the ground pools have made the luxury of having your own pool truly POSSIBLE. The demand for above the ground pools have increased manifold over the years due to the various advantages that it has over the traditional in-ground pools. Above ground pools are way above the in-ground pools which not only cost a whole lot more but also require a lot of time to built and commission before you can actually spend sometime in your lovely pool. Now ordering your own pool and enjoying it is possible within a matter of days. A pool all for yourself , without a huge price tag attached to it is now a reality. An above the ground pool provides great flexibility as it can be transported wherever you go , so now you can continue to enjoy a day in the pool even if you are away from home. You can now set up your own pool wherever you want and have a refreshing swim.
The above the ground pools have continuously evolved over the years and kept with the times in terms of designs and materials used and are in a position to provide you with hundred percent entertainment and enjoyment while you are in the pool. They use the latest in technology, materials and also have corrosion proof coatings. Not only are they practical but make a great style statement.
The pools themselves speak volumes about their quality and also the credibility of the producer . The product is backed by expertise and years of experience in the field. The company takes pride in offering top quality products and service. The above the ground pools have wonderful features that make it truly a great pool to own :
• Fitted with the best of equipments like Hayward cartridge filters and pumps that are user-friendly , simple and durable.
• Pool wall
• Pool liner and frame
• State of the art pumpset
• Acqua bug automatic cleaner
• Pool available in various sized and shapes to suit the individual tastes and budgets.
• SP7410 fun fountain
• Pool liners of various sizes and varied prints are available.
Do-it Yourself pool kits of various shapes are available that are very simple and user-friendly and can be installed without any problems. The Above ground pool dealer provides state-of –the art technology and lovely above the ground pools that are shipped to the buyer in a matter of a few days.
About casino portals and gambling guides
Understanding how a casino portal works is not something that is ready knowledge for most online gamblers.
Gambling guides and casino portals are sometimes misunderstood. Many people do not realize it is these gambling websites which are very much responsible for the good things that happen in the world of online gambling because they are the ears and voices of the gaming community. Many times online casinos have reversed their decision to take an action which is not player-friendly because of the outcries of guides and portal owners who are almost all what is called "affiliates" in the industry.
As important as it is to know the affiliate is responsible for many of the good things in online gambling it is equally important to understand that nothing is ever taken away from the player by the existence of the affiliate. Some people think that because the affiliate makes a commission that they are costing the player something but it couldn't be further from the truth. Affiliates are like an extra padding of insurance that the player will be treated right. Just like there are bad casinos and good, so are there bad affiliates and good. The bad ones are those who will promote any online casino willing to pay them, the good ones step in on behalf of their players whenever a casino mistreats them. That being said, whether an affiliate costs the player any extra money is a separate issue from what casinos an affiliate chooses to list on their site or if they will step in on behalf of the player.
Affiliates are paid in several different ways which include a set amount for every visit sent to the casino website, a set amount for every player who signs up and plays for real money, a percentage of what that player loses, and there is even a payment model that depends largely on the player winning which is called "wagershare", a common practice in Las Vegas that happens with high rollers where someone who is a free-lance escort is paid in the same manner... which is a percentage on whatever amount is gambled. That is not on what is won or what is lost, but rather it is just like the way any casino, land or virtual, figures comp points. It is all figured on how many times you put money into the slot machine, or how many hands and at what stakes? in blackjack or one of the other table games. The more the player wins the more they are going to wager of course so this model is a favorite with most guides because they want to see the players win and its great when you can also profit from that excitement. In truth it all figures out to about the same whatever the model is based, although the residual incomes (the percentage of) are the fairest to all involved because the other models always end up with one side or the other coming out on the short end of the stick (that meaning the affiliate and the casino as this has no bearing on a player because if the affiliate wasn't to get paid what they do ... the money would go straight into the casino's advertising budget or their pocket but it doesn't go back to the player, just ask anybody who has ever signed up straight from a search engine, they get no more extras than anybody else, further is they have nobody to turn for help if they get cheated, whereas those who signed up through a guide can go back there and ask for intervention).
There are also gambling guides and casino portals that straight out sell advertising space and some that were created by the casinos they list. But no matter what the type, at no time does the affiliate ever cost the player anything. Besides being excellent places from which to choose a casino, these establishments often offer tips to help the player in both their game play and in their approach to online gambling as it is different than real life, most noticeably in the time delay of payments.
Gambling guides and casino portals are sometimes misunderstood. Many people do not realize it is these gambling websites which are very much responsible for the good things that happen in the world of online gambling because they are the ears and voices of the gaming community. Many times online casinos have reversed their decision to take an action which is not player-friendly because of the outcries of guides and portal owners who are almost all what is called "affiliates" in the industry.
As important as it is to know the affiliate is responsible for many of the good things in online gambling it is equally important to understand that nothing is ever taken away from the player by the existence of the affiliate. Some people think that because the affiliate makes a commission that they are costing the player something but it couldn't be further from the truth. Affiliates are like an extra padding of insurance that the player will be treated right. Just like there are bad casinos and good, so are there bad affiliates and good. The bad ones are those who will promote any online casino willing to pay them, the good ones step in on behalf of their players whenever a casino mistreats them. That being said, whether an affiliate costs the player any extra money is a separate issue from what casinos an affiliate chooses to list on their site or if they will step in on behalf of the player.
Affiliates are paid in several different ways which include a set amount for every visit sent to the casino website, a set amount for every player who signs up and plays for real money, a percentage of what that player loses, and there is even a payment model that depends largely on the player winning which is called "wagershare", a common practice in Las Vegas that happens with high rollers where someone who is a free-lance escort is paid in the same manner... which is a percentage on whatever amount is gambled. That is not on what is won or what is lost, but rather it is just like the way any casino, land or virtual, figures comp points. It is all figured on how many times you put money into the slot machine, or how many hands and at what stakes? in blackjack or one of the other table games. The more the player wins the more they are going to wager of course so this model is a favorite with most guides because they want to see the players win and its great when you can also profit from that excitement. In truth it all figures out to about the same whatever the model is based, although the residual incomes (the percentage of) are the fairest to all involved because the other models always end up with one side or the other coming out on the short end of the stick (that meaning the affiliate and the casino as this has no bearing on a player because if the affiliate wasn't to get paid what they do ... the money would go straight into the casino's advertising budget or their pocket but it doesn't go back to the player, just ask anybody who has ever signed up straight from a search engine, they get no more extras than anybody else, further is they have nobody to turn for help if they get cheated, whereas those who signed up through a guide can go back there and ask for intervention).
There are also gambling guides and casino portals that straight out sell advertising space and some that were created by the casinos they list. But no matter what the type, at no time does the affiliate ever cost the player anything. Besides being excellent places from which to choose a casino, these establishments often offer tips to help the player in both their game play and in their approach to online gambling as it is different than real life, most noticeably in the time delay of payments.
A To Z Of Well-Known Magicians
There are many well-known, skilled magicians that you might not know about because even though they're well known, they haven't reached magician cult status. Most people know about the magician David Copperfield, but there are many more magicians equally skilled. So, take a moment to learn about other wizards of magic and expand your knowledge about magicians.
Curtis Adams: A magician who appeared at the age of 16 in the Young Magicians Showcase featured on Fox Television. He was born on October 12, 1984 and was one of the youngest magicians to perform in Reno, Nevada casinos.
Criss Angel: The only three-time magician winner of the Merlin Award from the International Society of Magicians. Angel is a skilled magician who did stunts like lying on a bed of nails while a Hummer drove over him.
Ed Balducci: A street magician who died in 1988 at the age of 82. He is a magician known for his gimmick-free trick of visibly rising several inches from the ground with his back turned to his audience.
Derren Brown: A British magician who practiced traditional close-up magic in the 1990s. Brown's claim as a magician is his "mind-reading" act. Brown claims aliens abducted him.
Cardini: Richard "Cardini" Pitchford was a magician with almost 50 years of performing tricks and illusions. He's one of the world's most imitated magicians, but no one to date has ever been able to completely duplicate his tricks. He was a magician known for his sleight of hand. Items were forever appearing and disappearing from his hands. He died in 1973.
Tommy Cooper: A magician and comedian known who was a member of the Magic Circle until his death in 1984. He collapsed while doing a live magician act that became his last.
Paul Daniels: A currently retired British magician who in 1983 became the first magician to ever receive the prestigious Magician of the Year Award by the Hollywood Academy of Magical Arts.
S.W. Erndase: A magician and author whose real identity has never been figured out. Erndase is a magician who wrote a book in 1902 about card playing tricks.
Ching Ling Foo: The first Asian magician to achieve fame. He was a magician who did tricks like breathing fire and pulling a fifteen-foot pole from his mouth. He died in 1922.
Lennart Green: A magician known for his close-up card tricks. In 1991 this magician became the world champion of in close-up card magic.
Paul Harris: A magician known for pulling coins from mirrors. Many claim he is a magician with skills like a combination of Copperfield and Henning.
Scott Interrante: An American magician specializing in escape-artist tricks. He won awards from the International Brotherhood of Magicians.
Ricky Jay: A magician listed in the Guinness Book of Records as throwing a playing card 190 feet at 90 miles per hour.
Fred Kaps: A Dutch magician who died in 1980. He is a magician known for making a saltshaker create an endless supply of salt.
Juan Tamariz: A Spanish magician who in 1971 founded a school that has trained generations of Spanish magicians.
Dia Vernon: This Canadian magician was born in 1894 as David Frederick Wingfield Verner. This magician, who died in 1992, is known for fooling Houdini with one of his card tricks.
Paul Zenon: A British street magician who also performed in the bars and pubs in the U.K. This magician has written three books about magic, the most recent published in 2005.
Curtis Adams: A magician who appeared at the age of 16 in the Young Magicians Showcase featured on Fox Television. He was born on October 12, 1984 and was one of the youngest magicians to perform in Reno, Nevada casinos.
Criss Angel: The only three-time magician winner of the Merlin Award from the International Society of Magicians. Angel is a skilled magician who did stunts like lying on a bed of nails while a Hummer drove over him.
Ed Balducci: A street magician who died in 1988 at the age of 82. He is a magician known for his gimmick-free trick of visibly rising several inches from the ground with his back turned to his audience.
Derren Brown: A British magician who practiced traditional close-up magic in the 1990s. Brown's claim as a magician is his "mind-reading" act. Brown claims aliens abducted him.
Cardini: Richard "Cardini" Pitchford was a magician with almost 50 years of performing tricks and illusions. He's one of the world's most imitated magicians, but no one to date has ever been able to completely duplicate his tricks. He was a magician known for his sleight of hand. Items were forever appearing and disappearing from his hands. He died in 1973.
Tommy Cooper: A magician and comedian known who was a member of the Magic Circle until his death in 1984. He collapsed while doing a live magician act that became his last.
Paul Daniels: A currently retired British magician who in 1983 became the first magician to ever receive the prestigious Magician of the Year Award by the Hollywood Academy of Magical Arts.
S.W. Erndase: A magician and author whose real identity has never been figured out. Erndase is a magician who wrote a book in 1902 about card playing tricks.
Ching Ling Foo: The first Asian magician to achieve fame. He was a magician who did tricks like breathing fire and pulling a fifteen-foot pole from his mouth. He died in 1922.
Lennart Green: A magician known for his close-up card tricks. In 1991 this magician became the world champion of in close-up card magic.
Paul Harris: A magician known for pulling coins from mirrors. Many claim he is a magician with skills like a combination of Copperfield and Henning.
Scott Interrante: An American magician specializing in escape-artist tricks. He won awards from the International Brotherhood of Magicians.
Ricky Jay: A magician listed in the Guinness Book of Records as throwing a playing card 190 feet at 90 miles per hour.
Fred Kaps: A Dutch magician who died in 1980. He is a magician known for making a saltshaker create an endless supply of salt.
Juan Tamariz: A Spanish magician who in 1971 founded a school that has trained generations of Spanish magicians.
Dia Vernon: This Canadian magician was born in 1894 as David Frederick Wingfield Verner. This magician, who died in 1992, is known for fooling Houdini with one of his card tricks.
Paul Zenon: A British street magician who also performed in the bars and pubs in the U.K. This magician has written three books about magic, the most recent published in 2005.
A Sudoku A Day Exercises The Brain
Negative issues are usually associated with addiction. Drug abuse, excessive drinking, and even too much gambling are all negative activities that are highly addictive. But if there is one kind of addiction that is actually beneficial for adults and kids alike, it would be an addiction to sudoku puzzles. Researchers rank solving sudoku puzzles daily among the top ten non-traditional and alternative ways to boosts brain power. Other brain boosting moves include high-protein diets, listening to classical music, and lots of rest. These are simple but are rather difficult to follow because of budget limitations, personal preferences, and lifestyle. This is the advantage sudoku games holds over other brain boosters. They are accessible from newspapers, books, and even the Internet. They are also workable between breaks or at any spare time. So every time someone chastises you for doing sudoku again, kindly explain and hope that they pick up the habit too.
Though sudoku puzzles are not mathematical problems, solving the puzzles requires the most basic tool of mathematics and science: logic. Since the puzzles entail the use of logic, common sense, and concentration, the brain is put out of the stupor of doing routine, mundane tasks. In other words, your brain actually gets a break and a good work-out. Studies reveal that the more the brain uses its skills, the better it works. Brains that get more exercise are determined to be more active, and its cells are healthier. Researchers even associate sudoku brain exercises to physical exercise. They stress that just as physical exercise keeps muscle loss at bay, sudoku exercise keeps brain cells from dying and also encourages better brain function. Education is important, but studies actually show that students who do mental workouts like sudoku have higher IQs than students who do not. This only shows that doses of sudoku are more than just ways to pass time. They actually help in improving your ability to comprehend more complex ideas.
Ian Robertson, a neuroscientist, facilitated a research among the elderly with the premise that decreased mental ability is not inevitable with the right stimulation. The research included two groups of elderly people: the first group solved sudoku puzzles as part of their routine, while the second did not. After some time, their IQ levels were tested and compared to their test results before the experiment. The sudoku-solving group was found to have increased their mental abilities by a significant percentage while the other group showed no change. Dr. Robertson cited a similar research wherein 3,000 people, aged 65-94, were found to have increased their mental capabilities and age by as much as 14 years, just by ten sessions of brain boosting exercise like sudoku.
Other experts agree with these findings, saying that solving challenging mind games like sudoku puzzles inhibit or prevent the development of Alzheimer's disease and memory loss. Health trends also show that adults with demanding, and intellectually challenging jobs benefit from better mental function when they age. Sudoku functions just like these jobs because it requires brain exertions.
As it is, experts advise adults to encourage children to solve puzzles like sudoku to start mental improvement earlier in life. Sudoku exercises are actually adopted by some schools to stimulate thinking and foster better academic performance of their students. So instead of letting kids watch TV, or read comics, hand them sudoku puzzles. Then, both you and your kids can defend your love of sudoku to those poor souls who do not understand the beauty, joy, and benefits of solving it.
Though sudoku puzzles are not mathematical problems, solving the puzzles requires the most basic tool of mathematics and science: logic. Since the puzzles entail the use of logic, common sense, and concentration, the brain is put out of the stupor of doing routine, mundane tasks. In other words, your brain actually gets a break and a good work-out. Studies reveal that the more the brain uses its skills, the better it works. Brains that get more exercise are determined to be more active, and its cells are healthier. Researchers even associate sudoku brain exercises to physical exercise. They stress that just as physical exercise keeps muscle loss at bay, sudoku exercise keeps brain cells from dying and also encourages better brain function. Education is important, but studies actually show that students who do mental workouts like sudoku have higher IQs than students who do not. This only shows that doses of sudoku are more than just ways to pass time. They actually help in improving your ability to comprehend more complex ideas.
Ian Robertson, a neuroscientist, facilitated a research among the elderly with the premise that decreased mental ability is not inevitable with the right stimulation. The research included two groups of elderly people: the first group solved sudoku puzzles as part of their routine, while the second did not. After some time, their IQ levels were tested and compared to their test results before the experiment. The sudoku-solving group was found to have increased their mental abilities by a significant percentage while the other group showed no change. Dr. Robertson cited a similar research wherein 3,000 people, aged 65-94, were found to have increased their mental capabilities and age by as much as 14 years, just by ten sessions of brain boosting exercise like sudoku.
Other experts agree with these findings, saying that solving challenging mind games like sudoku puzzles inhibit or prevent the development of Alzheimer's disease and memory loss. Health trends also show that adults with demanding, and intellectually challenging jobs benefit from better mental function when they age. Sudoku functions just like these jobs because it requires brain exertions.
As it is, experts advise adults to encourage children to solve puzzles like sudoku to start mental improvement earlier in life. Sudoku exercises are actually adopted by some schools to stimulate thinking and foster better academic performance of their students. So instead of letting kids watch TV, or read comics, hand them sudoku puzzles. Then, both you and your kids can defend your love of sudoku to those poor souls who do not understand the beauty, joy, and benefits of solving it.
A Picture of Perfection
Never work with children or animals... easier said than done when you're a parent. Over the last few years I have tried many times to get the perfect photograph. With one child, trial and error often results in an image you are happy with. And with the advent of the digital camera, dud photos are a thing of the past. However, with three children, I've finally realised it's not possible to get the perfect picture, even with the help of a professional photographer!
I recently enlisted the help of such a man for the all-important christening photos. All dressed up and looking the picture of perfection, my husband and I set off with our adorable little troop to the studio!
Upon arrival our eldest took off upstairs with his eldest, our middle one trailing behind.
The baby then decided he absolutely had to be fed! As a breastfeeding mum it was no mean feat undoing my not very practical top to quite literally feed his demand! Eyes averted and a hastily placed teacloth spared some blushes, as we all waited until baby had his fill.
Finally, everyone gathered together, we were ushered into the studio, only for our eldest daughter to put on a display worthy of a two year old - and she is six! Tempers fraying we waited, coaxed and encouraged her to act her age!
Needless to say the session ran into overtime, the photos were hastily shot and as we left we vowed never to put ourselves or any photographer through such an ordeal again!
They say every picture tells a story. We received our pictures with trepidation. Amazingly the photographer had captured some wonderful angelic moments - although we still have some trouble believing the children in the pictures are ours. Maybe some new photographic wizardry replaced sullen angry little people with little shiny happy people.
However it happened, neither of us can look at the pictures without being transported right back to the stress of the day itself.
And so the beautiful photographs languish at the back of the wardrobe until such a time as we can laugh about the situation and our own naivety as parents. We thought it would be easy...
I recently enlisted the help of such a man for the all-important christening photos. All dressed up and looking the picture of perfection, my husband and I set off with our adorable little troop to the studio!
Upon arrival our eldest took off upstairs with his eldest, our middle one trailing behind.
The baby then decided he absolutely had to be fed! As a breastfeeding mum it was no mean feat undoing my not very practical top to quite literally feed his demand! Eyes averted and a hastily placed teacloth spared some blushes, as we all waited until baby had his fill.
Finally, everyone gathered together, we were ushered into the studio, only for our eldest daughter to put on a display worthy of a two year old - and she is six! Tempers fraying we waited, coaxed and encouraged her to act her age!
Needless to say the session ran into overtime, the photos were hastily shot and as we left we vowed never to put ourselves or any photographer through such an ordeal again!
They say every picture tells a story. We received our pictures with trepidation. Amazingly the photographer had captured some wonderful angelic moments - although we still have some trouble believing the children in the pictures are ours. Maybe some new photographic wizardry replaced sullen angry little people with little shiny happy people.
However it happened, neither of us can look at the pictures without being transported right back to the stress of the day itself.
And so the beautiful photographs languish at the back of the wardrobe until such a time as we can laugh about the situation and our own naivety as parents. We thought it would be easy...
A Peek Through Heroes: When Drama Meets Science Fiction
One of the most top-rated television shows currently on air would be Heroes, a sci-fi series created by Tim Kring. It is an epic drama that shares the lives of seemingly ordinary people who later discovers that they possess extraordinary abilities. This TV series somewhat copies the style of American comic books in aesthetic as well as storytelling. The shows starts with a genetic professor from India, Dr. Mohinder Suresh and his father's theory that there are people with extraordinary abilities living among us humans. Starting with Claire Bennet, an indestructible cheerleader who needs to hide her abilities from her peers while working to maintain her relationship with her father, a man of mystery who has a keen interest in people like her. Niki Sanders, a Las Vegas single mother with superb strength and has a dangerous mirror image struggles to support and protect her young son Micah, a genius who can interact with electronic machinery through touch. Matt Parkman, a police detective from Los Angeles, attempts to put his ability to hear thoughts of others to good use. Meanwhile, in Japan, Hiro Nakamura's ability to travel through space-time continuum has empowered him to change the future as he travels on wild adventures with his best friend Ando Masahashi. Nathan Petrelli, with a congressional position, has the ability to fly. His dreams went down after failing to stop his younger brother Peter Petrelli, a nurse with the ability to absorb the powers of others, from exploding over New York. After this clash in New York, the fate of Sylar, a manipulative serial killer dedicated to violently collect the extraordinary powers of special people, is unknown. Meanwhile, in Dominican Republic, a young woman named Mava Herrera and her twin brother, haunted by her threatening ability, attempts to make the dangerous cross to the United States in search for answers. Monica Dawson, cousin of Micah, has mimicking abilities and would give up everything to help the people around her.
Every episode shows how these people deal with their powers and how they are somewhat interconnected. Every person has their own lifestyle, making the series much more realistic. It shows different ways of living in different countries, only to find out that they have supernatural powers. These characters offer a wide range of relationships, and are inclined to self-destruction. Of course, they fear what other people might say, and fear not knowing exactly what they could do with their powers. The show offers a life drama that everyone could easily relate to, plus a twist of extraordinary powers. In season one of this series, they gave us an introduction of how these special people become connected by their unique and special abilities. It gave us an overview of these characters and their unique abilities, and how others try to manipulate these powers in a bad way.
Season two is still on and is focused on introducing new sets of characters, also with unique abilities as well. Many people all over the world have been constantly raving about this series, proving its success and good ratings. With each episode, they consistently show us different stories of different people with only one goal: to save the world.
Every episode shows how these people deal with their powers and how they are somewhat interconnected. Every person has their own lifestyle, making the series much more realistic. It shows different ways of living in different countries, only to find out that they have supernatural powers. These characters offer a wide range of relationships, and are inclined to self-destruction. Of course, they fear what other people might say, and fear not knowing exactly what they could do with their powers. The show offers a life drama that everyone could easily relate to, plus a twist of extraordinary powers. In season one of this series, they gave us an introduction of how these special people become connected by their unique and special abilities. It gave us an overview of these characters and their unique abilities, and how others try to manipulate these powers in a bad way.
Season two is still on and is focused on introducing new sets of characters, also with unique abilities as well. Many people all over the world have been constantly raving about this series, proving its success and good ratings. With each episode, they consistently show us different stories of different people with only one goal: to save the world.
A New Music of the Orient: a Touch of the West and a Dash of the Divine
A new musical fusion has arisen in New York and it's not the kind you can catch for ten dollars at a club in the West Village. For the many thousands of Chinese immigrants trying to stay afloat in a new world and for those westerners who have always wanted to understand the Chinese but have shied away for lack of a way in--for anyone who has wondered where the two civilizations connect, the answer may lie not in words, but in music.
Lisa Li is a master of the pipa (Chinese lute) and a graduate of the Chinese Conservatory of China. She has composed and performed across Europe, Asia and the United States, and her playing was featured in the Academy Award-winning movie The Last Emperor. Now, as one of the lead composers for New Tang Dynasty Television's Chinese New Year Spectacular, a grand scale performance of traditional Chinese dance and song, Lisa has created what she believes to be a new kind of sound--based on ancient Chinese folk and religious music, but going beyond either of them.
“Music is alive, because in the view of the Chinese ancients, every single object in the world has life. In fact, in Chinese, when we refer to a musical note we call it a ‘live note,’” she explains. But according to Lisa, it must be composed and played from the heart—sometimes in ways that sound foreign to the western ear.
But the melodies are far from random. Lisa’s music, like all traditionally composed Chinese music, is based on a series of pentatonic (5-note) scales. This system has its roots in Taoism, which teaches that all matter is formed from the five basic elements of metal, earth, wood, fire, and water. It teaches that in order for a being to be healthy, it must have all of these elements in balance. So, from the Chinese perspective, a song or piece of music must also contain a uniquely crafted balance of these elements. There are also eight note scales that relate to the Taoist symbol called the bagua, which is most commonly known in the West as part of the practice of fengshui, or geomancy.
An example of this is the piece she wrote for the dance “A Dunhuang Dream.” The dance is set against a backdrop of thousands of caves carved into the sides of cliffs as they are in the Moago Grottoes in the Dunhuang region of China. Seated at the mouth of each cave is a Buddhist or Taoist deity. As the dancers emerge, one can hear from the orchestra pit the voices of the erhu (Chinese violin) and guzhen (zither), but these are soon joined by the more recognizable resonance of cello, bass, oboe, and brass. The result strikes the ear as achingly otherworldly and yet also solidly familiar.
In fact, the specific ya yue used in the score is the same as that found in the ancient pipa music written on scrolls that were discovered by archeologists in the actual Dunhuang caves years ago.
“I feel very deeply that music is a heavenly language, a divine language,” Lisa says. “It is able to uplift people’s hearts and minds. It is good for the soul.”
Lisa Li is a master of the pipa (Chinese lute) and a graduate of the Chinese Conservatory of China. She has composed and performed across Europe, Asia and the United States, and her playing was featured in the Academy Award-winning movie The Last Emperor. Now, as one of the lead composers for New Tang Dynasty Television's Chinese New Year Spectacular, a grand scale performance of traditional Chinese dance and song, Lisa has created what she believes to be a new kind of sound--based on ancient Chinese folk and religious music, but going beyond either of them.
“Music is alive, because in the view of the Chinese ancients, every single object in the world has life. In fact, in Chinese, when we refer to a musical note we call it a ‘live note,’” she explains. But according to Lisa, it must be composed and played from the heart—sometimes in ways that sound foreign to the western ear.
But the melodies are far from random. Lisa’s music, like all traditionally composed Chinese music, is based on a series of pentatonic (5-note) scales. This system has its roots in Taoism, which teaches that all matter is formed from the five basic elements of metal, earth, wood, fire, and water. It teaches that in order for a being to be healthy, it must have all of these elements in balance. So, from the Chinese perspective, a song or piece of music must also contain a uniquely crafted balance of these elements. There are also eight note scales that relate to the Taoist symbol called the bagua, which is most commonly known in the West as part of the practice of fengshui, or geomancy.
An example of this is the piece she wrote for the dance “A Dunhuang Dream.” The dance is set against a backdrop of thousands of caves carved into the sides of cliffs as they are in the Moago Grottoes in the Dunhuang region of China. Seated at the mouth of each cave is a Buddhist or Taoist deity. As the dancers emerge, one can hear from the orchestra pit the voices of the erhu (Chinese violin) and guzhen (zither), but these are soon joined by the more recognizable resonance of cello, bass, oboe, and brass. The result strikes the ear as achingly otherworldly and yet also solidly familiar.
In fact, the specific ya yue used in the score is the same as that found in the ancient pipa music written on scrolls that were discovered by archeologists in the actual Dunhuang caves years ago.
“I feel very deeply that music is a heavenly language, a divine language,” Lisa says. “It is able to uplift people’s hearts and minds. It is good for the soul.”
A Moving Experience
I’ve found a cool apartment! Okay, okay…so it’s not perfect. Just a few bugs. I mean literally! First expense? An exterminator! Is it worth the cash? Well, I can’t afford a more expensive place, so a one-time (please!) cash outlay should be okay. Maybe just a can of “Raid?”
I need a way to move my stuff. Daddy, can I borrow your truck? You don’t have one? Why not? Do you want one? I’ll help you pick it out! Well, it was just a suggestion. No need to get all bent out of shape! I guess I’d better call the truck rental places. What do you mean…$200…PLUS mileage? AND Gas? Good grief!
While I’m on the phone I’ll call the utility and phone companies. Yes, I know I haven’t used your services before. No, I don’t have a credit card; this is my first place. You want what? A $100 deposit? For EACH? Holy cow…do you people have a license to steal?
Daddy, I need $500 for moving expenses! I used all my money for the first and last months rent AND the damage deposit. Well, how was I to know this was going to be so expensive? Sell something? Daaaaad…I NEED my TV!
Boy, this place is pretty empty. Maybe I should buy a couch and a chair. Nah…I have my bed. That’ll be good enough. I don’t need a table; I’ll just use this box.
Renters Insurance? I don’t think so! What do I have to insure?
Just got my first phone call! I’d love to come to your party! Daddy, I need a car. Because it’s too far to walk to work, that’s why. Umm, Daddy…there’s car insurance too! Thanks, Dad…you’re the best! And gas? I didn’t think so…
Time for dinner. Let’s look in these boxes. Oh, No! No dishes or pans. No FOOD!
Uhhh, Mom?
I need a way to move my stuff. Daddy, can I borrow your truck? You don’t have one? Why not? Do you want one? I’ll help you pick it out! Well, it was just a suggestion. No need to get all bent out of shape! I guess I’d better call the truck rental places. What do you mean…$200…PLUS mileage? AND Gas? Good grief!
While I’m on the phone I’ll call the utility and phone companies. Yes, I know I haven’t used your services before. No, I don’t have a credit card; this is my first place. You want what? A $100 deposit? For EACH? Holy cow…do you people have a license to steal?
Daddy, I need $500 for moving expenses! I used all my money for the first and last months rent AND the damage deposit. Well, how was I to know this was going to be so expensive? Sell something? Daaaaad…I NEED my TV!
Boy, this place is pretty empty. Maybe I should buy a couch and a chair. Nah…I have my bed. That’ll be good enough. I don’t need a table; I’ll just use this box.
Renters Insurance? I don’t think so! What do I have to insure?
Just got my first phone call! I’d love to come to your party! Daddy, I need a car. Because it’s too far to walk to work, that’s why. Umm, Daddy…there’s car insurance too! Thanks, Dad…you’re the best! And gas? I didn’t think so…
Time for dinner. Let’s look in these boxes. Oh, No! No dishes or pans. No FOOD!
Uhhh, Mom?
A Magician’s Oath
A magic trick is created to amuse and mesmerize an audience who comes to the show knowing that all the tricks are not real and have fun because they can’t figure out how the magic was done. You won’t see a magician exposing magic mainly because telling how a magic was done is to kill the thrill and fun in watching them.
Magicians wanting to join a group of other magicians are required to give an oath to that effect. Never tell anyone who is not a magician the reason behind a trick and to never show a trick to anyone when you haven’t fully mastered it.
Once you gave your oath as a magician, it is expected that you will live up to your promise. Once you tell somebody and the organization found out about it, you may find yourself not receiving new tricks or that no one is teaching you how another trick is done.
Note though that you can tell it to somebody who is really willing to learn on how to be a magician. In fact you can see instruction videos and detailed instructions on sale in many shops. This is to help budding magicians into starting their careers or hobbies. Some of the tricks included in these instruction videos are common tricks and very easy to learn.
Some magicians also tell their tricks to misdirect others and help them appreciate a new trick that they have done. Old tricks seem to bore adult audiences that they tend to ‘bungle up’ the old tricks in preparation for their new tricks which proves more astonishing.
Magic tricks, once shown how they are done, may be posed with risk of becoming stale. Sometimes it is because you are disappointed at how easy it actually is or maybe because you found out that the trick requires a lot of props to accomplish. This is the reason no magician in his right mind will tell an audience how a trick is done. A magic told is a magic lost. Secrecy is the key and the magic is in keeping those secrets within you.
Magic is a living art, new illusions are propping up and new ways are introduced. Yes, you will see magicians telling their tricks but true magicians will always find their way around it. They will devise new illusions from old illusions and they will get more creative in how they show those illusions.
Magicians wanting to join a group of other magicians are required to give an oath to that effect. Never tell anyone who is not a magician the reason behind a trick and to never show a trick to anyone when you haven’t fully mastered it.
Once you gave your oath as a magician, it is expected that you will live up to your promise. Once you tell somebody and the organization found out about it, you may find yourself not receiving new tricks or that no one is teaching you how another trick is done.
Note though that you can tell it to somebody who is really willing to learn on how to be a magician. In fact you can see instruction videos and detailed instructions on sale in many shops. This is to help budding magicians into starting their careers or hobbies. Some of the tricks included in these instruction videos are common tricks and very easy to learn.
Some magicians also tell their tricks to misdirect others and help them appreciate a new trick that they have done. Old tricks seem to bore adult audiences that they tend to ‘bungle up’ the old tricks in preparation for their new tricks which proves more astonishing.
Magic tricks, once shown how they are done, may be posed with risk of becoming stale. Sometimes it is because you are disappointed at how easy it actually is or maybe because you found out that the trick requires a lot of props to accomplish. This is the reason no magician in his right mind will tell an audience how a trick is done. A magic told is a magic lost. Secrecy is the key and the magic is in keeping those secrets within you.
Magic is a living art, new illusions are propping up and new ways are introduced. Yes, you will see magicians telling their tricks but true magicians will always find their way around it. They will devise new illusions from old illusions and they will get more creative in how they show those illusions.
A Look on “Trainspotting"
Heroin is among the most potent or “hardest” drugs that an addict could use or take. It is a powerful opiate pain killer that produces euphoria and blissful passiveness. Long-term heroin addiction is also associated with difficult withdrawal symptoms and separation anxiety. Heroin is taken through injected doses, smoking, or by sniffing.
“Trainspotting” is a very interesting movie about the effects and dangers of heroin abuse. The 1996 movie based on a novel was directed by Danny Boyle and starred in by Ewan McGregor. The movie depicts the desperate lives of the heroin addicts who finance their drug habit through shoplifting and getting money from their parents. The movie also shows the “rollercoaster” life of heroin addicts who repeatedly swear to end their addiction only to find themselves again at the mercy of the local drug dealer.
Aside from the characters who are “hooked” on heroin, the film also shows the difficulties of other characters named Tommy and Begbie who do not take drugs but still lead troubled lives. Tommy is more fond of football and girls, while Begbie is a violent drunkard.
In one scene, the group of friends again engage in a heroin “session,” this time, with a female friend. As the group drift away from “reality” due to the psychotropic effects of the narcotic, they also lose all sense of responsibility for their actions. After the effects of the “hit” wear off, they were shocked to find the baby dead and rotting in her crib. The heroin addicts were so “out of touch” that they eventually neglected to feed and care for the baby. Naturally, the mother of the baby suffered from extreme separation anxiety and grief after losing the baby. The death of the baby was an eye-opener for the group of friends and made them consider quitting their addiction.
Renton, the character portrayed by Ewan McGregor, tried so hard to “get clean” and leave behind his friends and his heroin addiction. Unfortunately, he got an overdose during his self-proclaimed “one last hit” of heroin. After the overdose incident, he was forced by his parents to quit heroin, “cold turkey.” Renton was locked up at home and suffered severe withdrawal symptoms. He again experience separation anxiety since he was forcibly separated from this heroin-addicted gang. In numerous moments of hallucination, he was bothered by depressive thoughts, guilt, and shame. Specifically, he was very troubled by the death of the baby during one of their heroin sessions. As a means to start a new life, he reluctantly agreed to making a heroin transaction with his friends. The profits from the sale of the illegal narcotic was supposed to be split among them. Instead, Renton was able to run away with most of the money. His friends spiraled down back to their heroin addiction. The film ends by showing how Renton finally gave up his friends and his addiction by moving to London. In the city, he sought to find a new life far away from his petty thievery and heroin-dependent lifestyle. In London, he wanted to make a fresh start and take the opportunity to “choose life.”
“Trainspotting” is a very interesting movie about the effects and dangers of heroin abuse. The 1996 movie based on a novel was directed by Danny Boyle and starred in by Ewan McGregor. The movie depicts the desperate lives of the heroin addicts who finance their drug habit through shoplifting and getting money from their parents. The movie also shows the “rollercoaster” life of heroin addicts who repeatedly swear to end their addiction only to find themselves again at the mercy of the local drug dealer.
Aside from the characters who are “hooked” on heroin, the film also shows the difficulties of other characters named Tommy and Begbie who do not take drugs but still lead troubled lives. Tommy is more fond of football and girls, while Begbie is a violent drunkard.
In one scene, the group of friends again engage in a heroin “session,” this time, with a female friend. As the group drift away from “reality” due to the psychotropic effects of the narcotic, they also lose all sense of responsibility for their actions. After the effects of the “hit” wear off, they were shocked to find the baby dead and rotting in her crib. The heroin addicts were so “out of touch” that they eventually neglected to feed and care for the baby. Naturally, the mother of the baby suffered from extreme separation anxiety and grief after losing the baby. The death of the baby was an eye-opener for the group of friends and made them consider quitting their addiction.
Renton, the character portrayed by Ewan McGregor, tried so hard to “get clean” and leave behind his friends and his heroin addiction. Unfortunately, he got an overdose during his self-proclaimed “one last hit” of heroin. After the overdose incident, he was forced by his parents to quit heroin, “cold turkey.” Renton was locked up at home and suffered severe withdrawal symptoms. He again experience separation anxiety since he was forcibly separated from this heroin-addicted gang. In numerous moments of hallucination, he was bothered by depressive thoughts, guilt, and shame. Specifically, he was very troubled by the death of the baby during one of their heroin sessions. As a means to start a new life, he reluctantly agreed to making a heroin transaction with his friends. The profits from the sale of the illegal narcotic was supposed to be split among them. Instead, Renton was able to run away with most of the money. His friends spiraled down back to their heroin addiction. The film ends by showing how Renton finally gave up his friends and his addiction by moving to London. In the city, he sought to find a new life far away from his petty thievery and heroin-dependent lifestyle. In London, he wanted to make a fresh start and take the opportunity to “choose life.”
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