Archive for August, 2006

Brazil–Comments by a Gilliam Fan a Little Too Late

Thursday, August 31st, 2006

Either I am one of the darkest people ever or this was not one of the darkest movies ever made as its own packaging claims. I have vowed to myself not to use the following words: Orwellian or futuristic, though I had to use that sentence to get them out and make room for free, original thought.

First, of course, thoughts on Gilliam (again, just to make room). When I first saw anything of his it was on Monty Python when I was twelve so obviously it was an animation and more than a little off-putting (only because I was twelve though). It was not until I was eighteen that I realized what I had been seeing was something I should have put more focus on and paid more attention to as I had recently had a revelation of wanting to be a filmmaker myself. I cursed myself when I found out he had directed actual things and found myself two years later watching Brazil for the first time after succumbing to a new-found love of Gilliam’s directorial style and creativity (which I can find some of my own style in from time to time) and after freaking out quite a lot (quietly) in a used bookstore (sorry, Terry no money for new stuff now) about an obscenely cheap price I thought I would never get after being disappointed that same day about not having Time Bandits in my hands at the moment.

The first thing which always strikes me about any Gilliam film is the soundtrack because music is one of the major distractions which took my mind off things like him when it shouldn’t have all those years ago. They are always totally original and never what I had expected while being completely not what I would have used or even thought of (all these statements are bearing in mind that I know this particular soundtrack is original anyway). I am thinking also of 12 Monkeys when Blueberry Hill was playing in the car which is a constant source of contemplation since the day I saw it first.

I know I should say that the visuals should strike me most because of the sheer volume of them but quite frankly, I don’t notice volumes of pictures flashing as rapidly in front of me as much as others might because I tend to get bored very easily if there are not constant changes and therefore I found the visuals to be just right for me. I loved them of course, very colourful and clever and a world in which I got lost in very, very easily. I did have to think quite a bit about some of the jokes but, luckily for me, I have the special edition and on the second disc one of the writers said that Gilliam had to think about one of the same jokes! And that it was one that the other writer had put in so I felt very much better.

Storyline was another story so to speak compared to visuals. I had a lot more…actually I’m still having trouble figuring it out. I always find that the best time for writing anything is right after a film of his because it really wakes me up. I don’t know if this has anything to do with the story or what it is–just energy I think. I did like the character of Jack (Micheal Palin) and how he kept popping back in when I thought I wouldn’t get to see him anymore. That’s just about all I can say about the story if anybody else has any thoughts on this point I would love an e-mail.

About The Author: Whitney Moore is a writer from 1984 who has come to the future to write her first book “Glitter and Diamonds: The Rise of David Wilde,” which this article does not appear in. Find out more: committed.to/whitneymoore committed.to/whitneymoore or e-mail her at: mailto:new_killerstar@yahoo.com new_killerstar@yahoo.com

Free Solutions to Make Your Music Heard!

Thursday, August 31st, 2006

Simple solutions to get yourself known for free…

I read an article in a well known magazine the other day and found that they were advising musicians to spend out hundreds in advertising costs to get themselves known. True.

Is there another way?

Well yes, there is. What we have useful to us all is the Internet. This great medium is so underrated it is unbelieveable.

The key to getting yourself known is to spread yourself all over the internet. Pretend that the Internet is a slice of bread, a bagel….hmm…yum.

Sorry, stay with me, you need to follow this one. If you bought some really nice spread, costing $100 and you only spread one quarter of the bagel (this expensive food doesn’t go far). Now you have only one bite, only one and a random one at that, so you randomly bite into the bagel, more than likely you will have much less chance of being found than if you spent less money on a similar spread and used all of it, all over the bagel.

Now this is what happens everytime someone logs onto the Internet. You have one shot, you are being targeted roughly by random and too much money spent in one area is a very bad idea. So what do you do?

Well, the main thing is not to spend any money if possible. If you have music to distribute then do that. Sign up to all the MP3 hosting sites that you can find, there are so many now on the Internet that they are free and offer some cool incentives (like unlimited bandwidth, hardrive space and such like). The more you apply to, the more likely that you are not going to be missed by anyone.

This technique also reduces the possibility of your paid site being shut down, having any failures in the future, or being ranked less in the search engines (with so much competition this is a high possibility).

Phase two, make sure that you have your own website. On each site put a link back to your own site, this then increases your PR rate with the search engines and increases your link status (roughly: more links in the higher you rate). Also you gain free traffic for many years from these sites.

Make your homepage appealing, offering blogs and newsletters, even “guides and DIY articles”. Why? Well once someone comes to your site and goes away the likelihood of them returning is very low, and then you have lost them. This is why the newsletters and blogs are so important, they keep the one-time visitor coming back for check-ups to YOUR site, without them trying to find you again (very unlikly).

One thing that I can never understand when I am searching through Ṃ hosting sites is “why do people give a range of their work on one page?” All fair and well, and much kudos for doing so, but I think that this is a waste of Internet real-estate. Your site should be targeted, your name should be targeted. I am into Techno etc, so it is rare that I will hunt out jazz songs. But this is what I find when I go onto a techno artists site. My tip would be to call yourself something different for each genre that you do. For example: DJ Harsh for your electronic music, Earthly for your New Age music, The Fields for your Country and Western music…you get the idea.

Having a separate name for each of your styles will then target 2-3 (or however many genres you do) times more visitors- a possible 100-200% increase in visitor downloads. But again, you would link each site to each other just in case. You would even make up separate websites for each genre anyway. Most people in the artist world do this. For example: Les Rythmes Digitales who made “Jacques your body (make me sweat)”- a cool techno song, and Stuart Price are one of the same. Who is Stuart Price? Madonnas new producer under his real name. The KLF, The Doctors in the Tardis, and The Justified Acients of MuMu (no joke) are all one of the same.

Diversify yourself to get yourself known, apply to everywhere that you can and keep on adding great music.

If you want to know more about new unsigned artists, post a review or even suggest an artist, check out the make-your-own-dance-and-techno-songs.com/unsigned-techno-music.html Unsigned Techno artist page. Download free unsigned Mp3s and and an artist you like or rate up-and-coming techno artists. Dominic’s site also includes free guides covering sampling, Ṃs, loops and much more.

7 Highly Effective Habits In Ballet Training

Thursday, August 31st, 2006

A key area of dancing for females is pointe work, and a key area for males is jumping. In early training, regardless of age, there are 7 highly effective habits that will contribute to excellence in both these areas. This analysis can apply to other areas of dance in the same way also, I’m choosing this one for the sake of discussion.

***First, education as to specific physical attributes and shortcomings. Every dancer would like to have long and stretchy Achilles tendons, and flexible ankles. These 2 advantages provide the biggest movement between the bottom of a demi-plie and the take-off point of a releve or jump. One of the dancers in my class at the National Ballet School of Canada had a very shallow demi-plie. Yet, she had very flexible ankles and a high arch, and this gave her the thrust to jump very high.

***Second, technical education . Regardless of physical advantages, understanding of the ideal movements and resulting positions can be obtained from an educated teacher, books, and the many DVD’s available to all through internet stores. There is no restriction on our access to information.

***Third, a teacher who not only has decent credentials, but who has the required habit of demanding correctness in class. This is a variable, and inexperienced teachers do not realize how often they are going to repeat the same old correction over the years of training, to the same students…. in a million different imaginative ways, and with appreciation for your own uniqueness too.

***Fourth, knowing that there is cross-training that will help you compensate for your physical shortcomings. If you are less flexible than you would like to be, there is Pilates, massage, or Yoga. If you are flexible but weak in some areas, Pilates, and weight training will help.

***Fifth, knowing where more details count - if your habit is curiosity, that’s a huge asset. If it’s not, adopt it. Studying anatomy and kinesiology is a plus. (I know you already have homework or a job, or family obligations, but hey, if you are serious about dance, all this is just more fun, right?)

***Sixth, coordinating your knowledge of your physiology, and how you might be compensating detrimentally to get the deepest demi-plie and best take-off that you can, and instead compensate more with cross-training and less with bad habits. It’s only a life-long process, don’t get discouraged.

***Seven, a truly habitual appreciation of your own uniqueness, talents, intelligence, and determination. There will always be an invitation to doubt yourself, envy others’ real or imagined superiority, and waste time thinking negative thoughts.

Proper rest and good nutrition have a lot to do with #7. Body and brain fatigue, and nutritional deficiencies are directly related to mood. Please be curious and get the information you need.

These 7 highly effective habits are just the tip of the icebergs, but they are a great guide to go with until you develop your own uniqueness in training priorities.

Dianne M. Buxton is a graduate of the National Ballet School of Canada. She continued dance training at The Martha Graham School of Contemporary Dance, and Toronto Dance Theatre. She taught at, and choreographed for The National Ballet School, York University, and George Brown College, in Canada, and taught at Harvard University in the U.S. theballetstore.com theballetstore.com recommends The Ballet Bible - a concise package of textual and visual education for a dance student.

Kenny G “Ultimate Kenny G” Smooth Jazz Music CD Review

Thursday, August 31st, 2006

Grammy award winner Kenny G is still the man when it comes to smooth jazz saxophone and his latest collection of hits and popular selections, entitled Ultimate Kenny G simply adds to his previous official best of collection.

Ultimate Kenny G truly lives up to its title. Basically, it’s an updated version of the Greatest Hits CD released in 1977. Only with an even stronger song selection.

I myself have been a huge Kenny G fan since the release of his breakthrough 1986 album Duotones.

The Ultimate Kenny G CD includes two unreleased tracks, including G’s rendition of Celine Dion’s My Heart Will Go On which is a track that had only been available as a free giveaway single with the initial pressings of the Greatest Hits CD.

The stand out track among the vocals is the classic What A Wonderful World. Performed with the late great Louis Armstrong’s original vocal track.

Of course his trademark ballads Songbird, Silhouette, Forever in Love and The Moment are all included here as well as tracks from his last studio album Paradise and his 1999 tribute to the standards Classics In The Key Of G.

Also included are the rare tracks Everlasting and Jasmine Flower which had only been available previously on the Japanese version of The Moment.

An impressive list of vocal contributors on the CD include include Smokey Robinson, Chante Moore, Peabo Bryson and Lenny Williams.

Truly I have to say this is The Ultimate Kenny G CD, and is sure to please both longtime fans and newcomers to the Kenny G sound.

Overall Ultimate Kenny G is very good listening and is certainly a CD that smooth jazz fans, and fans of Kenny G in particular, will definitely want to add to their collection of smooth jazz CDs.

Release Notes:

Kenny G originally released Ultimate Kenny G on June 10, 2003 on the Arista record label.

CD track list follows:

1. Everlasting
2. Havana
3. Brazil
4. What A Wonderful World
5. The Look Of Love
6. Silhouette
7. One More Time
8. Theme From ‘Dying Young’
9. Forever In Love
10. We’ve Saved The Best For Last
11. Songbird
12. Jasmine Flower
13. The Girl From Ipanema
14. By The Time This Night Is Over
15. The Champion’s Theme
16. Don’t Make Me Wait For Love
17. The Moment
18. My Heart Will Go On (Love Theme From ‘Titanic′)
19. The Wedding Song

Get the information you want on your favorite smooth jazz songs and artists at

Tony Bennett “Duets - An American Classic” Easy Listening Music CD Review

Wednesday, August 30th, 2006

Duets: An American Classic is the latest Easy Listening CD put out by the highly talented Tony Bennett who once again has delivered a brilliant collection of tracks. I’m confident Tony Bennett fans, and Easy Listening fans alike will be pleased with this one.

Refreshingly, this was one of those CDs I was able to just pop in and comfortably listen to from beginning to end. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Easy Listening music fans will recognize some of the well known contributors on the project including Elton John, John Legend, and Michael Buble plus a few other notables as well.

If you’re even mildly into Easy Listening music you’ll enjoy this album. Overall Duets: An American Classic is an outstanding release. I give it my double thumbs up. You will not be disappointed with one single track.

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 7, The Good Life. Good stuff!

Duets: An American Classic Release Notes:

Tony Bennett originally released Duets: An American Classic on Sep 26, 2006 on the Columbia label.

CD Track List Follows:

1. Lullaby Of Broadway - (with Dixie Chicks)
2. Smile - (with Barbra Streisand)
3. Put On A Happy Face - (with James Taylor)
4. The Very Thought Of You - (with Paul McCartney)
5. The Shadow Of Your Smile - (with Juanes)
6. Rags To Riches - (with Elton John)
7. The Good Life - (with Billy Joel)
8. Cold, Cold Heart - (with Tim McGraw)
9. If I Ruled The World - (with Celine Dion)
10. The Best Is Yet To Come - (with Diana Krall)
11. For Once In My Life - (with Stevie Wonder)
12. Are You Havin′ Any Fun? - (with Elvis Costello)
13. Because Of You - (with K.D. Lang)
14. Just In Time - (with Michael Buble)
15. The Boulevard Of Broken Dreams - (with Sting)
16. I Wanna Be Around - (with Bono)
17. Sing, You Sinners - (with John Legend)
18. I Left My Heart In San Francisco
19. How Do You Keep The Music Playing - (with George Michael)

Personnel: Tony Bennett (vocals); Diana Krall, Dixie Chicks, Elton John, George Michael, James Taylor , John Legend, Juanes, K.D. Lang, Michael Buble, Paul McCartney, Stevie Wonder, Sting, Tim McGraw, Bono, Elvis Costello, Barbra Streisand, Billy Joel, Celine Dion (vocals).

Get the information you want on your favorite smooth jazz songs and artists at ilovesmoothjazz.com/cd-review/ iLoveSmoothJazz.com/cd-review/

Clyde Lee Dennis, a.k.a. smoothlee.com SmoothLee is a life long music fanatic, smooth jazz in particular, and does a daily online radio show featuring smooth jazz music that can be heard at baltimoresmoothjazz.com BaltimoreSmoothJazz.com

Digital Photo Finishing - What Am I Getting And How Do I Get The Best?

Wednesday, August 30th, 2006

What quality are my photos going to be when I use an online photo finisher?

The quality of your photos can be anywhere on a very large scale when they are printed online. I recommend finding a informational site of recommended printers to narrow down the competition to a printer that will deliver the quality that you expect. After finding someone who will meet all of your expectations then I recommend sticking with them.

What paper will they be printed on?

They paper used by professional photo finishers to print digital pictures is usually a high quality print paper with different gloss finishes. The paper is similar to the feel of your prints from a film camera but the process for developing is very different. When film is use the paper reacts to light shined on it through the negatives. The digital paper is regular paper made to copy the feel of film paper. Almost always it is equivalent to the high quality digital photo paper that you can buy at places like Office Max or any other office supply store.

Will they look like film photographs?

It is amazing but they do. There are no printer lines like we are used to when the photos are printed on your personal printer at home. The only drawback is that there is no digital camera in the world that can match the clarity of a film photograph.

How do I get the best quality possible?

99% of the quality of your photos will depend on the number of mega pixels that your camera has and the quality of the lens. The mega pixels will decide how much detail is in your picture, the higher the mega pixels the better. Normal mega pixels now are between 3 and 6. The one thing to remember is that if the lens is not that high of quality then no matter how many mega pixels your camera has the pictures will never be very clear. For instance my family has an old 1.6 mega pixel Sony Cybershot camera with a Carl Ziess lens which is really high quality. The pictures are great and our 3.5 mega pixel camera still does not compare. The Carl Ziess lens is finely ground and can focus a clearer picture on the element of the camera that records the digital information. With a good lens and a high mega pixel camera your pictures should look perfect.

To view our recommended sources for digital photo printing online, visit this page: printyourdigitalphotos.com/ Photo Mugs.

Mindi Haehl is the owner of an informational digital photo printing website.

Microstocks : Blessing or Curse

Wednesday, August 30th, 2006

Selling your photos at stocksites - Microstocks : Blessing or Curse ?

View original article

1.The Question

The following question keeps returning on photo forums :” Who sells his photos at microstocksites, and how much does it earn ? ” Therefore I thought it would be interesting to write an article about selling your photos at those sites

2.Times have changes

Before we look into microstocks itself, lets see how the photographic landscape looks like nowadays and how it has changed over the last years. The changes of the past years, more specific the rise of digital photography, are closely related with the existence of microstocks.
In the past, before there were decent digital camera’s, photography was an art. Exposure and composition had to correct on the negative itself. Developing your own film wasn’t possible for everyone and it certainly wasn’t cheap either. Digital photography has changed this.

Nowadays, taking a picture doesn’t cost you anything anymore (except the wear of your camera and lenses) and if the photo isn’t good, you can throw him in the electronic dustbin with just one click. Now you can experiment with exposure and composition as much if you like, without having to pay for film and developing.

Post-processing is totally different too.

In the dark room there was also a lot of ‘photoshopping’. But that wasn’t easy and required a certain skill and expertise. Today, photoshop is the dark room of the digital photographer. But it offers many more possibilities than a traditional dark room, and it is also much more within range of the average photographer.

Besides that we can’t ignore the technical improvements in camera’s and lenses.

Today even ISO400 is useable in most cases whereby in the past the photographers had to worked with ASA64 or similar. Many lenses do have IS/VR and/or USM/HSM nowadays. And they all have autofocus, this in comparison with the manual lenses of the past.

These improvements mean that today almost everyone can make a decent photo and therefore prices of photos in general have gone down dramatically.

This is why microstockssites had a chance to set themselves into the market.

3.The success of mictostocks

3.1. From a designers point of view
Because of the low prices and the royalty free licenses, no need to tell that microstocks are very popular with designers and publishers. There was a whole new market waiting for this kind of model.

Just think about the designers who make websites, brochures and such. I can imagine that they had a hard time in past obtaining the desired images. The traditional royalty based photo’s were in most cases to expensive for them or the procedure to obtain them was to long, to complex and/or to difficult.

Because of this it was tempting to obtain those pictures in an illegal way (read : just grabbing it from the web). The chance of being caught and punished was very small (especially with web design).

Or you saw the same pictures over and over in publications of a certain publisher, very annoying if you bought several books from them.

With the introduction of the RF model, the increased availability of this formula through websites and the low prices, those designers and publishers are less tempted to grab images from the web. They can now download them for a very reasonable price.

3.2. From a photographers point of view

The advantage for buyers seems logic, but strange enough also a certain group of photographers benefit from the microstock-model.

Microstocksites are much more within range of the amateur photographer than the traditional stock agencies. Stock agencies often used to have very strict rules regarding image quality,image size and the subject being covered. They also only allowed photographers who could make a decent amount of pictures, and they mostly required exclusivity.

Because of these requirements, especially amateur photographers often couldn′t sign up at those big stockagencies.

Microstocksites are a lot more flexible. They don’t require exclusivity (this is just an option) and they don’t have a limit regarding the minimum amount of pictures you must submit. So most amateurs will have no problem submitting to these sites.

Finally, traditional stock agencies only accepted CD’s or DVD’s to submit your pictures (this seems to be changing at the moment). Which can be a little slow.

All microstocksites have an online upload system, which works much more rapid than shipping a DVD by mail.

4. Who is losing

One of the arguments against microstocks often heard is that photography in general and the submitters in particular are the great losers of this new model.

But is this really true ? Why would they be the losers ? And if they aren′t, who is ?

4.1. Photography in general
How can photography be a loser just because you’re asking less for an image ?

Honestly, I’ve have no idea. It’s not because you pay or get paid more for an image that this image is better. Besides, ´photography in general´ doesn′t care about the prices paid.

If this whole ´micro-thing´ influences the photography at all, I think it would be in a positive way. The more people trying to take better pictures and trying to improve themselves, the better it is for ´photography in general´

But honestly, I don’t care about ´photography in general´. This isn’t a breathing thing and it has no feelings, so why would we care about it ?

Update : I must admit that taking pictures of object on a white background or of a girl working on a laptop isn′t the most creative activity, this can be seen as a disadvantage. But this isn′t a disadvantage of the microstocks alone, it is one of the whole stock industry.

4.2. The photographers who contribute
The reason for saying this is obvious. Microstocks don′t pay well, this is no secret. If those who submit would calculate their earnings per hour, I think you could hardly speak of an income. I won′t deny that. But are they therefore losers ?

If someone would quit their job or would buy an expensive body or lens just to take pictures for microstocks before they really know if they can make a living out of it or if they could earn that body or lens back, I guess you can say they ´lost´.

But I don’t see why an amateur (and most who submit at those sites are amateurs), who tries to sell his pictures can be a loser. They only thing he can loose is his time, and being an amateur, time is free :-) .

I would take it a step further. I think someone submitting can only win !! Why ?

Because a submitter wants to make his pictures as good as possible so they will sell well. By doing this he will/must improve himself on the technical aspect, in post-processing and any other aspect which makes a photo a good one. The money which can be earned stimulates this process. Therefor I think an amateur submitting to these sites can only lose his time, but can certainly gain a lot of experience.

4.3. Who are the real losers ?
I don’t think anyone submitting nor photography itself is a losing party in this. But I can think of one category of people who don’t like these developments.

In any segment were amateurs take a piece of the cake, professionals aren’t too happy because they fear to lose customers. Micro’s are certainly taking a big bite out of that ´stock-pie´.

If you know that mostly professionals submitted to traditional stockagencies, then you can understand that some/most of those pro’s aren’t to happy with the rise of microstocks. There are very few who can make a living out of micro’s, therefore joining the micro-legion isn’t an option for most pro’s. I think any professional who specialized in stockphotography is feeling this bite into his pockets … and in my opinion this is just the beginning.

Digital photography did hurt many professional wedding- and portrait-photographers. Now microstocks are doing the same with the average professional stockphotographer. The only way they can stay successful is to specialize, but those who can’t distinguish themselves from the crowd will certainly have a rough time ahead.

5. Conclusion :

5.1. The cons of microstocks :

Low payout : Although some people make a considerable amount on micro’s, to average price for an image is low. You need to upload and sell a lot of images to make more than pocket money. Because of the low payout, you could feel abused / exploited.

Time consuming : Because micro’s are a numbers game, you need to shoot, process and upload in general a lot of images. Especially the post-processing and keywording takes a considerable amount of time.

Mind killing : You can’t deny that stockphotography is mind killing in a certain sense. Shooting people with working on a laptop, an orange on a with background or just ordinary street life can hardly be seen as ´artisctic´. Because most of us photographers do have that artistic edge (that’s why we were attracted to photography in the first place), stockphotography can hardly be seen as ´achievement´

5.2. The Pro’s of microstocks :

You can earn something : Despite what people say there are people who do earn a reasonable amount of money. If you look beyond the low fees at your bottomline, micro’s aren’t that bad. Especially when you look at your other options : where else can you sell your pictures ?

Becoming a better photographer : Because you want to sell as many images you can, you quickly learn that you need to deliver good quality. Therefore you are motivated to learn new things. To do your post-processing in different ways.

Doing new things : Because you’re stimulated to deliver photo’s which sell, it’s likely that you will try new kinds of photography. Or you’ll go to places where you normally never had gone to.

5.3. In the end :
Everybody needs to decide for himself if the pro’s are larger than the cons. Some some they will for others they won’t.

Note : The was a very short summary of a 26 page long article. The whole article, where I compared the different sites and give some examples of good selling subjects can be found at : perrush.be/SYF_micro_E_1.html at this page

Stefan Hermans is better known under his nickname ‘Perrush’. His main field of work has been macrophotography and specially Butterflies. But the past months he has been trying out different subject. One of them was stockphotography.

You can visit Stefan’s site at perrush.be/SYF_micro_E_1.html perrush.be

Magic Symbols

Wednesday, August 30th, 2006

Magic symbols have been around since ancient times and are believed to increase the power and efficiency of magic spells. Generally rune scripts, animals, amulets, talismans and the like are used as magic symbols. Scripts such as the Malachim script, Theban alphabet, Writing of the Magi and the Celestial alphabet are also considered highly magical.

Crystal balls are important symbols of magic. They are used to clear energies of spaces. Each crystal stone has a different type of energy. They are believed to help in the spread of their particular kind of positive energy when placed in an appropriate position in the house. They stimulate love, prosperity, peace, confidence, etc., when placed in your home. Crystal balls are also used in divination and foretelling.

Animals have also been widely used as magic symbols. Animal figures are believed to give power to rituals. They can also symbolize desires. Animal figures are generally carved from gemstones or made from metal or plaster. The cat is said to symbolize independence and earth; butterflies and dolphins symbolize joy and happiness; panthers symbolize power and the horse, friendship. Figures of these animals are used in certain rituals in which spells are cast to obtain one or more of these qualities.

Amulets and talismans have long been the most popular and sought after magic symbols. Amulets are objects that possess magical properties which provide protection against illnesses, curses, bad luck and evil. Garlic, bells, pyramid pendants, shell fish pendants, happiness necklaces, sandstone, alligator hides, seahorse horns, spiders and rings are used in amulets.

Talismans are objects that are believed to contain supernatural powers and pass them on to their owners. They have rune carvings on them to increase their powers. Scrolls, paper squares, Egyptian scrolls, stone rubbing, prayer discs, lacquer boxes and pentagrams have been used as talismans through the years.

Magic-resource.com Magic provides detailed information on Magic, Magic Tricks, Black Magic, Magic Spells and more. Magic is affiliated with i-MagicTricks.com Magic Card Tricks.

Texas Holdem Poker : Guide to Losing your Bankroll Quickly - Pocket Rockets

Tuesday, August 29th, 2006

Here’s my guide on what you should do to lose all your money playing poker - im sure it will help some people who want to increase the monthly bonus of any poker company staff they know!!! :D

First off we look at the rockets

The Rockets

—————

Situation

Your at the button (ie late position) in a 11 player no limit ring game. 5 people call with no raises. Your sitting with

:Ah :As

Now you could raise but you want to be sneaky and catch everyone off guard and raise them all in

Blinds call it as well and then you see the flop

:Kh :Kd :10c

A player in early position makes a raise of about 7 times the big blind - 3 players call to you on the button

You have about 11 times the big blind in chips at this time

What do you do?

You should call the raise and re-raise 4xBB by going all in. Theres no way theyre gonna call an all in raise. Plus youve got the aces - you cant be beat.

Rest easy knowing that youve done the right thing and if for some weird reason you get beat, know that you caught a bad beat and you were robbed!!!

——————————

Major mistakes with doing this

First mistake made was not raising pre flop.

* This is a hand that you are favourite to win - you need to remember that one of the basics of playing poker is to maximise the pot when you think your gonna win or are favourite and to try and lose as little as possible in the hands you lose.

* When it gets to you 5 players have called with the players in blinds still to decide whether to fold, call or raise. You need to get rid of the players with trash hands by raising at this stage - players can be limping in with absolutely anything. If a player wants to see the flop with bad cards then make sure you make them pay for it

* You have position. Your on the button and are in the right place to either knock out some players so theres not too many players seeing the flop and of course, to maximise the pot.

Then the flop comes

:Kh :Kd :10c

This is a bad flop for you. If you were heads up against someone it wouldnt be too bad a flop but with 8 players in total seeing that flop you have to assume the worst that one of them has a king. With someone making such a high raise the chances are one or even two players have hit trips. Your looking for a reason to fold this hand.

Mistakes after the raise is made

* Anything other than folding with 3 people calling such a high raise is a wrong move.

Why is the re-raise is the wrong move?

* The main mistake was thinking that the words ‘all in′ will scare players out.

The pot is huge at this point. The players who are still in the game are gonna call a 4xBB raise after calling a 7xBB raise. If their hands are good enough to call the initial raise then they are getting the correct pots to call your all in 4xBB raise regardless of if they just have a 10 or whatever. The players are comitted to the pot

* If you were silly enough to want to stay involved in this hand then calling the raise would have been a less idiotic move. Youd basically be calling hoping that an ace drops and if it does youd raise all in and again, the players involved would be correct in calling such a small raise in relation to the pot

* You cannot raise people out of pots if you dont have enough chips to scare them away

Summary

* Aces can be beat just like any other hand in poker

* Like any other hand, get ready to fold if there are a lot of raises and players involved in the hand.

* Watch out for straights, flushes and full houses.

* Most players bet two pair and trips in the same way (roughly in my experience anyways) but some agressive players (tight agressive or just plain loose) will raise highly with top pair and a good kicker. Do your best to read players while you play as if no other ace drops your still sitting with only one pair

* Pay attention to the number of players in the game and the number of players who saw the flop.

* Pay attention to who raised - think about why they raised ie. if you were in their shoes would you be raising to get more money in the pot or just simply to reduce the number of players involved (or both)

** You can comment on this article at texasholdemforums.com/showthread.php?p=25494

Kevin Muldoon plays poker around 20 hours per week and is the owner of texasholdemforums.com texasholdemforums.com. TexasHoldemForums is a large online texas holdem poker community with thousands of players and dozens of private tournaments and game for members every week. They have a large group of players who play poker professionally and several of the members have played at the World Series of Poker. This wealth of experience ensures every member can improve their game in some respect.

The Blues Scale & Cool Stuff You Can Do With It

Tuesday, August 29th, 2006

Most of us who took piano lessons as kids are all too familiar with scales, and most of us hated practicing them with a passion. But understanding scales and what they do is critical to the process of improvisation as well as key orientation and just a general understanding of what’s happening in the song we are playing.

The word “scale” comes from the Latin word “la scala” which means “the ladder”. So a scale is a ladder of notes that starts at the bottom — called the root note — and proceeds upwards to the top of the ladder — called the octave note.

There are several kinds of scales, the most common being the major scale, followed by three different types of minor scales. After that there are several specialty scales, including the blues scale used widely in jazz, R&B, blues, and quite a bit in pop music.

The “blues scale” is really a combination of the major diatonic scale (the “regular” scale we all grew up with) plus three additional notes:

The flatted 3rd;
The flatted 5th (or sharp 4th — same thing);
The flatted 7th

As a result the blues scale really contains 11 notes — the 8 of the normal diatonic scale — and the 3 “blue notes″. These are used in various combinations, as we shall see, to create a “bluesy sound”.

The blues started not as a piano style, but as a vocal style, and of course the human voice can sing “in the cracks” between the notes on the keyboard. So when we play blues on the keyboard, we try to imitate the human voice by playing BOTH the 3rd and the flat 3rd — BOTH the 5th and the flat 5th — BOTH the 7th and the flat 7th. We would play in the cracks if we could, but we can’t, so we do the best we can by combining the intervals to imitate the quarter steps that a human voice can sing. (Certain instruments can do that too — for example, the trombone. Since it has a slide, it can hit an infinite number of tones between any two keyboard notes.)

So in the key of C, for example, the blues scale would include:

C, D, Eb, E, F, Gb, G, A, Bb, B, and the octave C.

In the key of F the blues scale would include:

F, G, Ab, A, Bb, Cb, C, D, Eb, E, and the octave F.

In the key of G the blues scale would include:

G, A, Bb, B, C, Db, D, E, F, F#, and the octave G.

So in improvising you can craft a melody out of any or all of these notes. Start by creating a motif out of just 3 or 4 notes, then repeat that motif as you change chords.

For example, if you were in the Key of C, you might create a motif such as C, C, G, Bb C and repeat it in various rhythms as you play the C7 chord in your left hand, then again as you move to the ˃ chord, and so on.

With practice and experimentation you can play your own variety of the blues as you master the blues scale.

Duane Shinn is the author of over 500 music books and music educational materials such as DVD’s, CD’s, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. His book-CD-DVD course titled “How To Dress Up NAKED Music On The Piano!” is being used by pianists around the world to enhance their skills. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. A series or free lessons from Duane on the various aspects of piano chords & the blues is available: playpiano.com/101-tips/31-12-bar-blues.htm “Exciting Piano Chords & Sizzling Chord Progressions!”