Archive for July, 2006

Disc Jockeys Can’t Become Voiceover Artists

Or, can they? The answer is quite simple. Of course they can. I did. And, I’m also still working in radio and have been for 30 years. However, there are some caveats to consider.

If you’ve been working in radio for, say, more than 2 years you’ve been trained to deliver your voice in a very narrow range of both style and interpretation by the powers that be. Many of those “powers” you never even see. I’m speaking of consultants. They provide station composite and daypart critiques to general managers and program directors and, in today’s radio world, these G.M.’s and P.D.’s direct you according to those parameters. I have plenty of opinions about consultants, but that’s for another article. The point is, there is a method to their madness. Reasons do exist that render radio broadcast stations to sound “cookie-cutter” throughout the land. So, you’re boxed into this narrow niche which often doesn’t allow your true talent to shine through.

After much practice at executing this delivery that’s mandated to you and attempting to find and infuse your own personality within these parameters, you develop what I call a “single style”. It’s bound to spill over into your daily production. And, this makes matters even worse. You become a “one-trick pony”. So, if you decide to branch out into the related field of voice acting, you’ll need to step outside that comfort zone because agents, producers, casting directors and clients use hired voices specifically to avoid hearing another “stock” commercial.

So, you ask, how do I break the D. J. delivery habit? For some, this will be simple. For others, it can be very difficult indeed.

The answer depends upon how you perceive yourself and your abilities and how willing you are to work hard (at least at first) to stretch your performing muscles. While I’m about to make a few suggestions in answer to that question, these are, by NO means, the entire list. However, what follows should at least point you in the right direction. I know you have the ability. You’re already a broadcaster. What I don’t know is if you have the drive. Only YOU know!

You may begin by choosing a voiceover artist you admire, then emulate them. CAUTION: Do not attempt to imitate them or their personality. Discover, by listening closely, what characteristics you admire about them. Then, find those characteristics in yourself that will help you stand out from the crowd. The traits within you that define YOUR personality. You cannot BE your mentor voiceover artist. I assure you the best way is simply be yourself!

Maybe you’ll need or want to take acting lessons. Yes, you will have to pay for this service. But, if you find the right instructor it will be money well-spent. Research this heavily before plopping down your hard-earned cash. Many resources are available to you. And, many of these instructors offer distance-learning. However, the best way to learn this in my humble opinion is to be there. To actually act out scenes with others, etc. Ask any actors you know to recommend someone and ask them why they recommend them. You also have access to the internet. Use it! There are bulletin boards, newsgroups and forums where you can find all kinds of voiceover information.

Stretch - stretch - stretch. Make yourself interpret copy in various personnae. Own it and make it your own!

So, are you a disc jockey or a voiceover artist? How about both!

Doc Phillips has been providing voice work in one way or another for 30 years. He is also an internet entrepreneur who hosts and manages several sites. He built, maintains and “markets” his website, docphillips.com docphillips.com and is a Gold member on Commericals Voices-dot-com.

Homer Simpson Sure Knows His Marketing

If there’s one thing Homer Simpson knows, (let’s face it, he doesn’t know much!),
then it’s how to promote a movie.
Two great examples, one offline, and one online have done a great job…

With the Simpsons movie set to hit cinemas this summer, the marketing machine has gone into full flow.
You wouldn’t have thought something like The Simpsons would need much marketing, but I guess the trick is to persuade fans to actually go to the cinema to watch it.

Firstly offline, in Dorset in England there is a huge chalk man on the side of a hill.
Naked, sexually aroused and brandishing a club, it has long been considered an important fertility symbol…

Can you imagine the fuss then, when a 180ft chalk Homer suddenly appeared next to it?
In his underpants and brandishing a doughnut, no-one could be left in any doubt that something was afoot in Simpson land!

It made news stories around the world, and whatever was needed to get permission for *that* stunt, it must be worth it!

Then online, there is a site which allows you to submit your photo, and get it returned to you looking like a Simpsons character.
You can make all sorts of changes to it.
All it needed was for some of these ’simpsonize me’ pictures to appear on a social networking site like myspace, and suddenly everyone wants one!

Of course the only place to get it is at this site which promotes the movie!

Brilliant!
Both of these methods have a head start, because they are using a brand, the Simpsons, which already had a massive following, so will always attract interest, but nevertheless they are great examples of using good old fashioned marketing to promote a film.

The movie will no doubt make millions, which after all is the point of any movie, despite what anyone tells you otherwise!

Gordon Bryan is the author of ‘Make Money From Movies,’ a guide where he takes you through the single technique he uses again and again to profit from any movie! Find out more at:
gordonbryan.com/makemoneyfrommovies gordonbryan.com/makemoneyfrommovies

Online Casinos - How To Find The Best Casinos

There are so many online casinos that its almost impossible to decide which one is best for you. Which online casino is the best? Which one is best suited to your needs? If you are not very picky, then your selection criteria will not be as large, and picking an online casino will be fairly easy. If you demand only the best online casinos, then follow the tips in this article.

Great online casinos have the following features

1) A big welcome bonus

Some casinos will offer you a 100% bonus just for playing with them. How many land based casinos would do that for you? Probably none!

2) Offer a wide variety of games

Generally all online casinos will have a huge variety of casino games. If they do not, then don’t bother gambling with them.

3) Look professional

If a website looks professional, more than likely, it is a good quality website. If it looks dull, or unprofessional, move onto another casino that is more professional.

4) Accept players from your country/state

A lot of casinos are not accepting US players. However, some are accepting US players. Does your country/state allow Internet gambling? Check out the terms and conditions of the online casino in question. Find out before you place a potentially illegal bet/s, and get into trouble.

5) Support multiple languages

Are you French? Do you prefer to read German language whilst betting? A lot of online casinos support multiple languages; which is very handy if English is not your strong point.

Most online casinos are pretty safe and reliable these days, and offer most/all of the above features. They offer a realistic gambling experience in the comfort and privacy of your own home. How many casinos will allow you to win money whilst wearing your bath robe? What game would you like to play? How would you like to pay? Do the terms and conditions sound okay? Does the online casino look professional? If the online casino in question has all of those features, or has all the features you are looking for, then its probably the online casino for you.

gambleriches.com/ Online Casinos - How To Find The Best Casinos is the property of gambleriches.com/ US player casinos. If you wish to add this article to your website, you must also also include this section.

Growing Carnations from Cuttings

Currently carnations are among the most popular flowers of florists, but many people are unaware how easy it is to grow them in an outdoor garden. They include two varieties, the outdoor garden variety and the indoor forcing variety. The carnation is usually a perennial, meaning that it blooms again each year without replanting for more than two flowering seasons. The garden variety is usually treated like an annual, and though the forcing variety only flowers once, growing new carnations from cuttings allows them to continue to flower each year.

Marguerite, or garden carnations flower in the same year you sow the seed. If you make sure to provide slight protection from the elements, it will bloom freely a second year. If you pot carnations in the autumn, they make beautiful plants for inside your house. You need to sow the seeds in boxes in March and set the young plants outside as early as possible, pinching out the center of the plant so that they will be able to branch freely. In the summer the plants are grown outside rather than in pots, thus they are transplanted from the cutting-box. You should plant them in moderately rich and loose soil and give them clean cultivation throughout the summer. Be sure to frequently pinch out the tops.

The best way to grow carnations from cuttings is from the suckers that form around the stem’s base, the side shoots of the flowering steam, or the main shoots before any flower buds begin to show. In most cases, the cuttings from the base make the best plants. You can take carnation cuttings from a plant any time during the autumn or winter, root it in sand and pot it until it’s time to put it outside in the spring. You must be sure to pinch out the tops of the young plants both while they are growing in the pot and when you put them in the ground to allow them to grow stock and sprout new growths along the stem. The young plants should be grown in a cool climate, with a temperature of around 45„a being quite suitable. It’s also important to spray the cuttings daily to prevent infestation by the red spider, which is quite attracted to carnations.

Sue Wyatt-James owns and operates carnation-flowers.com www.carnation-flowers.com

Friendship

There is a Friend

That sticks closer than a brother

There is a Friend

That even knows you

Better than your mother

There is a Friend

That continually wants

To be near you

Though He does not smother

He is a perfect gentleman

He does not come

Without invitation

He is not impressed

By thrills and accomplishments

Yet He rejoices

In your God-given ability

His agenda is love

Which He wants you

To see and experience happily

As He turns misery into victory

His anchor is thrown

Extending throughout eternity

Even throughout

The beginning of the ages

His wisdom surely outweighs

All of the sages

His power cannot be confined

Merely by books and pages

His love is more costly

Than the highest wages

His blessing of friendship

Is extended to all

Whosoever will

Can freely call

He has drawn near to humanity

By sending Jesus His Son

But unto Him

Humanity must now come

Because no other friendship

Is more fun

Satisfying and illuminating

Like the sun

With Him your face will shine

All of the time

Even when there is

No reason or rhyme

It is a spirit thing my friend

I’ve experienced it

In my own life

From beginning to end

My divine Friend

He never disappoints

He happily reappoints

Shakes and awakes

Reestablishes

Realigns

Renews

Just in the nick of time

So draw near to God

See what you will find

No other friendship

Brings such pleasure

He gives His Spirit

Without measure

Get drunk in the Holy Ghost

There is no high

Like the most high

Hook up with God on the double

I say your soul

Needs not to be in trouble

Run and jump

Into your heavenly Father’s arms

His loving friendship

Silences every alarm

Comforts and heals

Lifts and liberates

This Friend

Will love you until the end

Wholeheartedly and unconditionally

Lift up your eyes

Befriend Him and see!

Paul Davis is a life coach (relational & professional), traveling minister and fitness trainer. Paul is the author of several books including Breakthrough for a Broken Heart; Stop Lusting; and God vs. Religion.

Paul is a popular worldwide keynote speaker, creative consultant, humor being, explorer, mediator, minister, liberator and dream-maker.

Paul’s compassion for people & passion to travel has taken him to over 50 countries of the world where he has had a tremendous impact. Paul has also brought revival to many in war-torn, impoverished and tsunami stricken regions of the earth. His nonprofit organization Dream-Maker Ministries is building dreams and breaking limitations.

Paul’s Breakthrough Seminars inspire, revive, awaken, impregnate with purpose, impart the fire of desire, catapult people into a new level of self-awareness, facilitate destiny discovery and dream fulfillment.

Contact Paul to minister, speak at your event or for life coaching: mailto:RevivingNations@yahoo.com RevivingNations@yahoo.com 407-967-7553.

For additional info: DreamMakerMinistries.com DreamMakerMinistries.com, CreativeCommunications.TV CreativeCommunications.TV

Theory Of The Nude In Art

My friends and family often ask me why so many artists paint (as they say) “naked people”. Some think that the nude is only pornography, while others just think that it’s out-dated in the art world. Most artists will tell you something along the lines of “we don’t see them as ‘naked’ we just see beauty”. Though this may be true, it doesn’t answer our question. As a classically trained artist myself I have a theory on why people make art using the nude. I think the first step in understanding the nude in art is to understand why people made them in the past, and why they continue to make them.

There are three basic categories of nudes, which are not necessarily mutually exclusive (sometimes they overlap):

The Ideal Nude: Originating with the Greeks, the ideal nude is just a concept really, the basis of which was most clearly explained by Plato. He stated that within all things there is a universal and divine “form” that defines it. For example: if you look at 100 trees, each individual tree will look different, yet they are all similar enough to categorize them as trees. What is the sameness or underlying quality of the tree which makes it a tree? This thing, this sameness, Plato called form. Greek artists took this idea and tried to find the ideal form of the human body. They used shapes in the human body, much like a musician would use musical notes to form a chord. The idea was to create a harmony through repetition and variation of certain visual elements of the body. Excellent examples of this are, of course, classical Greek and Roman sculpture, Leonardo da Vinci (who also could be mentioned in all of these categories for different works), Donatello, Rafael, and the Neo-classicists of the 19th century.

The Observed Nude: Originating in the Fayum portraits of ancient Greece in a technique of painting called Encaustic, which uses wax as a medium for pigment instead of oil or water. The main purpose of this originated in portraiture and was all about trying to capture the individual’s personality and particular appearance. Great examples of this can be found in the paintings of Rembrandt, John Singer Sargent, and ancient Roman portrait busts.

The Expressive Nude: This form is intended to do just what the name implies. The nude is used here as the main vehicle for the artist’s expression, usually with emotive, and in the case of the Renaissance, devotional purposes. Great examples would be the work of Michelangelo (who could be classified under ideal nude as well) and most of the artists of the modern period: Rodin, Picasso, Matisse, Kathe Kollwitz, Edvard Munch, and Paul Gauguin etc…

I would like to rephrase our original question in the interest of brevity and to be more specific. “Why is it that the most recurring subject in all of art history by far is the human face and body?” Modern scientific research also gives us a clue to the reasons behind our question. The human face and the human body are psychologically stimulating to the mind. Our brains are actually hard wired to recognize human form. Take, for example, a chimpanzee. If you look at three different chimps for 5 seconds, would you be able to tell them apart as individuals? Now if you look at three human faces for 5 seconds, I bet your success rate will be much greater. But a chimp can recognize and differentiate between other chimps much easier, just as you can recognize a human face much easier.

You might say, Ok I understand why we look at faces, that makes sense, but why nude? Well there are multiple reasons. First (and least important to me) is tradition. There is a long tradition predating even the Egyptians of recreating the human body. So, as a method of teaching art, there are lots of people who have done it before and so there are a lot of excellent techniques and examples for artistic training that have been developed which apply to other forms of art as well. Second, it is a test of skill. If one can make a believable representation of something that we are so familiar with, then everything else is a piece of cake. If I paint a chimpanzee you would be less critical of whether it looks real or not than a human face, simply because most of us don’t see chimps every day for our entire lives. Some artists get caught up in this challenge for perfection and are never satisfied with their degree of skill, (I know I never am) and so continue to pursue impossible perfection even though most people might not see the minute faults of the work which the artist does. –The next passage includes much of my opinion on the subject and is not intended to force my views on anyone, but merely to share another point of view.

Third, (and most importantly to me) the nude, when I choose to paint it, is representative of something more than observation. My works are meant to evoke complex emotions or thoughts in the viewer, and are not meant to be decorative, though beauty is important to me. Since nudity is not often seen in normal everyday settings, it implies that there is something more to the interpretation. It makes the piece more intimate. For me, art is about conveying the complexity of life; its joy and its sorrow. If I paint a nude with a certain degree of sexuality implied, it is to communicate the dual nature of every human being. All of us, from the most pious, to the most base, from the greatest ideals of compassion and love, to fear and jealousy; we are all torn between what we are and what we wish to be. We all have some desire to do or see something greater than what is before us, and we all struggle with the desire for immediate pleasure. It is this tension between our animal and divine sides that I attempt to evoke; and in doing so, perhaps to help myself and others understand a little bit more about being human.

Richard Scott is a figurative artist in Brooklyn, NY. He holds an MFA from the distinguished New York Academy of Art, and is an emerging artistic force in the art world. He is also a noteworthy art theorist, and writes peer selected reviews on art theory, criticism, and literature. His work can be viewed online in the Joelle-Scott Gallery: memoreejoelle.org memoreejoelle.org

Box Office Flops - More Than Meets the Eye?

There’s something oddly satisfying about seeing a big-budget movie flop. Whenever we hear about these ambitious, special effects-laden extravaganzas going down in flames we get an odd feeling of schadenfreude.

But why is this? Does it stem from the fact that we feel manipulated, almost exploited, by the movie industry? Perhaps. After all, movie studios make a lot of coin from tweaking our emotions, be it through adrenaline-filled action films or mawkishly tear-jerking weepies.

Perhaps the best reason for our guilty pleasure at seeing a big-budget movie flop is the fact that we feel like we won a battle. We caught Hollywood trying to pull a fast one by releasing a bad movie and trying to hype it anyway — and we weren’t fooled. Gotcha. Better luck next time.

That’s all well and good, but there have been many excellent movies throughout the years that, for whatever reason, failed to make it big at the box office. Hey, just because a movie didn’t make a lot of money on its release doesn’t make it bad — after all, Citizen Kane barely made enough to cover the cost of a wooden sled on its original release. It wasn’t until its re-release and television syndication that it became perhaps the most critically acclaimed movie of all time.

So, here’s a look at two movies that didn’t live up to expectations on their release, but later went on to disprove the critics:

Fight Club

Despite eventually becoming an enormous cult hit, Fight Club performed poorly on its release. With a budget of $63 million it took just $37 million at the US box office. On its release the movie drew mixed critical reactions, partly due to its violent nature. One high profile critic described it as “a film without a single redeeming quality, which may have to find its audience in Hell”, and the flop cost the Entertainment Chief of 20th Century Fox his job.

Despite a tepid reception, Fight Club went on to turn a small profit at the global box office before exploding in popularity in the DVD market, becoming one of the best-loved films of the 90s. Today you’d be hard pressed to find a young man’s DVD collection that didn’t boast a Fight Club DVD.

Shawshank Redemption

One of the most well known box office flops of recent years, The Shawshank Redemption, based on a Steven King novella, came up against the might of Forrest Gump at the box office. Audiences preferred Hanks’ feel good vehicle over this depressing prison drama and, although Shawshank garnered 7 Oscar nominations, the box office take was pathetic.

This all changed once the movie was released on video. Bolstered by the Oscar endorsements Shawshank became the most rented video of 1995, going on to become our 2nd favorite movie of all time according to an Internet Movie Database poll.

The moral of the story, it seems, is that you should probably think twice before dismissing a movie based on its box office success. Movies are always at their most enjoyable when seen on the big screen, so you shouldn’t miss out on the chance to see them as they were meant to be seen simply because the audiences can’t tell a Hollywood gem from fools gold. After all, these are the same people who made Ernest Goes to Jail the number one movie in its opening week. Would you trust them?

From box office flops to elitemoviedownloads.com/articles/blockbuster_film.asp blockbuster films, James Shenton is a movie expert and industry analyst from New York, specializing in picking the hits from the misses.

For more movie articles, and to learn how to elitemoviedownloads.com download movie blockbusters, please make a trip to elitemoviedownloads.com EliteMovieDownloads.com.

Paris Hilton Or The Nightlife At Its Best

Paris Hilton is well-known as Hollywood’s number one party girl. She is not number one because she is the best but because she devotes most of her time shopping and partying all night long.

Paris Hilton was born rich by her mother’s marriage to Richard Hilton, a member of the rich hotel chain Hilton. Paris was basically raised as a spoiled child being thought by her parents that other people are there to serve her and that she should snob poor people.

Paris Hilton has contributed a little to our modern culture by her short careers as a model, actress or signer. She did not pursue any of those avenues as her success and talent have turned out unremarkable. Paris Hilton is famous for her night partying and has a crowd of followers wherever she goes. She is famous for drinking until the crack of dawn and seldom offers to pay her drinks and is known for being stingy when the time comes to tipping the people who served her all night long.

Why does she have such a big crowd of followers for her nightlife then? It is easy to see that the people who follow Paris Hilton in her nightlife are more interested in getting free drinks, great publicity and the privilege of passing in front of the waiting crowds as they are with Paris.

Living such an active nightlife for Paris Hilton has recently brought its token. Hence, Paris Hilton was sentenced to jail for driving with a suspended license after driving under the influence of alcohol. If Paris Hilton was wise she would make good use of her chauffeur service next time she goes out to party all night long.

For more information on Paris Hilton please go to:
loveorhateparishilton.com/ loveorhateparishilton.com/
parishiltononlyfanclub.com/ parishiltononlyfanclub.com/
drnathaliefiset.com drnathaliefiset.com

Perhaps It’s Love (Chapter 25 thru 28: Dancing and Demise)

25
Dancing and Demise

In the days that followed, Tasma felt like hiding in corners when she saw Jill or Johnny nearby, but Tommy turned out to be an excellent friend, and listener, as to keep her company. During this period, Johnny and Jill settled down at night by the TV in the living room and drank beer and ate potato chips, popcorn, etcetera, as Tasma called them: the Coke days in her diary, for she drank a lot of coke. The problem was, as Tasma had seen it, if Jill didn’t drink with Johnny at home, he’d go out and drink. And she didn’t want to go to the bar anymore than what she had to; plus the gang was still looking for him; not looking hard, but looking, so it was a do-win situation, so she remained his drinking partner.

All in all, it came to be, Tasma and Tommy spent more time talking than Jill and Tasma; her shyness seemed to fade with him, as herself-confidence matured and blossomed like a rose. It was during these dozen or so days they started to play music together and dance in each others rooms; it was almost becoming routine. On a different note, during these same days, Johnny give the impression to be missing something, he was kind of wishy-washy. Tommy got to thinking, and expressing to Tasma he felt Johnny and Jill’s relationship was based on some mindless pride, or maybe they were just proud idiots. Tasma did not take his side she knew he was hurt, what man wouldn’t be after being cheated out of what he might think was his possessions, as men often do think.

—Johnny, hated Jill’s clinging on to him, but he accepted it with disquieting placidity. He didn’t mind pleasing, but hated responsibility. The child would simply be an interruption for him, an uncomfortable one at that. To be quite honest, Jill was not all that, entirely happy about her being with child. By all accounts, her child would be due the first week of November, she figured she got pregnant the first of March, and some five weeks now had passed.

Spring, l968

The days had clotted by, into weeks, then months and it would be not long before a year would be under Tasma’s belt for being gone. Spring had arrived. During this time, the following weeks of spring, Tasma continued doing some light housekeeping for Jill and the Belmont’s. Although Tasma’s life was not so hard, Jill’s in many ways being harder, yet it was difficult for her to repeat it by moving back home to Minnesota. And the longer she was gone, the more this became written in stone for her salvation; as she saw it anyway, and everything was changing, or had changed, and the gap widen between Minnesota and Seattle.

If anything moved these four young adults, it was youth and gravity, with crying hearts. All in their own way had a rigid appetite for life’s recklessness, surprises, emotional roller coaster, and sweets.

26
Drinking and Playing

And so Johnny and Jill drank theses days away watching TV, going to the bar, working, as Tommy and Tasma become better friends with playing records and dancing.

As Tasma was dancing with Tommy in her room, a Friday evening, she started to notice the rise and fall of his heart, its vibration, its beat; it was like a baritone at times and a fast beating drum; it lasted as long as she danced with him. She put Tommy’s hand on her heart, “Do you feel my heart beating fast, “she asked. Tommy unable to talk, his hand seemingly was paralyzed in-between her breasts, partly on the lower portion of her right breast.

[Finally he choked out] “Can’t say I can;” for some anomalous reason he felt there should be shame in his face, but there wasn’t any: as they say, ‘A face without blood,’ but I say again, he didn’t feel that way. Tasma had on an Elvis tune, “Love me Tender,” and it was playing over and over. Tommy’s hand felt her thin waist and hips, as if she was a ship, slowly moving them only inches in each direction. Tasma at the present was feeling a little strange, she wanted to tell Tommy to stop ironing her dress with his hands, but couldn’t figure on how to tell him to move them, she was speechless for the moment.

Suddenly Tommy said, “Let’s go for a walk, alright?”

“Yes, yes,” she babbled out in a free immolating manner.

The cool dark air seemed enchanting as they walked down the sidewalk by the many houses and trees on the boulevards. She broke into a silence as they walked past doors and streets and cars. She picked a top of a splinter from a support wall to a yard and put it in her mouth, her mother used to do that. Then with the splinter in her mouth she continued to walk the dark street. Tasma wanted to tell Tommy she was a little scared of walking in the dark like this, she would have liked to indicate this; although she liked the fresh and coolness of the night; but he suddenly turned around and they headed back as if he could read her emotions in the silence.

“I’ll be fine,” said Tasma, as Tommy looked at her, leaving her at her bedroom door.

“Of course you will,” she said with a smile, as he stood staring at her. Having said that, she moved her hands lightly over his shoulders, delightful that he had once seen her naked now, and no one else; these were all new feelings for her. As they stood there a moment longer, Jill’s cigarette smoke drifted up to her from the living room and made her cough a bit, distracting their gaze into each other’s eyes.

His gentile voice said something, but she didn’t make it out, her pulse was activated and she didn’t know why, and well, she pulled him to her mid-body section, against her body tightly, she felt something hard against her thigh, slightly astonished by what she felt and thinking to herself she looked down: “Oh well—(eyes wide open) it’s only you,” she felt it must be alright and now rested into and onto his shoulder area, she completely forgot the hardness upon her thigh, somehow the feeling was good. Her frock was a thick white; Tommy could see her long thin legs through it.

It was a good finish for a long day and night thought Tommy as he walked a ting awkward back to his room. For Tasma it was a trying day, she was mentally and physically worn out. They both fell into bed like a sack of potatoes, and dreamt of one another.

Sleeping

Tasma, tried to sleep, but in such cases like love, or so she was feeling she was in such a stage, a comatose state of love, or that it could be such a juncture, one has to departmentalize such things she computerized. Sort them out, kind of, and that is what she was doing, tossing and turning now in bed. [She thought]: ‘Tommy is trying to be nice to me, not out of feeling sorry for me, for he is, or seems to be emotionally attached, what I would want, but I don’t want my character broken, or running wild over some emotionally healing kick because of his loss with Jill, I don’t want a rebound; I want to keep my respect.’

In a way she found Tommy much like her, in regards to they both could be considered: separated from the herd and they both knew this. And night demanded less from each other, other than respect, fun and conversation, companionship, friendship. With Jill and Johnny, it was just Johnny who was not as much involved emotionally with Jill, for she was crazy about him. All of them wanted most of what life had to offer, in one way or another.

27

Le Coup de Foudre
[Love at first Sight]

Tommy was now writing everyday between seven-hundred and two-thousand words a day; and working at the bar still; he had finished up his schooling completely, so that was out of the way (although he’d have to take an internship in the near future). Tasma notice his profound love for the word, and his endless energy he put into everything; it reminded her of F. Scott Fitzgerald who lived not far from her uncle’s home in St. Paul, Minnesota, at 599 Summit Ave. She especially liked his short stories in the book called, “Floppers and Philosophers,” they were most entertaining. She remembered that his family had provided him with a room to write his stories in, in particular, “This Side of Paradise,” which was his first book, and some say his most promising. This of course, allowed him the quiet time he needed to do his story, and to get involved with it. She kind of felt like Zelda, his wife, she had to do the same, or would like to do the same for Tommy; yet she recalled, Zelda was a little ill and demanding if not demented, so she took Zelda’s body, and his mother’s kind interest, and pretended she was a part of them in Tommy’s writing career. She knew that at first glance, when she had met him in the bar upon arrival, she liked him, and even more when he was introduced to her as Jill’s boyfriend. Oh she questioned his loyalty and intentions, but it was, ‘love at first sight,’ so she felt now.

She then turned her thoughts to her diary, and how it was getting along as Tommy was finishing up a draft to his book in the living room.

“I got to send it off to some publishers tomorrow,” he said with satisfaction. On another matter as she sat in the armchair, she was not cupid’s daughter she told herself, nor a mischievous mortal like Jill, yet her human nature was working overtime with her youth and it would seem to a lesser degree she was being—or had been—smitten, had been I think was more the truth of the matter.

This new experience of love for Tasma was a new and biological one, with a drive that filtered into ‘the lust,’ area so she claimed to herself, her second-self. She was now, somehow feeling it was ok to go ahead, so she told her second-self within her body; she was not in the hunt for mate in particular, she didn’t think so anyhow, but her focus and energy was going in that direction (toward Tommy), nonetheless; her neurological, and endorphin level was for sure—and they were high.

She was asking herself, ‘…was this the inside stage of what people call romantic love?’ love inside her body, ‘Le Coup de Foudre [love at first sight]’ as she told herself (feeling as though a lightening bold had struck her; with a delayed reaction); some people call it, ‘love sickness,’ although I’d call Jill’s more into that category than Tasma’s, now that I think of it; and Tasma’s more at finding out she was struck with lightening a while back.

In a way, Tasma was still living in a bygone era, the Victorian idylls, contrary to Jill’s which was a new world, a fast-paced jungle, a hippy era and free love, and free it was for every male, for the price was to be paid by the female for the most part. For Tasma, there was not a lot of flexibility, which this new hippy-era demanded, her upbringing, as harsh as it may have been, like a watch-dog on the lookout for any and every possible intruder, it helped her high-sensory perception in the love system one might conclude. She was part of an era, but only the part she wanted to be part of, not the free love part. Physical love meant, mental responsibility, either with or without a mate. She felt compete either way (with or without a mate), for she had found out much about herself; she was not a pleasure or sensation seeker, for itself, yet she could be vulnerable, human nature was constructed that way. Yet the distinction was not always obvious, it was all a novelty for her, and possibly for all four of the youths experimenting in life’s forbidden fruits.

For Johnny, sex had become routine; for Jill it was an attachment; for Tommy it was at first a disposition; for Tasma a fruit yet to be picked completely, but it was becoming a drive, and it was hard to escape its surmounting echoes.

28
Looks Promising

Tasma, was now looking at many variables, night after night, Tommy became the cornerstone to her humanity, in a good way; she admired compatibility in a person, for another person, and she seemed compatible for Tommy, so this was her thinking. But all the same, Mr. and Mrs. Belmont were compatible, yet their sensitivity to one another was like a wasp to a fly, they had a lot to be desired as far as mates and parents go. Thus, she could not use them as bases for any good examples, other than allowing freedom for Jill to grow, and potentially that was not in her best interest, she went to extremes she felt.

She was now on another thought: I will not make Tommy fit into my family or anything, it isn’t my job to, plus, who could please her parents, they are good in many ways, but over powering, suffocating, not willing to let go, and let me grow. They would have to earn each others respect, glide, if you will, into each others worlds she concluded, and could they, I mean, could they deal with the differences, in time maybe. Was this not what life is all about in a nutshell? Working out differences in a relationship, be it friend or family, or wife or lover, country and nations, the world at large. So she told herself, for this is what her parents was lacking, and on the other hand it was what Jill’s parents had, but spoiled it somehow. She finished by thinking, relationships need testing. The heart is too easily led and the body is too hungry for lust at such an age. But it was a beginning she told herself, a good and honest beginning between them.

—As Tasma sat in her room hoping Tommy would visit her, she was reminiscing over all the romance books she had read in the past. I suppose in a way what she wanted didn’t exist, for it was all in the books she had read, for each book had their moments; hence, what she wanted was a fairytale romance in essence. But it is better to be hurt in youth, she told herself, than in old age, so she had read someplace—and this was kind of a fairytale romance in the making she believed. I mean, out of Minnesota to Seattle, who would ever think this would have developed a year ago. It was raining again as she looked out the window, it did seem to rain a good deal more in Seattle, than in Minnesota, she pondered on for the moment, looking at the cars hit the water in the streets, splashing people while walking with their umbrellas, the traffic lights up the corner were blinking wild, had broke down somehow, it was what life was all about, it was her time on earth, it wouldn’t last she speculated, but youth was only a short period in each person’s life, and had to be used wisely. Everyone is given but a cup of time, a cup of youth, how one uses it, well, that is how it is.

Tommy didn’t show up that evening so she looked at twilight, put out the light, started to close the curtain,—saw Mrs. Whitehead next door on the porch below, she was rocking in her chair, knitting something, she was always doing something with her hands, creative things: possibly if she could grow like her—should she be so lucky, and creative—she’d be quite happy.

The moon’s light, the stars’ light: both seemed to validate for her that the day was sufficient, or so she thought in her mind; thus, she drank a cold drink of milk—then setting it down on the bed stand, she curled up in her bed, and fell asleep. She knew Tommy somehow had a shade of shyness in him, but also a shade of fire, Tommy was a good catch in a all, and she looked for a good dream to put him into.

See Dennis’ web site: dennissiluk.tripod.com dennissiluk.tripod.com

Dominance in Photography - Guaranteeing Success

In a motivational speech given by Mr. Zig Ziggler; he talks for several moments about a
world class archer, then states that he could teach anyone to hit the target more consistently
than that archer on his best day, if . . . that archer was blindfolded and turned in the wrong
direction. Of course, the whole point of the example was how can you hit a target you
can not see?

Like wise, if someone looks at your photo and has no idea what the shot was about, then
you’ve lost your viewer. Have you ever had somebody show you a picture of a bunch of
kids playing basketball or football and say something like:“That’s my boy, playing ball!” No
offense to the parents or grandparents that may have said something like that; but no, that’s
not your boy (or your girl). That’s a picture of a BUNCH of kids playing ball. It’s like taking
a picture of the forest and saying “That’s the tree that I planted.”

If you want to have a picture of your kid to brag about, pull out the one with him or her
making the basket or crossing into the in zone. See the face, see the expression, and know
what happened without having to say a word. We’ve all heard the phrase a picture is worth
a thousand words. Having dominance in your photos is worth more than a thousand words.

Dominance is the part of a composition that is emphasized, has the greatest visual weight,
the most important, powerful, or has the most influence. It is the main character in a novel,
the hero of a major motion picture. Even in a crowded room there are things and people that
draw your attention. If you want to capture the moment or feeling of the event, you have to
look for what is most dominant.

If you are shooting a wedding for example, the bride or groom will probably be in most of your
shots. That one is fairly easy. But what happens if your subject is broader? What happens for example, if your subject is to cover the entire football game? How do you focus on simplifying
when so much is going on?

When I was in high school, the newspaper and the yearbook staff always seemed to run
independent of each other. I took pictures for the newspaper; the yearbook staff had their
own photographer. Half way through the year, their photographer was falling behind is his
grades and missing a lot of his photo deadlines. They asked if I could help. They were
mainly concerned about the sports sections, which in the yearbook is a really big deal.

I was not into sports that much, but I was much more into my photography than their guy was.
To represent the entire year, I went to one basketball game, one football game, one baseball
game, one volleyball game, one track and field meet, and one wrestling match. Keep in mind
that their guy had been shooting these events off and on for over half the year. The difference
between his work and my work was that I shot with dominance in mind.

Call it oversimplified if you will; but if you are shooting any sport with the word “ball” in the
title, follow the ball. Don’t try to anticipate who can run farther or jump higher, just follow
the ball, that’s where all the action is. Like wise if a person is doing the high jump, make sure
the bar is actually in the shot. I’m not saying you can’t shoot other things; like the cheerleaders,
the coaches, or the fans. But when you shoot them, make those things the dominate subject.

Dominance can be an individual, a color, a shape, or even a size. It is the including of the
element that tells the story that makes dominance so important. Without dominance, you
have no story, you have no emotional impact. The picture is no longer worth a thousand
words; it’s barely worth two. Those words are “snap shot”. The thing that makes you a
professional is your ability to tell the story, to take people’s breath away.

If you want people to buy your work, you need to sell them. In most cases, we as
photographers don’t sell to our clients by talking to them. We sell them by showing to
them. Your pictures need to reach out and touch the hearts of the viewer, whether you
are still there when they are viewing them or not. Just as an archer; no matter how good
he may be, can not hit the target without seeing it. You can not hit the target without
showing it. Be specific, use your zoom lens, crop tight, show the subject clearly, make
him or her or it, more dominant than anything else in the shot and I guarantee you’ll hit
a bulls eye every time.

This Article Written By: Tedric A. Garrison Cedar City, Utah

Tedric Garrison has done photography for over 30 years. In college he was an Art Major,
and firmly believes that “Creativity can be taught.” Today; as a writer and photographer
he shares his wealth of knowledge with the world, at: betterphototips.com betterphototips.com.

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