Tuesday, April 29, 2008

Joaquin Phoenix and Reese Witherspoon Make "Walk the Line" Better Than the Film

Joaquin Phoenix and Reese Witherspoon Make "Walk the Line" Better Than the Film
Copyright © 2008 Ed Bagley

Walk the Line - 2 Stars (Average)

"Walk the Line" is the story of Johnny Cash (Joaquin
Phoenix) and June Carter Cash (Reese Witherspoon). Born
poor in Arkansas, Cash rises to fame in the country music
world and destroys a lot of relationships along the way
with drinking, drugs and pandering. Eventually, June Carter
wins his heart.

Cash became who he was because the songs he wrote and sang
were from his heart about his own life; they were not
phony, and music lovers related to them in their own world.

Walk the Line was a struggle to produce as it took 4 years
to secure the rights to the film and another 4 years to get
the film made. Joaquin Phoenix and Reese Witherspoon did
their own singing, both of them had 6 months of vocal
training and also learned to play their instruments (guitar
and auto-harp) from scratch.

Both Phoenix and Witherspoon showcase their talents in this
film that had a great story line but not a great
presentation. Based in part on Cash's own book Man in Black
and Cash: The Autobiography, the adaptation also is
credited to Gill Dennis and James Mangold, who also
directed the film. It is seldom a good idea for a director
to also be a writer in the same film, and Mangold showed
why.

Rather than be a good finder, it seemed that Mangold was
determined to send his portrayal of Johnny Cash buck naked
into the woods and drag Cash through the muck and mire far
too long. It was unnecessary and added nothing to the film
in my judgment. Mangold simply did not tell a good story
well, he told a story.

Whatever sins Cash committed on his way to becoming a
legend and country music icon could have been handled
without trying to raise it to an art form. Let the writers
and director who are without any sins cast the first stone.
It seemed as if they wanted to drag Cash down in order to
build themselves up.

Joaquin Phoenix and Reese Witherspoon saved this film.
Witherspoon won both an Oscar and a Golden Globe for Best
Actress. Phoenix was nominated for an Oscar and won the
Golden Globe for Best Actor. Walk the Line won the Golden
Globe for Best Picture, but not on my ballot. Walk the Line
won additional Oscar nominations for Best Costume Design,
Editing and Sound Mixing. Besides Witherspoon's Oscar, the
film had another 27 wins as well as 26 more nominations.

Walk the Line, released in 2005, has a special place in
history as Johnny Cash recorded with Sun Records in
Memphis, along with Elvis Presley, Jerry Lee Lewis and Carl
Perkins among others.

It was reported that Johnny Cash chose Joaquin Phoenix to
play him in the film on the basis or his performance in
"Gladiator", and that June Carter Cash chose Reese
Witherspoon for her role in the film. June Carter Cash died
in May 2003 before production began on the film, and Johnny
Cash died 4 months later in September 2003.

Cash was blessed with a deep, distinctive voice and known
as "The Man in Black". He wrote more than 1,000 songs and
sold more than 90 million albums in a career that lasted
nearly 5 decades. A diverse group of artists have paid
tribune to Cash, among them Bob Dylan, Chris Isaak, Wyclef
Jean, Norah Jones, Kris Kristofferson, Willie Nelson and U2.

Johnny Cash has a number of signature songs that will not
be going away anytime soon, including "I Walk the Line",
"Folsom Prison Blues", "Ring of Fire", "Man in Black" and
"A Boy Named Sue".

Walk the Line is worth seeing just for Joaquin Phoenix and
Reese Witherspoon. I would not watch it again, and was not
a better person for having seen it, thus it gets my average
rating which would have been higher with better writing and
better direction.


----------------------------------------------------
Read my articles on "Want a Six-Figure Income Without
Getting a College Degree of Any Kind? Here Is How", "The
Biggest Mistake Potential Hires Make While Interviewing for
a Job" and "Before You Interview, Learn and Practice Ed's
"Zip a Lip" Theory".
Find my Blog at:
http://www.edbagleyblog.com
http://www.edbagleyblog.com/JobsandCareers.html

Ideas to help with Percussion in the Beginner Band

Ideas to help with Percussion in the Beginner Band
The percussion section can be the band directors worst
nightmare - particularly if the band director themselves
doesn't know a great deal about percussion. It can be very
tough to get the "drummers" all contributing actively to
the band, so this article outlines a few strategies that
you can use to get them involved.

Don't let them be "drummers" only - be "percussionists"
instead

This is the most important thing to realize - that band
students are often attracted to percussion so that they can
play the drum set. The drum set (or drum kit) is often used
in the school band, and often is very important, so
students feel that if they are not playing it they have to
sit there and wait.

The band director has to find a way around this situation -
if you only have one drummer, then great! They can play the
drum set and away you go.

The problem comes when you have two, three, four or eight
drummers in the band - and that happens! One way you can
do it in the real beginner band is have one player playing
snare drum, one player playing Bass drum, and one player
playing Cymbal - even if you have a traditional 'drum set'
part written out. If you have this type of band I recommend
having this setup at all times, and making the students
stand up to play the snare drum. You then have the bass
drum and the Cymbals alongside, designed to be played by
three players at all times.

Have an Auxilliary Percussion Table - and make them stand
up to play at all times

There is nothing worse than vaguely hearing a shaker or
tambourine in a school band, and struggling to see the
person sitting on a chair behind the drummer!

When playing tambourine, triangle or shaker - these
instruments are often more critical to the sound of the
band than the snare drum or drum set, so therefore they
must be taken really seriously.. by the band director as
well as by the players.

So always have a "traps" table with everything in easy
reach. Its not expensive to set one up or buy one of the
available professional models.

The players must always stand up to play, and have their
music stand set up so that they can look immediately over
it at the band conductor.

Warming up - please don't ignore us!

I've been a percussionist in a school band... there is
nothing more frustrating that spending your time sitting in
the school band room while you wait for the wind players to
tune up and warm up. Often the band director will spend up
to half an hour warming the players up - and expect the
percussionists to remain quiet during that time.

How to deal with it?

- If youre going to warm up for half an hour.... Tell the
drummers to come half an hour late! - it makes no
difference to you and its better than them being a
distraction!

- Why not send them into a different room for their own
section rehearsal during this time? Get a specialist
teacher or assistant to work with them on their parts

- Use predefined warm-up routines that go along with what
you are doing with the wind players. (doesn't always work,
but can do depending on the materials you have)

Be prepared to supplement the band book

When I helped out with beginner bands I found it necessary
to supplement the band books that the students were using
with additional materials - often the materials are not
interesting or they don't have enough variety to keep the
students engaged in the materials.

They'll need lots of work on basic rudiments and rolls -
often the band books don't address those things early
enough. So therefore you should be able to supplement it
with additional material available from other books and
online.

Everyone playing mallets?

I'm going to leave this up to you - it depends on the
different personalities in each of the bands you have. One
popular series of band books the "standard of excellence"
has snare drum/bass drum on the left hand pages of the
book, and mallet percussion on the right. Another type the
"essential elements" has one snare drum and one mallet
percussion book.

I think that percussionists should rotate and do as much as
possible, and if that means that they each need two books,
whereas every other member of the band needs only one..
then that's the way it should be!

There are no magic pills to make percussion easier in the
beginner band, but hopefully the strategies in this article
will go some of the way to making it more fun for everyone!


----------------------------------------------------
Kevin Tuck has worked as a private music teacher (a
percussion specialist) and as a classroom music teacher.
Kevin has run his own very successful music school, and now
runs The Fun Music Company, an internet publishing company
helping music teachers and authors publish music and
educational materials on the internet. There are heaps more
articles available for percussion at his blog
http://www.percussioneducationonline.com

Monday, April 28, 2008

Pardon Me, I Am Gushing Again About Movie's Incomparable Audrey Hepburn

Pardon Me, I Am Gushing Again About Movie's Incomparable Audrey Hepburn
Copyright © 2008 Ed Bagley

Like a lot of shoppers at supermarkets, I look at the
magazine displays while waiting in line to check out.
Recently I was thrilled to see a recent edition to LIFE's
Great Photographers Series: "Remembering Audrey 15 Years
Later" with photographs by Bob Willoughby.

In my review of "Breakfast at Tiffany's" I posed this
question: Was there ever an actress who combined these four
timeless qualities—beauty, fashion, grace and
humility—better than Audrey Hepburn? My answer was
simply, I think not.

You better believe I bought a copy of Remembering Audrey
faster than a single heartbeat, and remain a better person
for having done so.

Willoughby was born in Los Angeles—the city of the
stars—and began taking pictures when he was 12. He
was good, very good, and best described as a prodigy. In
1953, when he was 26, he would be assigned to photograph an
upcoming soon to be actress, Audrey Hepburn. The result of
their meeting would produce one of his most positive
relationships, both as a photographer and a friend.

Willoughby pioneered the role of the "special" photographer
to take formal publicity shots and candids of the stars
Hollywood's publicity departments wanted to promote. He was
credited by Popular Photography magazine as the man "who
virtually invented the photojournalistic motion-picture
still."

The images that you remember of James Dean, Frank Sinatra,
Richard Burton, Peter O'Toole and Audrey Hepburn among
dozens of others were mostly the work of Bob Willoughby.
All of the major magazines of the day—LIFE, Look,
Saturday Evening Post and Harper's Bazaar—published
his work.

Willoughby's creations grace the exhibits in more than 500
museums in more than 50 countries around the world.

When first meeting Audrey, Willoughby said, "She took my
hand and dazzled me with a smile that God designed to melt
mortal men's hearts.

"The amazing instant contact she always made was a
remarkable gift, and I know from talking to others that it
was felt by all who met her."

Audrey had made a big impression with the studio brass in
the 1953 William Wyler film "Roman Holiday". She won an
Oscar for Best Actress as Princess Ann in her film debut
playing opposite Gregory Peck.

In the next 15 years, she would be nominated for 4 Best
Actress Oscars for her work as Sabrina Fairchild in
"Sabrina" (1954), Sister Luke in "The Nun's Story" (1959),
Holly Golightly in "Breakfast at Tiffany's" (1961), and
Susy Hendrix in "Wait Until Dark" (1967).

She also won a Golden Globe for Best Drama Actress in Roman
Holiday and had an additional 6 Golden Globe nominations as
Best Actress. Lesser known is the fact that Audrey was one
of the few entertainers to have won an Emmy, a Grammy and a
Tony Award as well as an Oscar.

Bob Willoughby's formal and candid photographs of Audrey
Hepburn will stand the test of time as some of the greatest
ever taken of a woman and an actress. He said that Audrey
never took a bad photograph, or even a mediocre one.

"She could sit next to an old ladder on the set and look
terrific," said Willoughby. With designs by Hubert de
Givenchy, the world's most smashing woman wore the world's
most smashing fashions.

She became the most charming, disarming, altogether
friendly and charismatic superstar ever to grace a
Hollywood production. According to Willoughby, everyone
liked Audrey and remained loyal to her. The best directors
and the world's greatest designers sought to work with her.

It was said that all of her leading men fell in love with
her, including Gregory Peck, William Holden, Anthony
Perkins, Rex Harrison and Albert Finney.

When making "My Fair Lady" Audrey would not be recognized
for her role as Eliza Doolittle. She had been promised that
she could sing her songs in the film, but Marni Nixon was
ultimately contracted to perform Eliza's vocals.

Julie Andrews had played the role of Eliza in the stage
production of the Lerner and Loewe musical, but she lost
the role to Audrey in the film. It was perhaps no accident
that the Best Actress Oscar that year went to Julie Andrews
for her role as Mary Poppins.

My Fair Lady cost $17 million to make in 1964, an
astounding investment in its day. It became Warner Brothers
highest-grossing film at the time, and would go on to earn
12 Oscar nominations and win 8 Oscars. Many film historians
consider My Fair Lady to be the last great musical of
Hollywood's studio era.

Audrey would marry twice and have a son by both Mel Ferrer,
the actor/director, and Andrea Dotti, an Italian
psychiatrist. She suffered 4 miscarriages during her
13-year marriage to Mel Ferrer.

In her early life, Audrey's parents would divorce and her
mother took her and her two stepbrothers to London and then
to the Netherlands, where her mother was a bona fide Dutch
baroness. In 1940, Germany invaded the Netherlands and the
horror of war would surround her.

She danced in clandestine locations to raise money for the
Dutch Resistance. One of her stepbrothers was sent to a
German labor camp, and her uncle and one of her mother's
cousins were shot and killed for participating in the
Resistance.

The Germans seized food and fuel when the Netherlands was
already suffering a winter famine. Audrey would suffer
malnutrition, anemia and frequent bouts of depression. She
was 10 years old when World War II started and remained
fragile her entire life as a result of her wartime
experience.

Some believe her final act in life was her best when she
was named UNICEF's International Goodwill Ambassador in
1988. Audrey would travel around the world on 50+ missions
to bring attention to the world's suffering children. The
sight of children dying from hunger in distant lands was
devastating; she had once been one of those children and
survived.

"I want people to know that the largest part of humanity is
suffering," said Audrey. Despite being terribly ill
herself, she continued to go on missions. She would die of
colon cancer in 1993, four months before her 64th birthday.
When she died, the world lost a great human being.

Bob Willoughby said it best: "She left those who came into
contact with her better for having known her. I miss her to
this day." Amen, Bob, amen.


----------------------------------------------------
Read my movie reviews on families, including "My Big Fat
Greek Wedding", "Secondhand Lions", "The Chorus (Les
Choristes in French)" and "Waking Ned Devine". You will
smile, laugh, cry and feel better for the experience. Don't
just experience life, live life!
Find my Blog at:
http://www.edbagleyblog.com
http://www.edbagleyblog.MovieReviews.html

15 Movie Quotes to Celebrate Fred Astaire's Birthday

15 Movie Quotes to Celebrate Fred Astaire's Birthday
Ready to celebrate the birth of an entertainment great with
some classic movie quotes? Fred Astaire's birthday is right
around the corner and what better way to remember him than
with some quotes from some of his most famous roles? If
you're a Fred Astaire fan, here are fifteen quotes you're
sure to remember.

1. "If I ever forgot myself with that girl, I'd remember
it." ~ Top Hat

2. "So, move Grant's Tomb to Union Square and put Brooklyn
anywhere, but please, please, I'm down on my knees, don't
monkey with Broadway!" ~ Broadway Melody of 1940

3. "A gentle smile often breeds a kick in the pants." ~
Holiday Inn

4. "Would it be rude of me to inquire if there is any
insanity in your family?" ~ You Were Never Lovelier

5. "Couldn't I be the fellow who never gets his name
mentioned? The one they call 'a friend'? You know: 'Ginger
Rogers - and friend." ~ The Sky's The Limit

6. "You didn't tell anybody I was your guardian angel, did
you?" ~ Yolanda and the Theif

7. "John, everyday you act worse, but today you're acting
like tomorrow." ~ Roberta

8. "I told you, I haven't even met her. But I'd kinda like
to marry her... I think I will." ~ Shall We Dance

9. "Can I offer you anything? Frosted chocolate? Cointreau?
Benedictine? Marriage?" ~ The Gay Divorcee

10. "I don't often try to apologize 'cause I seldom make
any mistakes." ~ Follow the Fleet

11. "Here's to the beautiful ladies. Here's to those
wonderful girls. Adele's and Molly's, Lucille's and
Polly's, you'll find them all at the Ziegfeld Follies" ~
Ziegfeld Follies

12. "Why didn't you tell me I was in love with you?" ~
Easter Parade

13. "It's not obscene, it's French." ~ The Belle of New York

14. "How dare you come back here! Didn't I tell you you
were an optical delusion?" ~ Finian's Rainbow

15. "Gentlemen, may I take this opportunity to tell you
that you look like a mess of worms? And that you not only
look like a mess of worms, but you ARE a mess of worms. And
I'll bet you've been sitting at this table all these years
because if you ever left it you'd be picked up on a
vagrancy charge." ~ Funny Face

There's much we can say about Fred Astaire... He was
talented, funny, a great dancer ' but there was something
else too. If you take a look at the above quotes closely,
you'll see Fred Astaire was also a workaholic. Each of the
fifteen quotes comes from a different movie, I didn't even
touch on half of the movies he was in. On the tenth of May
let's celebrate the birth of an entertainment icon -- the
birth of Fred Astaire -- with these fifteen movie quotes.


----------------------------------------------------
For more quotes related to movies, check out the popular
movie quotes section of Famous-Quotes-And-Quotations.com, a
website that specializes in 'Top 10' lists of quotations in
dozens of categories.
http://www.famous-quotes-and-quotations.com/movie-quote.htm

Sunday, April 27, 2008

For Romance Without Any Stress, "Sleepless in Seattle" Is the Cure

For Romance Without Any Stress, "Sleepless in Seattle" Is the Cure
Copyright © 2008 Ed Bagley

If you were celebrating Valentines Day with a candlelight
dinner for two at home and settled in to watch a movie,
"Sleepless in Seattle" would be a great choice because it
provides a pleasant experience and is already becoming a
romantic comedy classic.

Your parents or grandparents experienced a similar story
line in the now classic "An Affair to Remember" that was
released in 1957 and paired Cary Grant and Deborah Kerr.
Their characters fall in love and agree to meet in 6 months
at the Empire State Building in New York.

Sleepless in Seattle, released 36 years later in 1993,
pairs Tom Hanks as Sam Baldwin and Meg Ryan as Annie Reed.
Sam is the recently-widowed father of 8-year-old Jonah
Baldwin (Ross Malinger), who calls a nationally-broadcast
radio talk show in an attempt to find his lonely father a
partner.

A somewhat reluctant Sam talks to host Marcia Fieldstone
and thousands of single women across America are suddenly
drawn in to Sam's sense of love for his former wife, each
wishing she could be as cherished as Sam's next special
person. To wit:

Doctor Marcia Fieldstone: Tell me what was so special about
your wife?

Sam Baldwin: Well, how long is your program? Well, it was a
million tiny little things that, when you added them all
up, they meant we were supposed to be together . . .and I
knew it. I knew it the very first time I touched her. It
was like coming home . . . only to no home I'd ever known .
. .I was just taking her hand to help her out of a car and
I knew. It was like . . . magic.

If that dialog does not melt every woman's heart she would
need to go straight to "The Wizard of Oz" and receive a new
transplant. Soon Sam is getting thousands of letters from
wannabe partners, all of which are read by his son Jonah,
who decides that "Annie" is the best choice.

Annie is engaged to marry Walter (Bill Pullman). Should she
do so she would be making the first great mistake of her
life. Walter is a decent enough chap, but Annie is missing
any sparks in their relationship because Walter has the
personality of an ashtray.

Annie goes to great lengths to meet Sam, flying from New
York to Seattle only to discover Sam with another woman,
whom she mistakes for a love interest. She never mails a
letter she has written to Sam, but her friend does. In it
she proposes to meet Sam on top of the Empire State
Building.

Sam is not interested in going, but his son Jonah is, so,
with the help of his new friend whose parents own a travel
agency, he is able to book a flight to the Big Apple and
ends up on the observation deck of the Empire State
Building looking for Annie. Sam, in a panic, to find his
son, follows him to New York. The rest you will have to see.

Hanks is very convincing as a forlorn widower and Ryan was
at her peak of being cute and innocent. The chemistry
between the two, who only share approximately 2 minutes of
screen time together, is great.

The role of Annie was originally offered to Julia Roberts
but she turned it town. Kim Basinger, who was also offered
the part, turned it down because she thought the premise
was ridiculous. Just recently in the news, a youngster in
Jonah's peer group did exactly what Jonah did, managed to
book flight on a major airline and fly undetected. Life is
indeed stranger than fiction.

The screenplay for Sleepless in Seattle was written in part
by Nora Ephron, who also wrote "When Harry Met Sally"
(another great romantic comedy with Meg Ryan and Billy
Crystal). Ephron directed the film.

Ephron, David S. Ward and Jeff Arch (who did write the
story) were nominated for an Oscar for Best Screenplay, and
the film received another nomination for Best Original Song
("A Wink and a Smile"). Sleepless in Seattle also got
Golden Globe nominations for Best Picture, Best Actor (Tom
Hanks) and Best Actress (Meg Ryan).

Sleepless in Seattle cost $21 million to film and grossed
$227 million worldwide at the box office, adding another
$65+ million in rentals.

Tom Hanks is the gold standard in acting. He has been
nominated for 5 Best Actor Oscars (Big, Philadelphia,
Forrest Gump, Saving Private Ryan and Cast Away) and won
twice for "Philadelphia" and "Forrest Gump". Hanks also has
won 4 Best Actor Golden Globes for Big, Philadelphia,
Forrest Gump and Cast Away.

His films have grossed more than $3.3 billion. He remains
only 1 of 3 actors to have 7 consecutive $100 million
domestic blockbusters; the other two are Tom Cruise and
Will Smith.

Sleepless in Seattle is viewed by many guys as a "chick
flick" but not by me. I consider it an outstanding
relationship film with a great story line that proves to be
a pleasant viewing experience every time I see it again. If
a guy has ever been in love and felt the magic, he will
appreciate this film a lot more.


----------------------------------------------------
Read my articles on "Want a Six-Figure Income Without
Getting a College Degree of Any Kind? Here Is How", "The
Biggest Mistake Potential Hires Make While Interviewing for
a Job" and "Before You Interview, Learn and Practice Ed's
"Zip a Lip" Theory".
Find my Blog at:
http://www.edbagleyblog.com
http://www.edbagleyblog.com/JobsandCareers.html

Saturday, April 26, 2008

The Best Psychological Thriller Since "Wait Until Dark" Is "Dressed to Kill"

The Best Psychological Thriller Since "Wait Until Dark" Is "Dressed to Kill"
Copyright © 2008 Ed Bagley

Dressed to Kill - 4 Stars (Excellent)

"Dressed to Kill" is the most horrific psychological
thriller I have seen since "Wait Until Dark" with Audrey
Hepburn as a recently blinded woman who is terrorized by a
trio of thugs while they search for a heroin-stuffed doll
they believe is in her apartment.

Dressed to Kill is just as tense and scary and adds the
taut elements of a steamy shower scene as the female lead
Kate Miller (played by none other than Angie Dickinson)
pleasures herself, a sex scene in a taxi cab that is so hot
and so ahead of its time that it almost explodes the
vehicle, and a razor-slitting murder scene in an elevator
that is beyond graphic.

This is one disturbing film involving an unhappy,
undersexed wife, an anonymous lover, a psychiatrist, a
psychopath, a stalker and a serial killer, not to mention
female nudity, erotica, vulgarity and transsexualism.

The DVD version that I rented had the traditional version
and the uncut version; I opted for the uncut version.
Despite all of its horrific elements, Dressed to Kill is an
excellent production (as least the uncut version) as a
psychological thriller because all of the aforementioned
horror scenes actually add to the story line and as such
are not sensational enough to grab attention away from the
unfolding drama.

We can thank Brian De Palma for that. De Palma both wrote
and directed this film with stunning results, his murder
mystery is right up there with the best of the best. So
many writer/director efforts result in terrible films. The
film was released in 1980, 27 years ago.

In the movie, Kate Miller (Angie Dickinson), a middle-aged,
sexually frustrated housewife, has a fantasy taking a
shower and later that day complaints to her psychiatrist
Dr. Robert Elliott (Michael Caine) about her husband's
pathetic performance in bed.

Kate goes to a museum and encounters a strange man (Ken
Baker) who she ends up with in taxicab on the way to his
apartment for more sex. While there she discovers the man
has a sexually transmitted disease and she bolts, only to
return when she realizes she has taken off and forgotten
her wedding ring.

After returning to elevator she is brutally slashed to
death by a tall blond woman wearing dark glasses. A
high-priced call girl (Nancy Allen) is the only witness to
the murder and becomes the slasher's next target. She is
rescued by Kate's son Peter (Keith Gordon) who enlists her
help in the scary business of solving his mother's murder.

Dressed to Kill is loaded with clever writing and clues
that go right by you on first viewing. I seldom watch
dramas anymore because I have seen enough in my lifetime
and so many action adventure, natural disaster and drama
films today are absolutely ridiculous in premise and
presentation.

Fans of Angie Dickinson will be heartened to know that a
body double was used in the shower scene in the film. It
could just as easily have been Angie. Two years after
making Dressed to Kill, when she was 50 and yet to undergo
any surgery, a panel of Hollywood designers and make-up
artists in 1982 ranked her first in a list of Best Female
Star Bodies.

Angie said that the taxicab scene was filmed on location in
New York, where several gawkers observed the scene and
shouted, "Right on, Police Woman" (referring to her
previous TV role as Sgt. "Pepper" Anderson in the crime
drama "Police Woman").

The sex and violence in this film make it a terrible choice
for viewing by anyone except adults, and then only adults
who can handle these topics without being terribly
impacted. This limits the film's popularity and resulted in
virtually no awards for the film making effort.

As a murder mystery I would rate Dressed to Kill as
excellent and a very, very scary film.


----------------------------------------------------
Read my movie reviews on families, including "My Big Fat
Greek Wedding", "Secondhand Lions", "The Chorus (Les
Choristes in French)" and "Waking Ned Devine". You will
smile, laugh, cry and feel better for the experience. Don't
just experience life, live life!
Find my Blog at:
http://www.edbagleyblog.com
http://www.edbagleyblog.MovieReviews.html

Nature Photography: Five Tips For Great Sunset Photos.

Nature Photography: Five Tips For Great Sunset Photos.
Sunsets (and sunrises) are an inspiration to any nature
photographer, professional or beginner alike. In fact, this
does not just apply to nature photographers; almost anybody
with a camera is likely to snap off a few shots when faced
with a brilliant sunset sky.

The great news is, good sunset photos are surprisingly easy
to take. In my gallery, I don't actually display many
sunset photographs. You see, they are hard to sell, because
almost everybody has a few great sunsets they have
photographed themselves. Rather than buy mine, they are
more likely to grab their camera and show me the picture
they took the night before!

Consequently, I see a lot of sunset photos by amateur
photographers, and have learned to quickly spot where they
have gone wrong. It is not hard to expose a sunset photo;
in many cases you can leave your camera on auto and it will
do the work for you. The trouble people have is in making
an interesting composition. It is not good enough just to
photograph a good sky. The challenge is in making that sky
part of an interesting photograph.

Here are my five tips for taking great sunset (and sunrise)
photos.

Sunset Photography Tip #1. Learn to predict a good sunset
before it happens. Have you ever seen a perfect sky, only
to realise you didn't have your camera handy? In the five
minutes it takes to get your camera and set up for the
photo, the moment has passed. As brilliant as a sunset can
be, the effect may last for only a few minutes, so you need
to be able to choose your location, set up your camera, and
be waiting for the show to start.

Sunset Photography Tip #2. Be patient to get the best
colours. The few minutes as the sun is crossing the horizon
can be spectacular, but it is not the whole story of a
sunset. As the sinking sun lights the clouds from below,
often the richest colours can appear up to half an hour
later. By this time it will be getting quite dark, so be
prepared with your tripod. You may be shooting exposures of
half a second or more to bring out the best in your sunset
photograph.

Sunset Photography Tip #3. Find a good foreground subject.
This may be the most important tip of all. Time after time
people show me their sunset photos, and all I can think is
"Great sky...pity you didn't make a better photo out of
it." We have all seen and photographed spectacular skies,
so that alone is not enough to create your work of art. Try
to identify some object that stands well above the horizon
(trees, windmills, buildings, power-lines) and has a shape
that will create a good silhouette. It doesn't have to fill
up your picture. In fact, it may only take up a small area
- that will only make the sky seem even more impressive.
The important thing is to give your picture a focal point,
so that your viewer has something more interesting to look
at than just a great sky.

Think back to my tip #1. To get a great photo you need to
be prepared in advance, so scout your location for a good
foreground well before the razzle-dazzle gets underway.

Sunset Photography Tip #4. Fill your photo with colour. You
have probably heard of the 'rule of thirds' in landscape
photography. In simple terms this rule suggests your
horizon should be a third of the way from the top, or from
the bottom, of your photo to create a balanced composition.
The trouble is, when you are photographing into the sunset,
everything in the foreground will be in silhouette. That
means that by following the rule of thirds, a large part of
your picture will be completely black. This is one
situation where you can ignore the rule of thirds. By
allowing your sky to dominate the composition, you fill
your picture with colour and draw even more attention to
the richness of the sunset.

Sunset Photography Tip #5. If near water, use it to enhance
the effect. People often see a sunset at the beach, or by a
river, and stand a long way back to get their shot. This
does not take full advantage of the reflections on the
water, and instead of a colourful foreground there will
again be too much black space.

Get right down to the water's edge or to the wet sand on
the beach. By capturing the reflections, your foreground
will echo the colour of the sky. Not only will your photo
be more colourful, but you will start to spot opportunities
for much more interesting compositions.

So there you have my simple tips on sunset photography.
Notice that I have concentrated on creativity, not
technology. As I said at the beginning, exposing a good
sunset photo is not difficult; the challenge is to make
your photo stand out from the rest. Like all good nature
photography, your sensitivity to nature is far more
important than technical expertise. Be inspired by nature,
and great photography will follow. Good luck!


----------------------------------------------------
If you found these tips helpful, Andrew Goodall has
released two top-selling ebooks that have already helped
thousands of new photographers learn the art and skills of
nature photography. See Andrew's images and ebooks at
http://www.naturesimage.com.au
While you are there, enjoy even more great photography tips
by subscribing to our online newsletter...it's free!

Build Wooden Works Clocks--A Piece Of American History

Build Wooden Works Clocks--A Piece Of American History
Shelf clocks of the pillar and scroll type were made by a
number of American clock makers in the early 1800s.Prior to
that long case grandfather clocks were quite commonly made
in the 1700s.The long case allowed for a greater drop
distance for the weights which drove the clock
movement.Shelf clock and wall clock with wooden works were
also made and were more popular in the 1800s.

In the late 1700s and early 1800s there was a shortage of
metals due to the British embargo.This led to the
production of wood gear clocks by some makers.Wooden works
clocks of this period are now prized antiques and command
high prices when they come on the market.Several thousand
dollars is commonly the asking price which is beyond the
means of many clock fanciers.

The Museum of Science and Industry in Chicago has on
display a very fine wood gear clock which was made in the
early 1800s.This clock is still in good running order after
200 years.Detailed drawings and plans have been made from
this clock and these are available for those who would like
to build a reproduction of this fine old time piece.

You can build your own version of this beautiful antique
clock in your wood . working shop.With careful work you can
turn out from,these wooden gear clock plans,a wonderful
clock which will keep excellent time.To build a wooden
works clock is not difficult but it does take time and
careful workmanship.

Wooden clocks of more primitive design were made hundreds
of years before this period.You can also build a fifteenth
century wooden gear clock from available plans.This is a
wall clock and is weight driven.It is a much simpler
project with fewer moving parts.The clock will however
keep time and looks great on your wall.

Building wooden works clocks is a wonderful hobby.It
involves craftsmanship and wood working skills.You do not
however need an array of power tools.The original makers of
these clocks used only simple hand tools and the modern
craftsman can do so also.The individual parts of the clock
are of simple design and quite easy to make. The skill
comes in finishing the parts accurately and fitting them
together properly so that the clock will run smoothly and
keep good time.

Today there are a few makers of wooden gear clocks which
are mostly sold in the form of kits and plans.The average
home workshopper can quite readily build a really beautiful
wooden clock from a plan.With attention to detail and
careful workmanship the end product is a fine time piece
which will be a center of attention in any home.The tick
tock of your own wooden gear clock which you yourself
created is sweet music to the ears.


----------------------------------------------------
John Mowatt is a builder of wooden works clocks.Now retired
from his former business he pursues this as a hobby.He has
written on this subject and others.He shows you how to
build your own wooden clock.For more information and
details of plans go to http://www.woodenworksclock.com

Friday, April 25, 2008

Exhibition of British Artists in Greenwich, CT

Exhibition of British Artists in Greenwich, CT
Eight finalists for the coveted Lynn Painter-Stainers Prize
will be exhibiting at the Therese Saint Clair Gallery in
downtown Greenwich from April 30th through May 16th. Now
in its third year, the Prize is designed to encourage
creative representational painting and promote the skill of
draftsmanship by British artists. The Saint Clair gallery
will exhibit over 30 works of orginal art in watercolor,
oil, acrylic and egg tempera.

Last year's prize attracted nearly 800 entries. Artists
selected to exhibit at Saint Clair were chose by Parker
Harris and Arthur and Mary, long-time Greenwich residents
who were largely responsible for introducing a number of
prominent British artists to the community. This is the
first time in more than five years that a diversified group
of British artists have shown in Greenwich.

The Worshipful Company of Painter-Stainers was formed in
1502 through the meerger of The Stainers Company (earliest
reference is in 1268) and the Painters (established in
1283. Painter-Stainers received a Charter from Queen
Elizabeth I in 1581. Painter-Stainers is actively engaged
in supporting the art and craft of painting. The Lynn
Foundation is a charity devoted to children, the disabled,
music and the arts. Together they awarded prize money of
nearly $50,000 last year to artists selected by a
distinguished panel of judges.

The artists represented in this exhibit work in a variety
of media: watercolor, oil, acrylic and egg tempera. The
classic oil landscapes of Richard Price, stunning
watercolors of Paul Banning's Venice and Nick Johnson's
small acrylics of the English countryside reaffirm the rich
traditions of British artistic themes. In contrast,
Julian Bray, Susan Brown and Philip Tyler have submitted
acrylic and watercolor paintings with bold and colorful new
designs creating a dynamic ambience of considerable tension
and movement. Noreen Grant's attractive egg tempera
still life paintings and Paula Wilson's contemporary oil
paintings balance out this eclectic exhibition of British
art.

Because of its large public appeal, artists are limited to
one painting submission for the Lynn Painter-Stainers
Prize. The exhibit at Saint Clair contains anywhere from 2
to 6 paintings by each artists to more deeply explore their
body of work. The British artists represented in this
exhibit show great talent and originality.

The Saint Clair Gallery will be open to the public from
10:00 a.m. through 5:00 p.m. daily except Sunday.
Thérèse Saint Clair is located at 23 Lewis
Street in downtown Greenwich, CT. Call 203-6661-2927 for
directions or visit their website for more information.


----------------------------------------------------
Samples of some of the artists paintings to be exhibited
may be found on the Therese Saint Clair website at
http://www.ThereseSaintClair.com . The exhibit is free to
the public.

How to Sing Higher Notes

How to Sing Higher Notes
Learning how to sing higher notes is very important, if you
want to sing like a pro. If you want to be able to sing
any song you want, it is important to increase your vocal
range (the range of notes you can comfortably sing), after
all. It is certainly possible for you to have trouble
singing low notes, but most people have the most trouble
when they try to sing higher notes.

You might not think it's possible, but anyone can learn how
to sing higher notes. It is not just an activity reserved
for superstars. All it will take you to learn how to sing
higher notes properly are time, patience and practice.

The first step to learning how to sing higher notes in the
proper way is to understand the different main registers of
the human voice.

The "chest voice" is the deepest register. It is also the
most comfortable one. Usually that is the register in
which most people talk.

The next vocal register is called the "head voice". It is
a much higher vocal register, so you might think that it is
the key to learning how to sing higher notes. However,
even though it is often the sound you hear at operas and in
classical performances, it is not the key.

The true solution to learning how to sing higher notes is
actually learning to use your "mixed voice". The "mixed
voice" register is between the other two registers. It is
a middle ground. If you sing using your "mixed voice",
rather than your "chest voice", you can learn how to sing
higher notes without pain. You can also avoid causing
permanent damage to your vocal chords. People who try to
sing high notes using their "chest voice" are prone to
developing nodules and cysts on their vocal chords. So,
not only will learning to sing in your "mixed voice" teach
you how to sing higher notes, but it will keep you
healthier.

You may have also heard of using a falsetto voice, which
isn't really a vocal register at all. If you sing in
falsetto, your vocal chords are not even going to fully
come together. The sound produced will come out extremely
light and airy. It will not have any depth or power to it.

So, in order to learn how to sing higher notes with ease,
you should begin by breaking your old singing habits.
Instead, practice singing up and down scales in your "mixed
voice", not in your "chest voice" or "head voice" or a
falsetto voice. It will take you some time and it may feel
strange to you when you first begin. However, in no time
at all you will learn how to sing higher notes easily and
comfortably.


----------------------------------------------------
Learn how to sing higher notes at
http://www.singinglikepro.com

Thursday, April 24, 2008

Knitting Inspiration: How Knitters Shake Off Knitters Block

Knitting Inspiration: How Knitters Shake Off Knitters Block
Tempted to just make a list, I'm fighting off that laziness
and writing instead the kind of almost-poetry that inspires
knitting, that knitting embodies.

Yarn inspires the timid, the tired, and the flustered; yarn
is about colors, colorways, guage (as in, after knitting a
sweater with a fine yarn, worsted can be inspirational);
having "a stash" - buying yarn when you have money means
having yarn when the money runs dry; texture, pure sensual
pleasure, and drape, the luscious body-clingingness of
everything yarny combined to perfection.

Knitting exhibitions inspire: there is nothing like viewing
knitting as sculpture and Art, knitting that explores all
the possibilities of the craft. Knitting huge pieces
hanging and hovering, knitting with metal, knitting with
paper, gossamers to gargantuan things.

Patterns and books inspire, from historical to hysterical.

Sharing with other knitters inspires: blogs, webrings,
tears, frogging, challenges and sympathy, celebrations and
rewards.

Knitting for others inspires: charity knitting for the
needy, the ill, the grieving, the forsaken; gifts for
children and grandparents, girlfriends and beaus.

Teaching someone to knit inspires: frustration and
patience, fumbling and bent needles, laughter and tears,
dropped stitches and extra stitches like extraterrestrials,
appearing out of nowhere. Triumph and resignation.

Luscious photos from consumate artists such as this
spinner, knitter, artisan supreme - brooklyntweed at
blogspot.

Knitting for a new baby, oh the swiftness of tiny projects,
containers of preciously counted toes and fingers,
whiteness and pastels, primary colors and pompoms.

(Don't laugh) Knitting for appliances - such as a tv cosy
to cover an ugly tv, or one for your blender or printer.

Celebrity knitting: Julia Roberts inspires me, as does
Cameron Diaz.

Men who knit inspire me. Years ago I was traveling with
friends and we dropped in unexpectedly on a family where no
one was home. They must have been called out unexpectedly;
bread dough was rising and traveling across the table and
onto the floor. In the living room were two knitting
projects, fisherman knits on large circular needles.

A busy woman, I thought. Turns out it was her sons'
knitting projects. What self-confidence, young men with the
courage to "knit like women".

Historical and/or literary knitting inspires - reading
about such revolutionaries as Madame LaFarge in "Tale of
Two Cities".

And last but not least, nature inspires. Where else do
bronze, salmon pink, orange and purple look breathtakingly
perfect together? Where else do textures and shapes invite
imitation as with icicles, bare tree branches, the grain in
a piece of lumber, the "star" in an apple halved
horizontally, clouds against a brilliant blue sky?

Surrounded by this twisted skein of knitting inspiration,
the knitting muse need never be silent again!


----------------------------------------------------
Kathryn Beach inspires knitters with her free patterns and
knitting inspiration boards at
http://favorite-free-knitting-patterns.com/data/html/inspira
tion/38.cgi

French Banning the Promotion of Pin Thin Women

French Banning the Promotion of Pin Thin Women
There has been quite a bit of talk about regulating the
fashion runways over the past two years, after a young
Brazilian model died of causes directly tied to her
anorexia. In other words, she starved herself to death due
to pressures she probably partially felt from the field she
was in, modeling, and also most likely societal pressures
that are put on women to have very little body fat, here in
the US and abroad.

Eating disorders have gained an all time high over the past
4 decades, and it's not likely to get any better as long as
the industries that typically promote extreme skinniness
such as modeling, acting, and also any type of career where
your body is your life line. France has taken steps to
actually enforce these ideals in these industries, in a
landmark piece of legislation that's up for approval in the
French government prohibiting the promotion of extreme
dieting and weight loss.

This would apply to magazines, websites, and the runways as
well as television ads. They are basically trying to
protect young, impressionable girls from being brainwashed
into thinking this type of extreme weight is attractive,
desirable, or at it's worst, a new "acceptable" standard.

There are actually such serious offenders as websites that
have the gall to promote thinness and anorexia as well as
the eating disorder bulimia by offering tips and hints to
those that suffer these horrible, life destroying disease,
to get themselves into smaller sizes and get their weight
down.

Spain has actually already banned ultra thin models from
the runways after they became concerned that models in
Spain, where models were traditionally envied for their
more curvy, healthy bodies started shrinking more and more.
They instituted the ban on especially skinny models by
saying that you had to have a certain BMI, or body fat mass
index, in order to be able to strut your stuff on the
professional fashion runways.

I've actually seen some of the pictures of the models that
were able to walk the runways prior to this issue being
brought to the national forefront, and they really do look
sickly. It's hard to imagine that any of them ate more
than 800 calories per day, which is well below the standard
accepted 1500 or so, especially for these women who
typically must be five foot nine or taller to model
clothes, that's well under the calorie allowance they
should be consuming.

I'm usually against government interference in issues that
seem they should be privately regulated by the proprietors
of businesses such as written and print publications,
websites, and fashion shows. However, in this case, I
think it's clearly a case of the government stepping in
where needed, since these institutions are clearly not
governing themselves properly and are openly promoting an
image of sexiness and desirability and equating it with
being severely underweight, to the point of ribs stick out
and body fat being at dangerous lows.

As I talked about earlier, the death of a young Brazilian
model was what really prompted this awareness that the
fashion industry was essentially partially responsible for
the way women like her torture themselves to attain a
certain body type.

Attaining and maintaining weights that were severely under
the recommended weight and height chart certainly isn't
something that is all the fashion and beauty industry's
fault, but it certainly has added fuel to the fire for the
perfectionist personality types that tend to take these
types of ideals to extremes and resort to extreme measures
to conform to this supposed "ideal".

Some psychologists argue that women who tend to starve
themselves and succumb to eating disorders such as
anorexia, bulimia and body dysmorphic disorder would have
had these torturous diseases whether the fashion industry
promoted thinness as fashionable and sexy or not, but I
disagree. I think that the fashion industry has greatly
contributed to this false ideal.

I'm all for eating healthy and maintaining an active
lifestyle, but there comes a point when this just becomes a
sick obsession where the victim feels they have to resort
to starvation and extreme measures to get unnaturally thin
for their body frame.

I'm glad, along with countless other normal sized women
(I'm a healthy build and size, nothing too skinny), that
there are measures being taken to help end this trend of
extremity and save women and especially younger girls from
a lifetime of low self worth and esteem, and torturing
themselves to stay too thin.


----------------------------------------------------
Danna Schneider is the founder of the online source for
healthy, long term and effective dieting, including popular
diet reviews at http://www.dietingmagazine.com , where you
can also find information on weightloss products and
fitness equipment. She also founded
http://www.fitnessnewsmagazine.com , an online help site
dedicated to the latest offerings and breakthroughs in
physical fitness, reviews of exercise equipment and
workouts and more.

Tuesday, April 22, 2008

Surviving Tuned Percussion in schools

Surviving Tuned Percussion in schools
Tuned Percussion can be a wonderful teaching tool for
elementary school - but its also a potential minefield for
music teachers

This article is to give you some hints and tricks on how to
maintain and look after the instruments, plus the types of
music to play which have the greatest chances of success.

1)Organization is the key

With tuned percussion instruments in a music class you have
to be totally organized.

Each instrument needs a shelf where it lives permanently -
so that students know where it goes back after it has been
used. You've got to establish these places early in the
routine and have ordering about how the students go about
picking them out and playing them.

2) Go All Diatonic or All Chromatic

One of the big problems is that many orff style tuned
percussion instruments are sold in two bits - the main
"diatonic" part of the instrument, plus they offer a
"chromatic extension" which is simply the black notes on a
separate box resonator.

In my experience these things are far more hassle than they
are worth, particularly for elementary school classes. You
are much better off with just a diatonic instrument that
isn't in "two bits"

Organizing a class so that everyone has to get the main
instrument, and then get the chromatic extension and put it
in front is far too difficult for most elementary classes.

In theory of course the elementary class can use just the
diatonic bit, and the more advanced can use the full
chromatic.. but it rarely works that way!

The only schools where I've seen those chromatic extensions
they are generally put away into a cupboard and never used!

Still, if you have more advanced or older students then you
should get fully chromatic instruments to start with!

3) Play everything in C Major

One of the big "time wasters" is those substitute F sharp
and B flat bars that are included with many of the diatonic
instruments. These have to be a complete waste of time for
teachers. Often you can spend half the class making sure
that all the students have the right notes on their
instruments, and then you'll still hear something funny
going on whenever you hear an "F" because one student has
an F# on their instrument!

The best tip I have for this is to simply take those
substitute bars, put them into a box and lock them away!

The best solution is to simply find music, transpose music
or write music that is only in C MAJOR. This way you'll
never have to worry about changing notes around, and you
can concentrate on music making!

4) Go for Wood - Not Metal - and get them all at once!

I've seen more broken "Metallophones" at schools than any
other instrument. For some reason they always seem to have
gotten lost bars and damaged rubber strips under the bars
which result in a loud "clunk" whenever you try to play
them!

Glockenspiels are very challenging for young children - the
bars are really small... and piercing on the ears as well.

My advice... go for WOOD every time. Simple, diatonic box
resonated xylophones.

You should really take ALL your budget in one year and
dedicate it to this - don't buy one or two at once.. that
won't suffice for an entire class. Get a full class set of
10-20 identical xylohones and they'll last you years and
years.

Get one or two at a time and you'll find that they get
mixed up and no-one knows what bars and bits go with what
instrument!

5) Mallets all identical - all in one place

One simple thing you can do is get a full set of mallets,
and make them all identical!

If you get a box or a large jar and dedicate it to this
purpose then students will know that they have to get and
return the mallets to this location and they'll get used to
this procedure.

If you only have wooden xylophones then you won't have to
worry about different mallets for the glockenspiels and
metallophones.

Of course I'm talking about ideals here - and I know that
its very rare that you get the budget to go out and get a
full class set of new orff tuned percussion instruments for
your elementary school.

Hopefully whatever instruments you have you'll be able to
use some ideas from this article to make tuned percussion
more enjoyable in your classroom


----------------------------------------------------
Kevin Tuck is an ex-music teacher and percussion educator.
Kevin has a great passion for drums and percussion,
particularly how they are utilized within a school setting.
Kevin has loads of free resources for percussion education
at his percussion blog at
http://www.percussioneducationonline.com

Nature Photography: Great Photos On A Cloudy Day

Nature Photography: Great Photos On A Cloudy Day
Great nature photography relies on good natural light above
all else. Even a beginner soon learns that for most
landscape photos, the best results are usually early in the
morning and late in the afternoon, when the sun is low, and
the light is soft and colourful. This is a terrific rule to
follow in most situations, but busy lifestyles do not
always allow us to choose the perfect conditions for our
nature photography.

Have you ever planned and set aside a day to get out and
practice your nature photography, only to wake up to grey,
cloudy skies? You are not alone, this happens to us all;
professional and beginner alike. And of course when you are
traveling, you often only have one chance to take your
photos before moving on, so you have to make the best of
the situation as you find it.

Photographers, don't despair. There are many situations
that suit cloudy skies just fine; in fact, some subjects
need overcast weather to create great photos. Here are just
a few situations that you could explore when cloudy weather
threatens to derail your photography outing.

#1. Rainforest Photography. When the sun shines through the
trees in the forest, it creates a patchwork of light and
shade that makes correct exposure almost impossible. You
simply can't manage the contrast in these conditions.
Cloudy weather is actually the best way to take good
rainforest photos. Some would say the cloudier the better,
because if your rainforest is high enough to be in the
clouds, you can capture some very atmospheric misty effects
in the forest.

I live in South East Queensland, so I am close to both the
beach and some fabulous rainforest. My rule is: If it's
sunny, go to the beach. If it's cloudy, take your camera to
the rainforest.

#2. Wildlife Photography (Pets and People Too). Bright
sunlight can be a problem when shooting wildlife. In the
middle part of the day, the sun can create heavy shadows
which make exposure difficult, and rob your photo of
essential colour and detail that gives the subject its
character. Worst of all, sunlight can create shadows on the
face of your subject. As you know, the most important
element of a good wildlife photo is the eyes. If the eyes
in your photo are lost in shadow, the personal connection
with the subject is lost.

Animals do not like looking into the sun any more than you
do, so even early in the morning and late in the afternoon,
when the light is softer, photography can be difficult.
More often than not, you will probably find your subject
turning away from the light.

If you take your photo on a cloudy day, you can capture
your wildlife subject in soft, even light that allows
perfect exposure without ugly shadows. There will also be
less glare reflecting off shiny surfaces (a snake's skin, a
bird's feathers etc.) so your picture can actually appear
more colourful.

#3. Sunset Photography. Clouds create a much more
interesting sunset photo than clear skies. All you need is
for the sun to break through the clouds as they cross the
horizon. A good nature photographer learns to read the sky
and try to predict what is coming. Often on a grey, cloudy
day you will notice that the only patch of clear sky is far
away near the horizon. If that is the case, you can go
looking for a good location and set up for your sunset
photo.

With a bit of luck, there will be several breaks in the
clouds before the sun goes down. If so, you may be in place
to capture some majestic sunbeams, one of the truly great
natural effects that every nature photographer treasures.

Like all things in nature photography, all the planning in
the world means nothing without a bit of luck. You may get
your photo all set up, only to see the gap in the clouds
close and your chance of a good photo disappear.
Persistence wins in the end, so keep trying and from time
to time you will end up with some breathtaking sunset
photos.

I hope these tips encourage you to get out and enjoy your
photography, no matter what the weather is like. As your
experience grows, you will find it easier to read the light
and know what sort of photography suits the conditions.
Until then, practice, practice, practice!


----------------------------------------------------
Andrew Goodall has made his living from nature photography
for over 20 years. See his images at
http://www.naturesimage.com.au Andrew's ebooks "Photography
in Plain English" and "Every Picture Tells A Story" have
helped thousands of beginners learn the art and skills of
nature photography. Find them at
http://www.naturesimage.com.au/page/25/default.asp

The Do and Don't of Scream Singing

The Do and Don't of Scream Singing
Scream singing may seem like noise to some, but it is
really a very complicated process. If you are into death
metal singing, you need to learn to scream properly.

The first key to scream singing properly is to be patient.
It can't be done overnight. It can take months or even
years to perfect. Don't become impatient and scream more
than you are capable of. You could seriously damage your
vocal chords doing that. Also, when you do scream singing,
don't use all of your air up at once. It will hurt.
Remember that everything is good, in moderation.

You should also learn about head resonance, before you
learn to scream. Melissa Cross uses a good method for
that. She recommends that you put a pencil in your mouth
and then sing both over and under it. That should give you
a good example of head resonance.

You should also learn to scream nasally, when you are
scream singing. That basically means that you should
picture the sound coming out your nose. This is a
healthier and easier option than singing from deep in your
throat. You can also add small "yeh" sounds to vowels that
are within words, as you learn to scream properly. That
can help you to achieve a comfortable scream sound.

If you are skilled at death metal singing, it can also be a
big help. Death metal singing is a good precursor to
learning to scream sing properly.

Also, remember that a good singing warm up goes a long way.
Treat scream singing as an athletic event. All athletes
both warm up and cool down, if they are smart. You should
do the same, by practicing some basic vocal exercises, such
as scales, before you perform.

Vocal strain is no laughing matter, so if anything hurts,
when you are scream singing, stop! Rest for a while. In
fact, if your voice feels strained you should not talk at
all for a while. However, if you must talk, don't make the
mistake of whispering, as many people do. All that does is
block off your vocal chords and cause more damage. Use
your normal speaking voice if you absolutely need to.

Learn to scream best by staying well hydrated. Drink
plenty of water. Also, before a performance, you can drink
cola, since it coats your throat and causes better
reverberation. If you really don't want plain water, you
can try some diluted squash juice for more flavors.
However, water is really a better option. Staying well
hydrated can improve your scream singing voice, as well as
your general health.

In Melissa Cross's DVD, The Zen of Screaming, she explains
that supporting your diaphragm is also important, during
scream singing. You need balanced air pressure.
Otherwise, your performance will suffer.

So follow these simple scream singing tips, if you want to
learn to scream properly. Whether you do death metal
singing or any other sort, proper screaming is important.
You should be able to enjoy scream singing safely, after
all.


----------------------------------------------------
Find out more at http://www.singinglikepro.com

Monday, April 21, 2008

How To Get your Child A Fine Art Education if Your School Has Art Budget Cuts.

How To Get your Child A Fine Art Education if Your School Has Art Budget Cuts.
Everyone knows that when a state's school system has budget
issues the arts are the first to go.

What is not broadly known is the impact of dismissing art
from the lives of our children.

'Champions of Change, the Impact of the Arts on Learning'
is the most comprehensive study on the subject of students
involvement in the fine arts and how it relates to academic
success.

The study - based on a wide range of students across
America - makes an incredibly strong case that students
achieve academic success more frequently and in higher
numbers when they are involved with the fine arts.

Per the study;

- 82.6% of 8th graders earned mostly As and Bs who were
involved heavily in fine arts versus 67.2% earning As and
Bs who were not.

- 30.07% of the respondents who participate in fine arts
performs community service where only 6.28% of the
respondents who do not participate in fine arts perform
community service.

- Students who are not heavily involved in fine arts have
more than double the chance of dropping out of school by
the 10th grade.

- 56.64% of the respondents who participate in fine arts
read for pleasure where only 34.62% of the respondents who
do not participate in fine arts read for pleasure.

These are just some of the findings in the particular study.

Fine arts help teach students far more than how to draw
roses in a vase, or how to play the violin.

They help stimulate the creative part of the child's mind,
teach discipline, instill a sense of pride, accomplishment,
and self-worth.

These attributes not only help students do better
academically, but do better in their adult life, with their
career, their new family, their emotional well being.

So what do you do if your child's school has had major cuts
in their art program?

Your first option is, of course, private lessons. There are
pros and cons that you should be aware of when going this
route.

Lets look at the pros first.

First, due to budget cuts and pressure for schools to
ensure their students score well on standardized testing
(oddly enough the students who are involved in the arts
score better on average) the arts get less attention that
other subjects in school. Thus the quality of instruction
suffers.

Meaning your child has an excellent chance of getting
better fine art instruction in a professional fine art
instruction environment. The classes are smaller, sometimes
even one on one. The instructor only has to teach that
particular art form.

The other pro to going outside of your school for fine art
education is that your child's success is intimately tied
into the instructors income.

A public school teacher who has half of their art class
receive failing grades will still be paid the same at the
end of the week.

The equivalent in the private art instruction world would
mean a bankrupt business in a very short order.

Private art instruction is a business, they have to deliver
a good product or they will not be around for any length of
time.

The major con to private lessons is of course if you cannot
afford them for your child.

Private lessons cost money. Knowing the benefits of a child
being educated in the fine arts, I would happily drive a
less luxurious car, or eat out less often to ensure their
fine art education.

However this may not be an option if, say you are a single
parent, and there is too much month left after the end of
your money.

To wrap up this point, private lessons are great, often
better than what is provided even in schools that have
ample art and music budgets.

However alternative means may be needed if you cannot
afford them.

There are things that you can do to help your local school
raise money for their art programs.

First and foremost is fund raising. This can be gone about
in a variety of ways.

For example in my high school in Burbank California a
parent spoke to executives at NBC studios. Two months later
NBC donated professional video and editing equipment to our
school. Everything for the fine art of film making was at
our school.

It may take a bit of creative thinking and a lot of leg
work, but your local businesses or local celebrities could
be a fantastic funding source for your school. In return
they get good PR.

There are the more traditional fund raising events, bake
sales, car washes, yard sales, and gaining popularity, the
auction.

The real make break point for the above types of fund
raisers is having the right person in-charge to ensure that
all the details are taken care of and everyone is doing
what they are supposed to be doing.

If no one shows up to the car wash because no one knew
about it, it won't do anyone much good. Nor will the one
pan of brownies at the bake sale.

Organize and communicate.

I know a good amount of people. More pertinently I know
people who know more people than I could ever hope to know.

When faced with the problem of "our schools classical music
program desperately needs instruments" can seem an
insurmountable problem to solve by yourself.

However when you have a network of hundreds of concerned
people it looks more like this.

An email/phone call/mailer goes to your network about the
problem.

Everyone looks in their home and asks people they know for
donations of spare instruments (I actually donated a very
nice classical guitar to a school last year).

Perhaps you find a few instruments in great condition that
have been sitting in closets and garages untouched for 20
years.

You now invite your network and everyone your network knows
to a bowling night fund raiser. You make $20 for everyone
who shows up. 50 people show. There is a $1000 right there
for new instruments.

Next week you get local businesses and people in your
network to donate items of value for an auction. You get
kids to pass out fliers and put up posters around town, put
up announcements in craigslist, your local paper, and of
course make sure everyone in your network knows and that
they are telling everyone else.

The auction is a success raising $3,000.

When you have enough money for the instruments have the
kids study hard and put on a fund raiser concert, charge
$10 and put the money aside. Somehow someone will manage to
lose a tuba.

As you can see, a group can be a powerful thing in regards
to getting things done.

What happens if your school is so strapped for cash and so
over crowded that they cannot afford the fine art teacher
let alone the space for art classes?

And what if there are no reputable private fine art
instruction schools local, or you cannot afford them at
this time?

At this point you have to take matters entirely in your own
hands. However you are not entirely alone!

There are products on the market, that for a low cost, can
still help educate your child in the fine arts.

Here is an example, for a onetime payment of $30 you can
have you child take online violin lessons with Violin
Master Pros.

There are also online lessons and DVD instruction programs
for other musical instruments, writing, drawing, and more.

Any will be far more productive than another evening of
video games or cable TV.

Beware of asking uncle John - who plays the piano - to
teach your child. Just because one knows how to do
something does not mean they know how to teach it!

Bad lessons can very quickly turn your child off to the
arts. Even if your school all of a sudden receives a huge
grant for their art program it won't do much good if your
child is stale on art.

All in all our societies viewpoint must be changed in
regards to how important the arts are to our children and
our future.

It is a proven fact that children do better in standardized
testing when involved in the fine arts. Yet many schools
will cut art and music to focus on getting better scoring
results!

A tiny portion of our defense budget would easily fund art
and music in our schools nationwide.

Many parents have the viewpoint, 'if it is not reading or
arithmetic then what real use is it my child'?

Yet in the top science schools in America all have a
extensive fine art programs in their universities for a
reason. It helps students perform academically!

It is our job as parents, budget cuts or no budget cuts, to
ensure that our children receive the fine art education
that they need.

If we don't do it for our children, who is going to?


----------------------------------------------------
Eric Hines has worked in the field of art for over a decade
as a musician, art dealer and is currently employed by
Mission Renaissance, the world's largest drawing and
painting instruction program in the world. He is currently
taking art classes to learn to draw and paint, very soon he
will be selling his own art work and not just the works of
others. You can visit the Mission Renaissance website at
http://www.thegluckmethod.com

Thursday, April 17, 2008

If Only I Had A Better Camera...

If Only I Had A Better Camera...
"If only I had a better camera, I could take great photos
like these!" That is something I hear every day in my
gallery, and I am sure many photographers hear the same
thing. People walk around a display of professional
photography, and think that it is the camera, not the
photographer, who is responsible for the great photos.

Pride makes it hard to admit that we are just not very good
at something. Photography is no exception: much easier to
blame the camera. The trouble is, if we want to take better
photos, will buying a better camera make that happen?

Of course not.

The truth is, you can take better photos no matter what
sort of camera you have. Digital cameras have become so
advanced that almost all cameras now have aperture and
shutter speed settings, not to mention amazingly powerful
optical zoom lenses. These are features that, until very
recently, were only available on SLR cameras. So if you
want to take better photos, the features are right there in
front of you. All you have to do is take the time to learn
how to use them.

To take better photos, start with the manual that came with
your camera. It will tell you how to operate the major
settings, although it may not be so good at explaining what
they are for. Then find the information you need to
understand how those settings will help you take better
photos. There are courses, workshops, books and ebooks that
will tell you what you need to know.

Make sure the course or ebook you choose is about how to
take better photos. These days, a lot of the information
out there is about fixing your photos on a computer, and
not about taking better photos.

A lot of what you can learn has nothing to do with the
camera. That's right; you can improve your photography
without changing one thing about your camera. My experience
in nature photography has taught me that the way you use
the light to capture your subject makes a huge difference.
The weather and the time of day can affect the light, so
your timing and patience can be the difference between a
snapshot and a great photo.

Developing a good eye for visual balance and composition is
another aspect to taking better photos that has nothing to
do with what sort of camera you have. You can go a long way
towards better photography by learning to think like an
artist, not like a tourist. A good guide to photography
should teach you this important element of photography as
well.

Here are a few simple examples. If you are photographing a
waterfall, try looking at the scene creatively. Perhaps you
can stand back and take a photo that follows the flow of
water upstream, with the waterfall in the background. Or
you could try looking through the branches of a tree, to
frame the subject, rather than just snapping the first and
most obvious angle.

When photographing people and animals, think about the best
way to position them to make a stronger composition.
Instead of putting them in the middle of the photo looking
straight at the camera, try positioning them to one side,
looking in towards the centre of the picture.

These are just a couple of simple ideas to get you
thinking. The point is this: you can take great strides to
becoming a better photographer by concentrating on the
artistic aspects of the craft, rather than just the
technical.

Of course, many things you can do with a compact camera,
you can do even better if you have an SLR camera. However,
buying a better camera is not going to help you take better
photos if you just switch it to automatic and keep taking
snapshots. So here's my tip. Buy the camera you can afford,
then learn how to use it. It's as simple as that. No matter
which camera you have, you can take better photos with a
bit of knowledge, and a bit of practice. If you decide to
upgrade later, so be it, but learning the basics of good
photography will get you a lot further than succumbing to
the "If only I had a better camera" mindset.

Now, if only I had better golf clubs...


----------------------------------------------------
Andrew Goodall has made his living from nature photography
for over 20 years. See his images at
http://www.naturesimage.com.au Andrew's ebooks "Photography
in Plain English" and "Every Picture Tells A Story" have
helped thousands of beginners learn the art and skills of
nature photography. Find them at
http://www.naturesimage.com.au/page/25/default.asp

Strategies to increase your income as a Private Music Teacher

Strategies to increase your income as a Private Music Teacher
Private Music teachers are teachers who teach one
instrument, usually one on one with a student, or in small
groups of students. Often these lessons are in the teachers
or the students homes, or sometimes they are held within a
school situation, often with the student coming out of a
larger class to spend the time with the teacher.

Whether in a private studio or in a school, the financial
arrangement for this kind of teaching involves the parents
paying the teacher directly "per lesson", and it is this
kind of teaching that this article aims to help teachers
increase their income with.

In this article are four strategies for increasing income
as a private music teacher - some of them may not be
suitable for every teacher, but hopefully they will give
you some insights on how private music teachers can improve
their income.

Strategy #1 - Never refund or credit a lesson because its
in the clients best interest

Students miss lessons. It's a fact. People get sick, there
are special sporting events that happen, there are times
when for whatever reason students are going to miss their
music lesson. The fact is that this is unavoidable. What
you can do as a music teacher is have a policy that says
that "lessons are always made-up, they are never refunded
or credited to your account", however the important thing
that is often missed in this is the WHY of that
statement... it should be because it is necessary for the
student's progress on their instrument.

If you use this philosophy you won't ever have to argue
with parents over it - because its in the students
interest, not yours! If you start the arrangement with this
agreement in place you'll find it much easier to enforce it
- the parents will make the effort to make up the lesson
rather than you having to insist on it. If you have
outcomes for the student (such as an assessment or exam) in
place it makes it even easier to make sure that it happens.

You will need to make time to make the lessons up - it
might be necessary to allow one or two days in the holidays
or during non-contact time to do it, but you'll find that
the ability to do this will be worth it in extra income.
Very often the parents will not bother making it up, and
you'll not have to credit or refund any money!

Strategy #2 - Find your Niche and make yourself exclusive
in that Niche

If you have something special about your teaching you'll
find that you'll attract more and better quality students,
and you'll be able to charge more.

For example, lets say you teach the guitar.

If you teach anyone who comes you'll probably end up with
some young children, some high school children, and maybe
one or two adults and you'll have to teach a variety of
styles depending on the type of music that the students
like.

If however..... you start a niche business, specializing in
only one area you'll eventually find that people will seek
you out because you are a specialist, and you'll be able to
charge more for your services and you'll be able to only
take on the students you want.

Examples of a niche business for guitar might be: - A
business that specializes in guitar for young children - A
business that helps adults fulfill their dreams of playing
guitar in a band - A business that specializes in heavy
metal guitar

These are just examples - there are literally thousands of
possibilities, but the niche must be something that
customers actually want, it cant be something that you
think might be good!

Strategy #3 - Increase your retention rate and don't take
on every student

Increasing your retention rate is vital for all businesses
- but particularly for music teachers - where your income
is determined by the number of students you are teaching
multiplied by the dollars that you charge.

If you can cut down on the number of students you lose,
while you simultaneously increase the quality of those
students you'll have a better income, and a more satisfying
teaching career as well.

You should definitely NOT take on any student that is
offered to you. Not every student is going to be right for
you - they often are looking to learn different things to
what you offer, and they might not be as reliable in terms
of paying their fees and attending lessons as your regular
students, so you should always meet and interview
prospective students before you agree to teach them.

By avoiding "problem" students in the first place you'll be
able to spend your time with more productive activities and
better quality students.. and this will increase your
income in the longer term.

Most of the problems with retention can be traced back to
one thing - the students lack motivation because they don't
practice enough. We have various strategies for increasing
retention rate by encouraging practice at the Fun Music
company teachers blog, which you'll find a link to at the
end of this article.

Strategy #4 - Add passive income streams to your business

Teaching income is active income - if you stop teaching the
income stops. That is ok.. because it is like any earned
income. What you should be looking to do is also add
passive income to your business.

Do you write any of your own teaching materials?

If so you are in the perfect position to add passive income
to your income mix. All you have to do is find a way to
publish your materials so that your students and others can
access them. It can be as simple as getting the materials
printed and bound at a copy shop just for your students
only.

Do you on-sell books and music to your students?

If so you may be able to negotiate bulk discounts from
suppliers and then add the full retail cost of the books to
the students account. Parents will appreciate the
convenience of not having to go into a shop to purchase the
books if you put it through your business.

Can you sell leads to other teachers or businesses?

For example students all need to purchase instruments. It
can be hard to negotiate, but if you can get a system going
with a music store that they will actually give you a
monetary commission (or perhaps credit to use in their
store) if you refer your students to purchase their
instruments from their store. This is certainly possible on
the internet, via the use of affiliate programs.

I hope this article has given you some ideas of ways that
you can improve your income as a private music teacher. I
was a private music teacher for over ten years, and I've
used all of these strategies during that time. Private
music teaching should be fun and rewarding, and it gives
you freedom to practice what you love, which is sharing the
joy of music with others.


----------------------------------------------------
Kevin Tuck has worked as a private music teacher, and now
runs The Fun Music Company, an internet publishing company
helping music teachers and authors publish music and
educational materials on the internet. You can find out
more about the Fun Music Company and download heaps of
useful music teaching and business building ideas at the
Fun Music Company teachers blog:
http://www.musicteachersblog.com

Tuesday, April 15, 2008

The Power Of Games in Music Lessons

The Power Of Games in Music Lessons
How our music school grew from 6 to over 200 students in
under two years.

When my wife and I started our music school - everyone
around us thought it could'nt be done. It really hadn't
been done in our home town much and no one we knew had ever
quit their day job as a teacher to go and run their own
music school business. we weighed up the pros and cons of
it all and decided after it all that it was a challenge
that we wanted to pursue. So we went ahead and before we
knew it we leased a commercial premise, found ourselves a
program and we were on our first opening day ready a raring
to go!

Our first term was tough - we enrolled thirty students and
half of them quit within a few weeks. We coudn't work it
out - here we were fully established, credible teachers and
it wasn't working. What were we doing wrong?

We could no longer think the same as we previously did in
working in schools and operate the same teaching methods
because they were not working. Something we were doing was
not right and we had to find out what it was quickly.

We talked to our six families that we had on board and any
families which came through our doors. We asked them all
the one simple question: "What is it that you would like to
get out of have music lessons for your child?"

With this question we found out some very important
information. Because our parents were doing this in their
free time with their children, it had to be FUN. A parent
didn't want to pay for lessons if it was all too hard or if
their child didn't enjoy it and they definitely didn't want
to bring their children because it was good for them.

The other observation we made was that if a parent enjoyed
lessons, then their child would as well. The parent didn't
even have to be in the room, but when a parent asked their
child how their day was and what happened in music, if
their child was excited about it, it would in turn make the
parent excited as well. It had to be fun for both child and
parent.

With this information, we started implementing different
ideas. The children would tell us that they enjoyed playing
games and so we took this to the next level. In fact
everything in our music sessions became a game of some
description.

Teachers never had a chance to sit down in our school -
they were too busy having fun and playing games. Notes
would be learnt with stories and note races, kids would be
running up to the piano with special cues, games were
played learning pieces - even aural activities were a game.

In general the place became a bustling games area! .... And
the other thing that started happening was that we were
suddenly growing out of control. We only had a small music
school premises, but suddenly there was no room left in the
car park, in the hallways and parents wanted to start
learning in this method as well in our lunch hour!....many
had told us that MUSIC HAD NEVER BEEN SO MUCH FUN! On top
of this, our older students started achieving the highest
exam results we had ever seen...

So what changed?

All we did was come up with strategies in playing games.
Basically we came up with literally thousands of games
ideas and on a lesson to lesson basis and for two years we
tested them, made them work and we taught them to our staff
members and students. The spin off effect was that students
started remembering more...and therefore achieved higher
grades. In essence this is what the FUN music company is
about. We no longer have time to teach anymore because we
are too busy packaging the ideas we have been using in our
years as music teachers. It is impossible to be a teacher
and to keep coming up with more and more ideas without an
end in sight.

So now we are ready to share these ideas with others.. so
that they don't need to be spending years getting it right.
Our passion is to make music learning fun and easy for
everyone at the click of a button - not just for those in
our home town, but to share it around the world and
increase the enjoyment of music for everyone.


----------------------------------------------------
Kevin Tuck is a music teacher and entreprenuer, and
together with his wife Janice provide the vision and
passion behind the Fun Music Company, who run several
websites to help teachers and parents make music learning
fun. You can learn more about the games available from The
Fun Music Company by visiting
http://www.printablemusicgames.net

How to Take Care of Your Voice and Improve its Quality

How to Take Care of Your Voice and Improve its Quality
If you are a singer, you may have heard about things that
can cause your vocal quality to deteriorate. Voice fatigue
is a major problem for many professional singers. You
might find your voice feeling dry or tired often. You may
get sore throats on a regular basis. Vocal fatigue can be
caused by several things, so it is important, if you plan
to sing often, that you are very careful to take care of
your voice properly.

If you suffer from heartburn or acid reflux, you are at
even more risk for reduced vocal quality. As a singer, you
may be aware that your larynx is, after all, vital, and
gastro-laryngeal and gastro-esophageal acid reflux can
damage your esophagus, larynx and vocal chords over time.
Not to mention the other health problems that constant
reflux can create.

Chronic acid reflux disease can cause you to have halitosis
(incurable bad breath), a bitter taste in your mouth, a
sore throat or a dry mouth. You might also feel like you
have a lump in your throat, excessive amounts of phlegm and
feeling like you need to clear your throat on a constant
basis. As if that weren't enough, it can even cause you to
lose sleep because of discomfort in your throat and
coughing when you are sleeping. So, if you want to protect
your vocal quality and take good care of your voice, you
should see a doctor at the first signs of a serious reflux
problem. Your vocal chords will thank you for it in the
long run.

Also, sopranos who speak in a low voice may be at risk for
singers' dysphonia (difficulty producing vocal sounds).
Research indicates that speaking in a low voice and singing
in a high voice can cause vocal problems. Major changes in
pitch like that can affect sub-glottal air pressure, which
is the air pressure that builds up below the vocal chords.
In turn, that can affect the ability to produce a desired
pitch.

Sopranos whose natural speaking voices are quite low
compared to their singing voices are sometimes concerned
that this disparity may be harmful to their singing
careers. Some of these singers are right to be concerned,
for singing/speaking pitch disparity may contribute to
voice problems. Such major changes can put serious strain
on the voice because more effort is needed to control the
muscles around the larynx and vocal chords.

Sometimes, the speaking pitch of a soprano is affected by
age. Most mezzo-sopranos speak in a range between 230 and
262 Hz. However, those who speak in low pitches tend to
speak at around 224 Hz when they are young, 218 Hz when
they reach middle age and 214 Hz when they get older.

Another thing that can affect vocal quality, believe it or
not, is a woman's premenstrual period.

If you have any trouble with any of those things, you may
want to talk to a voice coach or voice pathologist. They
can tell you how to protect your vocal chords and take care
of your voice. That way you can keep your voice quality
intact for years to come.


----------------------------------------------------
Find out more at http://www.singinglikepro.com

Monday, April 14, 2008

14 Duke Ellington Quotes to Celebrate The Birth of a Music Master

14 Duke Ellington Quotes to Celebrate The Birth of a Music Master
Calling all jazz fans -- it's time to prepare yourself for
some fabulous Duke Ellington quotes. This legend's music
transcends genres and generations and it's only fitting
that we remember him on the anniversary of his birth. Here
are 14 quotes to remember him by.

1. "A problem is a chance for you to do your best."

2. "Critics have their purposes, and they're supposed to do
what they do, but sometimes they get a little carried away
with what they think someone should have done, rather than
concerning themselves with what they did."

3. "There are two kinds of worries -- those you can do
something about and those you can't. Don't spend any time
on the latter."

4. "By and large, jazz has always been like the kind of a
man you wouldn't want your daughter to associate with."

5. "My mother told me I was blessed, and I have always
taken her word for it. Being born of -- or reincarnated
from -- royalty is nothing like being blessed. Royalty is
inherited from another human being; blessedness comes from
God."

6. "I merely took the energy it takes to pout and wrote
some blues."

7. "Gray skies are just clouds passing over."

8. "It is becoming increasingly difficult to decide where
jazz starts or where it stops, where Tin Pan Alley begins
and jazz ends, or even where the borderline lies between
between classical music and jazz. I feel there is no
boundary line."

9. "Music is my mistress and she plays second fiddle to no
one."

10. "Love is indescribable and unconditional. I could tell
you a thousand things that it is not, but not one that it
is. Either you have it or you haven't; there's no proof of
it."

11. "Roaming through the jungle of 'oohs' and 'ahs',
searching for a more agreeable noise, I live a life of
primitivity with the mind of a child and an unquenchable
thirst for sharps and flats."

12. "The wise musicians are those who play what they can
master."

13. "There is hardly any money interest in art, and music
will be there when money is gone."

14. "It don't mean a thing if it ain't got that swing."

The life of Duke Ellington is truly an inspirational
success story. A man who was born with a talent and put
that talent to good use, Duke Ellington left us with music
that is enjoyed by many generations. As we remember him on
the date of his birth, let's reflect on his essence with
these 14 Duke Ellington quotes.


----------------------------------------------------
For more music quotes, check out the popular music quotes
at Famous-Quotes-And-Quotations.com, a website that
specializes in 'Top 10' lists of quotations in dozens of
categories.
http://www.famous-quotes-and-quotations.com/music-quote.html

Friday, April 11, 2008

Sweet Sounds Of An Acoustic Blues Guitar

Sweet Sounds Of An Acoustic Blues Guitar
One day many years ago Bob Dylan walked on stage and played
an electric guitar for the first time ever live to an
audience. It made the front page of all of the big papers
and it wound up being quite a story. So what was the big
deal? Bob Dylan used to play an acoustic guitar and many
folk music fans felt that the electric guitar was a tool of
loud and obnoxious rock music. But Dylan didn't care and
went on to revolutionize the world of music by simply
plugging in and playing an electric guitar.

Blues music is a little different. Blues music got started
with acoustic blues guitar but once the old blues musicians
got a listen to that electric guitar the acoustic blues
guitar was left in the dust. It is kind of a shame because
some of the best blues music is the early stuff played on
acoustic blues guitar.

Back in Chicago in the 1930's or so there was a movement
that was growing. Many of the blues musicians that had
played their time in the Mississippi delta area were now
bringing their brand of acoustic blues guitar music to
Chicago and it was met with enthusiasm. Muddy Waters and
Son House were huge stars in Chicago and they would play
that acoustic blues guitar until people were just going
wild.

Then along came musicians like Howling Wolf who put aside
the acoustic blues guitar and picked up the electric guitar
and soon the days of the acoustic blues guitar were
numbered. Wolf and other artists started recording classic
acoustic blues guitar hits on electric guitars and that was
the music that got out to the people. Soon Son House and
the others were relics and Robert Johnson and that famous
picture of him and his acoustic blues guitar became
treasured pieces of the past.

Jimi Brought It Back For A Little While

For many years the electric guitar ruled the blues world
and then Jimi Hendrix decided to record a short movie of
himself playing an acoustic blues guitar and for just a
little while we got to hear as close to the modern
equivalent of those old classics that we will hear. As Jimi
fired through Here My Train A Comin' it was just like being
on the delta near the turn of the century when Robert
Johnson would travel from small bar to small bar just to
make a living playing his guitar. It was a great time that
is lost forever.

The acoustic guitar gets its due once in a while on blues
and rock records but it will never be a main instrument
like it used to be all of those years ago. The sound can
never be mistaken and the music played on it was right from
the heart and we will never hear music played like that
ever again.


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